Angus Fletcher is one of our finest theorists of the arts, the heir to I. A. Richards, Erich Auerbach, Northrop Frye. This, his grandest book since the groundbreaking Allegory of 1964, aims to open another field of study: how thought--the act, the experience of thinking--is represented in literature. Recognizing that the field of formal philosophy is only one demonstration of the uses of thought, Fletcher looks for the ways other languages (and their framing forms) serve the purpose of certain (...) thinking activities. What kinds of thinking accompany the writing of history? How does the gnomic sentence manage to represent some point of belief? The fresh insights Fletcher achieves at every turn suggest an anatomy of poetic and fictional strategies for representing thought--the hazards, the complications, the sufferings, the romance of thought. Fletcher's resources are large, and his step is sure. The reader samples his piercing vision of Milton's Satan, the original Thinker, leaving the pain of thinking as his legacy for mankind; Marvell's mysteriously haunting "green thought in a green shade"; Old Testament and Herodotus, Vico and Coleridge; Crane, Calvino, Stevens. Fletcher ranges over the heights of literature, poetry, music, and film, never losing sight of his central line of inquiry. He includes comments on the essential role of unclear, vague, and even irrational thinking to suggest that ideas often come alive as thoughts only in a process of considerable distress. In the end he gives us literature--not the content of thought, but its form, its shape, the fugitive colors taken on by the mind as represented in art. (shrink)

In the sentence marked DK22 B52, Heraclitus describes a boy playing with small objects. The boy has the entire kingdom at his disposal and he himself is identified with the eon. This famous fragment has been interpreted in numerous ways both by classical philologists and philosophers. Its current interpretation is that it is a metaphor for human life. The child, not yet familiar with rules of social life, introduces elements of randomness and careless play into that life. Meanwhile, comparison of (...) Heraclitus’ sentence with the Old Indic tales, lets recognize in the sentence the mythological theme of the act of creation – God creating and governing the world. Such governing means establishing fundamental mathematical rights – the same rights that are applied in astronomical observations and scientific research as a whole. Hypothesis, that the ancient Indo-European culture affected – through India – Heraclitus, lets better understand this philosopher’s thought which harmonically combines elements of science, religion and arts. The India hypothesis also explains the aura of sublimity and holiness found in our tradition. The aura that was present in the late antiquity thinkers who acknowledged Heraclitus’ sentence and passed it to the Western literature. (shrink)

Does the writing and reading of fiction affect long-term human social behavior? The question of how imaginative literature has impacted human nature is rather difficult to answer given, of course, the minute period of evolutionary time involved. One way it has been done is by linking creative text to oral storytelling, thereby reverse engineering the function of fiction back to its Pleistocene origins. The adaptive advantages probably conferred by storytelling, as Denis Dutton so eloquently showed, include “low-cost and low-risk (...) surrogate experience,” as we explore the “what if” possibilities that might affect our chances of survival; acquiring factual information through rich and striking images; and advancing .. (shrink)

This study discusses copious early Arab literature of "wonders and marvels". The authors of such books found their materials in the Muslim religion, in the ancient Arab heritage and in strange facts about other cultures. The study examines the themes addressed by these works, including magic, fantasy, strange customs, curiosities, humor, the absurd, mockery, nightly chats, puzzles, riddles, rebuke, satire, defamation, battles, animals, angels, demons, etc. Composers of "wonders and marvels" books chose rhyming names for their works in order (...) to attract the reader. The study found that the popularity of such books was due to the fact that certain phenomena and customs were perceived as incomprehensible by Arabs, who therefore sought transcendental or supernatural explanations, giving free rein to their imagination. Some books of this genre were apt to arouse fear in the reader and the oft-repeated stories in them were eventually believed by many and became means for realizing Arabs' desires and dreams. The study found that at first such books were perceived with scorn, as collections of superstitions and myths, and were therefore popular mainly among the lower classes. Because the genre did not attract the interest of the more educated, its scholarly study was neglected for a long time. (shrink)

I have sketched the well-known distinction between facts and evidence not to defend or attack it , but rather as a preface to a key episode in the history of the conceptual categories of fact and evidence. My question is neither, “Do neutral facts exist?” nor “How does evidence prove or disprove?” but rather, “How did our current conceptions of neutral facts and enlisted evidence, and the distinction between them, come to be?” How did evidence come to be incompatible with (...) intention, and is it possible to imagine a kind of evidence that is intention-laden?It is my claim that partial answers to these questions lie buried in the sixteenth- and seventeenth-century literature on prodigies and miracles. I shall argue that during this period prodigies briefly became the prototype for a new kind of scientific fact, and that miracles briefly exemplified a form of evidence patent to the senses and crucially dependent on intention. Both conceptions diverge sharply not only from current notions of facts and evidence, but also from medieval views on the nature of prodigies and miracles. Prodigies were originally closely akin to portent, divine signs revealing God’s will and things to come; miracles were more intimately associated with the private experience of grace than with the public evidence of the senses. Prodigies were transformed from signs into nonsignifying facts, and miracles into compelling evidence, as part of more sweeping changes in natural philosophy and theology in the mid-seventeenth century. Lorraine Daston is professor of history of science at the University of Göttingen, Federal Republic of Germany. She is the author of Classical Probability in the Enlightenment and is currently at work on a history of scientific objectivity. (shrink)

Despite the prodigious inventiveness of the Middle Ages, the era is often characterized as deeply suspicious of novelty. But if poets and philosophers urged caution about the new, Patricia Clare Ingham contends, their apprehension was less the result of a blind devotion to tradition than a response to radical expansions of possibility in diverse realms of art and science. Discovery and invention provoked moral questions in the Middle Ages, serving as a means to adjudicate the ethics of invention and opening (...) thorny questions of creativity and desire. The Medieval New concentrates on the preoccupation with newness and novelty in literary, scientific, and religious discourses of the twelfth through sixteenth centuries. Examining a range of evidence, from the writings of Roger Bacon and Geoffrey Chaucer to the letters of Christopher Columbus, and attending to histories of children's toys, the man-made marvels of romance, the utopian aims of alchemists, and the definitional precision of the scholastics, Ingham analyzes the ethical ambivalence with which medieval thinkers approached the category of the new. With its broad reconsideration of what the "newfangled" meant in the Middle Ages, The Medieval New offers an alternative to histories that continue to associate the medieval era with conservation rather than with novelty, its benefits and liabilities. Calling into question present-day assumptions about newness, Ingham's study demonstrates the continued relevance of humanistic inquiry in the so-called traditional disciplines of contemporary scholarship. (shrink)

By considering the movies in the Marvel Cinematic Universe as a case study, I bring Tolkien’s explication of mythopoesis in “On Fairy Stories” to bear on the current popularity of superhero films to argue that such works qualify as cinematic examples of Tolkienesque fantasy tales. After summarizing Tolkien’s criteria for the genre in Nietzschean aesthetic terms, I both demonstrate how the builders of the MCU have crafted a sub-created fictional world and defend the existence of fairy stories in visual media (...) from Tolkien’s own criticism of such a possibility. (shrink)

A lively and accessible history of Modernism, _The First Moderns_ is filled with portraits of genius, and intellectual breakthroughs, that richly evoke the _fin-de-siècle_ atmosphere of Paris, Vienna, St. Louis, and St. Petersburg. William Everdell offers readers an invigorating look at the unfolding of an age. "This exceptionally wide-ranging history is chock-a-block with anecdotes, factoids, odd juxtapositions, and useful insights. Most impressive.... For anyone interested in learning about late 19th- and early 20th- century imaginative thought, this engagingly written book is (...) a good place to start."—_Washington Post Book World_ "_The First Moderns_ brilliantly maps the beginning of a path at whose end loom as many diasporas as there are men."—Frederic Morton, _The Los Angeles Times Book Review_ "In this truly exciting study of the origins of modernist thought, poet and teacher Everdell roams freely across disciplinary lines.... A brilliant book that will prove useful to scholars and generalists for years to come; enthusiastically recommended."—_Library Journal_, starred review "Everdell has performed a rare service for his readers. Dispelling much of the current nonsense about 'postmodernism,' this book belongs on the very short list of profound works of cultural analysis."—_Booklist_ "Innovative and impressive... [Everdell] has written a marvelous, erudite, and readable study."-Mark Bevir, _Spectator_ "A richly eclectic history of the dawn of a new era in painting, music, literature, mathematics, physics, genetics, neuroscience, psychiatry and philosophy."—Margaret Wertheim, _New Scientist_ "[Everdell] has himself recombined the parts of our era's intellectual history in new and startling ways, shedding light for which the reader of _The First Moderns_ will be eternally grateful."—Hugh Kenner, _The New York Times Book Review_ "Everdell shows how the idea of "modernity" arose before the First World War by telling the stories of heroes such as T. S. Eliot, Max Planck, and Georges Serault with such a lively eye for detail, irony, and ambiance that you feel as if you're reliving those miraculous years."—Jon Spayde, _Utne Reader_. (shrink)

Although we begin with the words of the poet Henry Vaughan, it is the visual artists above all who know and see the mystery of the Creation of all things in light, suffering for their art in its blinding, sacrificial illumination. In modern painting this is particularly true of van Gogh and J.M.W. Turner. But God speaks the Creation into being through an unheard word, and so, too, the greatest of musicians, as most tragically in the case of Beethoven, hear (...) their sublime music only in a profound silence. The Church then needs to see and listen in order, in the words of Heidegger, to learn to "dwell poetically on earth" before God. To dwell thus lies at the heart of its life, liturgically and in its pastoral ministry, as illustrated in the poetry of the English priest and poet, David Scott. This can also be seen as a "letting go" before God and an allowing of a space in which there might be a "letting the unsayable be unsaid" and order found even over the abyss. This is what Vladimir Nabokov has called "the marvel of consciousness" which is truly a seeing in the darkness. The poet, artist and musician can bring us close to the brink of the mystery, and thus the artist is always close to the heart of the church's worship and its ministry of care where words meet silence, and light meets darkness. Such, indeed, is the true marvel of consciousness in the ultimate risk which is the final vocation of the poet and artist, as it was of Christ himself, and all his saints. The church must be ever attentive to the deeply Christocentric ministry of art and the creative power of word and image in the letting the unsayable be unsaid. With the artist we may perhaps stand on Pisgah Height with Moses with a new imaginative perception of the divine Creation. The essay concludes on a personal note, drawing upon the author's own experience in retreat in the desert, with a reminder of the thought of Thomas Merton, a solitary in the community of the Church. (shrink)

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

Among the processes of canon-formation is the habit of coupling writers; and among the most powerful of couples in the traditional English literary canon is Spenser-and-Milton. Much of my own professional life has probably been determined by my first teaching assignment of 1963, which included “Spenser-and-Milton,” in those days at Toronto a famous cornerstone course carrying the tamp of the stamp of the formidable Renaissance scholar A. S. P. Woodhouse, known affectionately if disrespectfully to his students as Professor Nature-and-Grace. For (...) several years I labored mightily, though neither naturally nor, I suspect, gracefully, on Spenser-and-Milton, sensing all the time that the connections I made, the doctrines I was conveying, lacked persuasion; and no doubt the seed of this essay was sown in those days, although its angle of sight was not then available, obscured on all sides by institutional pillars.When we couple writers we usually imply a criterion of fit or at least explicable mating. While there is nothing to prohibit a merely comparativist curiosity, or coupling in the service of some other agenda, we presumably give greater authority to relationships that imply causality, even, or especially, if causality is defined as the influence of the one writer on the other. Most of such relationships are unidirectional, from the earlier to the later dead, and a plausible coupling requires either the successor’s own testimony that the influence-relation existed, or other evidence that the influence-relation was strong enough to be formative; or, preferably, both. Annabel Patterson, professor of literature and English at Duke University, is the author of Hermogenes and the Renaissance , Marvell and the Civic Crown , Censorship and Interpretation , Pastoral and Ideology: Virgil to Valéry , and Shakespeare and the Popular Voice. (shrink)

Graphic justice and the law of aesthetics have in very recent years successfully brought law, aesthetics and comics scholarship into the same space. The culture of copyright infringement within comics (including in the Marvel, DC, and Disney universes) has been extensively in the literature by scholars including Saval. How copyright law is portrayed within the graphic novels and comics themselves is the focus (and contribution of) this article. This article will explore several comics and graphic novels, as well as (...) included this author’s reflections of portraying copyright visually within zines for public dissemination. Throughout this article, the discourses of ghosts and spectres that are interwoven with copyright law and haunt the texts will be seen, as will the discourses of oppression and warfare that are involved for anyone seeking to make use of copyright works. As Gómez Romero and Dahlman note, comics offer “an alternative legal discourse” and we can see these alternative legal discourses through their aesthetic graphic form. This article will consider: the aesthetic portrayal of copyright law in A Gift for a Ghost and Josie and the Pussycats No. 6; as well as Bound by Law, Theft! A History of Music, and Pictures within Pictures. These comics and graphic novels have been chosen as they aesthetically portray copyright law and copyright infringement (referred to in some of the comics as “plagiarism”), and others aesthetically portray the public domain and fair use. In viewing these aesthetic manifestation of copyright law, the reader understands the limiting nature of copyright on creative freedoms, and that copyright law’s power is absolute. This article will explore the following: (i) copyright’s aesthetic portrayals and the impact of this; (ii) comics haunted by copyright law, considering A Gift for A Ghost and Josie and the Pussycats; (iii) comics about the necessity of the public domain and fair use, considering Bound by Law, Theft! A History of Music, and Pictures within Pictures; and (iv) self-reflections on portraying copyright aesthetically in publicly disseminated research zines. This article has not set out to determine that certain visual aesthetic portrayals are “correct” or “better”, but rather to explore how legal discourses and narratives about copyright law are circulated through the comics medium. These visual depictions hold considerable weight, and it is striking to see similar narratives used across a range of comics works, with different intended audiences. What is clear is that the visual depiction of copyright law enables a greater ability to convey the multiple copyright law discourses that can be felt at once, and also to highlight that some of these discourses are contradictory to one another. (shrink)

In this age of DNA computers and artificial intelligence, information is becoming disembodied even as the "bodies" that once carried it vanish into virtuality. While some marvel at these changes, envisioning consciousness downloaded into a computer or humans "beamed" _Star Trek_-style, others view them with horror, seeing monsters brooding in the machines. In _How We Became Posthuman,_ N. Katherine Hayles separates hype from fact, investigating the fate of embodiment in an information age. Hayles relates three interwoven stories: how information lost (...) its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman." Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel _Limbo_ by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems. Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, _How We Became Posthuman_ provides an indispensable account of how we arrived in our virtual age, and of where we might go from here. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Dictionary of Seventeenth-Century British PhilosophersA. P. MartinichAndrew Pyle, general editor. The Dictionary of Seventeenth-Century British Philosophers. 2 volumes. Bristol: Thoemmes Press, 2000. Pp. xxi + 932. Cloth, $550.00.The history of modern philosophy is flourishing. More scholars are producing excellent works in this area than ever before. A large part of this health is due to scholars whose primary training is not in philosophy, such as historians of (...) political thought or literature (hereafter: historians). The dictionary being reviewed here is a case in point, a production of more than ninety scholars of whom the overwhelming majority are not formally trained philosophers.The dictionary consists of about 400 entries, alphabetically from Isaac Abendana (d. 1699) to Richard Zouche (1590-1661) and chronologically from John Case and Richard Hooker, both of whom died in 1600, to Richard Mead (1673-1754). As this list indicates, the general editor construed "philosopher" very broadly, too broadly, I think. There should be no objection to including scientists like Robert Boyle and Newton, theologians like William Chillingsworth and Henry Hammond, and poets like Andrew Marvell and John Milton, each of whom wrote some works with philosophical import. But Ralph Bathurst, a physician, comes no closer to being a philosopher than being "an early admirer of Hobbes's scientific work and [having] contributed some enthusiastic Latin verses to the latter's Humane Nature (1650)" (75a). Likewise Richard Barckley (fl. 1598), about whose life virtually "[n]othing is known" and whose sole book may be described as consisting of "meatpies stuffed with commonplaces"—Montaigne's phrase—does not deserve inclusion (55a, 56a). (Jill Kraye, the author of the article, serves Barckley very well.)Ramist logicians "are largely excluded... [because] they tended to assimilate logic to rhetoric and to limit it to the orderly exposition of what is already known" (p. x). Nonetheless, it is unfortunate, I think, that Abraham Fraunce (c. 1558-1633) and George Downham (d. 1634) are not included.The best articles tend to be about the best philosophers of the age: Thomas Hobbes and John Locke by G. A. J. Rogers, Shaftesbury by David McNaughton, and Francis Bacon by Graham Rees (who pointedly observed about Historia ventorum that "Bacon accomplished the considerable feat of making the weather boring" [41b]). Although by quality of thought and influence, each of these warrant longer treatment, the editor was right to restrict their length to a modest six or seven pages, the same length as those about William Ames, William Harvey, Bernard Mandeville, and John Toland. There are plenty of other places to go for information about the great philosophers. What we want and what the Dictionary provides are articles about the obscure philosophers.Some of the other especially well wrought articles are those on Richard Baxter by William Lamont, Walter Charleton by Margaret J. Osler, Joseph Glanvill by Richard Popkin, John Hales by Victor Nuovo, John Wilkins by John Henry, and Thomas White by Beverley Southgate.The editor is not nationalistic in his understanding of "British." Scots who spent their academic career on the Continent are included. Also included are the Czech John Comenius (1592-1670), the Dutchman Franciscus Mercurius van [End Page 598] Helmont (1614-98), and the Venetian Marc Antonio De Dominis (1560-1624), as they should, because of their influence on British thought or sometime residence. By the same token, Hugo Grotius should have an entry; but he does not.An average of two pages each is devoted to six women, Mary Astell, Catherine Cockburn, Ann Conway, Margaret Cavendish, Jane Lead, and Damaris Cudworth Masham. They deserve more space, especially Cavendish, whose The World's Olio (1655) includes a utopian scheme.Some other articles that I wish had been longer include those about John Bramhall, Richard Crackanthorpe, William Davenant, and John Eacherd, each roughly two pages. Although the proportional space allotted to a thinker is generally right, I think some figures should not have been included at all. John Flavel (1596-1617) does not deserve even the 3 column inches devoted to him. Better to have assigned those inches to someone else. None of the remaining articles should be shorter than they are, not even the five pages devoted... (shrink)

Thirteenth-century India saw a huge revival of religious devotion among the common folk, similar to the waves of religious fervor that swept over late medieval Europe. One of the pillars of this revival was the poet-saint Jnaneshwar, author of an exquisite commentary on the Bhagavad Gita. Like his contemporary Dante, Jnaneshwar was a poet of the vernacular, who wrote in Marathi, the language of ordinary villagers, rather than the Sanskrit of the brahmin orthodoxy. Over the centuries, the Jnaneshwari, as his (...) commentary is known, has become a scripture in its own right. Expanding the Gita’s seven hundred verses to approximately nine thousand, and using the images of ordinary life to explain its lofty teachings, Jnaneshwar fashioned from human language one of the most sublime visions of the Absolute that has ever been put into speech. The Jnaneshwari is one of the marvels of world literature. The greatest study of the Jnaneshwar is still this work by the philosopher R. D. Ranade, originally published in 1933. In addition to being a renowned scholar, Ranade was also a mystic and an initiated disciple, and he brings all these broad currents of the Indian tradition to his analysis of the Jnaneshwari. Readers who are sometimes intoxicated by the richness of Jnaneshwar’s imagery, will appreciate the way Ranade has here uncovered the work’s inner structure, and how he has briefly summarized its approach to the Gita’s great themes: action vs. renunciation; devotion and dharma; the form and the formless aspects of God; and the subject dearest to Jnaneshwar’s heart, the nature of the spiritual Master. This book also includes Ranade’s study of Jnaneshwar’s abhangas, his religious songs, as well as an analysis of his magnificent Amritanubhav, “The Nectar of Self-Awareness,” an inspired synthesis of Samkhya and Shaivism. (shrink)

D. H. Lawrence famously wrote that “art-speech is the only truth.” If we are to give credibility to these words, we must know what Lawrence means by “truth.” Here is the passage in which this expression occurs:Art-speech is the only truth. An artist is usually a damned liar, but his art, if it be art, will tell you the truth of his day. And that is all that matters. Away with eternal truth. Truth lives from day to day, and the (...) marvellous Plato of yesterday is chiefly bosh today.... Two blankly opposing morals, the artist’s and the tale’s. Never trust the artist. Trust the tale.1One thing is made clear by the passage: “truth” here is not used in the sense of absolute truth, something that can never be falsified.... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eve W. Stoddard REASON ON TRIAL: LEGAL METAPHORS IN THE CRITIQUE OF PURE REASON 6 6 r I 1WO things fill the mind with ever new and increasing admi_I_ ration and awe, the oftener and more steadily we reflect on them: the starry heavens above me and the moral law within me." ' These are perhaps Kant's most well-known and oft-repeated words. They reflect not only the profound feeling (...) that underlies his technical and abstruse treatises, but also his characteristic preoccupation with law. The "starry heavens" are a synecdoche both for the wonder of nature as we perceive it in all its multiplicity, and for the marvel of science's ability to reduce, order, and subdue that infinite multiplicity into a few elegant laws. These two types of law, natural and moral, define the focus of Kant's critical philosophy, and metaphors drawn from jurisprudence pervade all three critiques. In the context of controversial statements on the role of metaphor in philosophical texts by Jacques Derrida, Paul Ricoeur, and Richard Rorty, I will analyze the legal metaphors in the prefaces and Transcendental Deductions of the Critique ofPure Reason. My goal in engaging Kant's texts in this controversy over metaphor is twofold: on the one hand to assess experimentally the value of these positions on metaphor in the history of philosophy, and, on the other hand, to examine the relations between critical conceptualization and insurgent metaphoricity in Kant's carefully elaborated and systematized text. In a textwhose key words are "universal and necessary for all possible experience," contingentand ambiguous metaphors might be expected to cause problematic unravelings. Richard Rorty has argued recently that "the history ofscience, culture and politics" should be viewed "as a history of metaphor rather than of discovery." 2 He compares the creations of new vocabularies to the 245 246Philosophy and Literature invention of "new tools" ("CL," p. 5), alluding to "Nietzsche's definition of truth as a mobile army of metaphors" (p. 6). From Plato's figures of the world as cave and the mind as charioteer with unruly horses, we shift to Locke's view of mind as tahda rasa and Descartes's description of the world as a machine. Rorty's paradigm of cultural history as a history of metaphor enters into an earlier, unresolved debate between Jacques Derrida and Paul Ricoeur over the relationship between metaphor and philosophical discourse. Like Derrida, Rorty follows Nietzsche's claims about metaphor in the history of philosophy, a view Ricoeur wants to disprove so that he can recover the privileged univocity of speculative discourse. However Rorty has nothing in common with die complexity and "invaginated" ambiguities, the dazzling multivocity of Derrida's writing on the economics of metaphor. Although Rorty appears at first to agree with Derrida that there is no truth or reality apart from the linguistic tropes which dominate different epochs and cultures, he retains a metaphysical distinction between literal reference and figurative play. Rorty adopts Donald Davidson's theory that metaphors do not have "meaning" precisely because diey have no place in the language game into which they are inserted. They produce an effect, but it is not meaning: "One can only savour it or spit it out"; it is not a " 'truth-value candidate' " ("CL," p. 6). However, through repeated use, the metaphor will find a role in the language game; dying as a metaphor, it will live as a literal statement. Therefore Rorty agrees with Ricoeur that a moribund metaphor is no longer a metaphor, but a literally functioning segment of discourse. Thus despite his initial move toward a Derridean, or atleast Nietzschean, position, Rorty ultimately takes a stand consonant with Ricoeur's desire to rescue speculative discourse from the unruliness of metaphor. Considering Rorty's celebration of Freud in an article on "The Contingency of Selfhood," 3 his failure to consider the role of unconscious associations and overdetermination in the writing and reading of texts is surprising. Dead or alive, a metaphor brings with it a host ofpersonal and public, conscious and unconscious, new and traditional associations that become juxtaposed against a similar number of associations connected with the signifying chain into which the metaphor has been inserted. In... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Making of Roman India by Grant ParkerJoseph L. RifeGrant Parker. The Making of Roman India. Greek Culture in the Roman World. Cambridge: Cambridge University Press, 2008. xv + 357 pp. 11 black-and-white figs. 3 maps. Cloth, $99.India as a strange land—vast, wild, mystical—has long excited the western imagination, even after the British colonial downfall. This vision of danger and desire has deep roots. While India was nearly (...) out of reach of those great ancient empire-builders, the Macedonians and the Romans, on the distant fringe of the Mediterranean sphere of contact and commerce, it was very much on their minds. [End Page 672] Grant Parker’s The Making of Roman India, like the India of fantasy, is sprawling and full of wisdom, if somewhat untidy. Rather than attempting to reconstruct the historical travels and concrete relations between Rome and South Asia, Parker examines the development of a literary discourse during the Empire, a collection of responses to and representations of that faraway place that were “conceived in terms of power relations in Roman society” (5–7). The scale of the inquiry is breathtaking, encompassing an array of texts in various genres from the Achaemenid background to the Christian reception and beyond, as it were, from Darius I to St. Thomas.Parker’s book, which grew from his Princeton dissertation through a Michigan fellowship and an early career at Duke, marks the culmination of a series of publications that include his co-edited volume, Ancient India in its Wider World (with Carla Sinopoli [Ann Arbor, Mich. 2008]), and several notable articles (e.g., Journal of the Economic and Social History of the Orient 45.1 [2002]: 40–95; Ars Orientalis 34 [2007]: 19–37; Journal of Medieval and Early Modern Studies 37 [2007]: 1–7). This ongoing project has established Parker as an important scholar of the classical tradition, cultural criticism, and travel literature. In his preface, Parker comments on the personal impact of Momigliano’s Alien Wisdom and dutifully notes the broad influence of Saïd’s Orientalism, while cautioning against the transposition of postcolonial theory to a preindustrial setting (8). He belongs to an energetic generation of classicists who are drawing a new picture of how the Greeks and Romans envisioned the East in literature and art. The Making of Roman India shares common ground with other recent studies of the dynamic construction of identity, and how one culture defines another under its own conditions, such as those by Phiroze Vasunia and Ian Moyer on Egypt (The Gift of the Nile [Berkeley 2001] and Egypt and the Limits of Hellenism [Cambridge 2011]) and by Nathanael Andrade on Syria (Syrian Identity in the Greco-Roman World [Cambridge 2013]). Parker has a distinct advantage because India, unlike Egypt or Syria, was an uncharted region of little historical consequence which intellectuals could shape and re-shape in line with their evolving interests. His study stands out for its remarkable blend of erudition, philological rigor, and creative insight.The book unfolds as an exploration of Indography through time. Part 1 (11–65) covers the Greek tradition up to the first century b.c.e. in four stages: Greek historiography out of Asia Minor during the Late Archaic to Late Classical periods; the explosion of knowledge emanating from Alexander’s campaign in 327–325 b.c.e.; the diplomatic activities of the Hellenistic kingdoms (particularly Megasthenes chez Chandragupta); and geographical thought. Parker’s handling of disparate, often challenging, sources is always accurate and incisive. His concluding remarks to individual sections can be less than startling: Hecataeus situated India in an ordered, pre-cartographic model of the world (20–21); Ctesias’ taste for marvels set him up for indictments of mendacity (30–33); Eratosthenes tied the subcontinent into his geodetic calculus (52–53). But the readings serve as reliable introductions to many texts that remain hard to access, and here the whole is more than the sum. Parker’s sweeping juxtaposition of a chain of thinkers effectively [End Page 673] reveals how they defined India as a finite structure for physical measurement, a problem for veridical historiography, and a prodigiously fecund environment for scientific... (shrink)

David Shoemaker's highly innovative and intricately argued new book brings much of his previous work together with substantial original material to form a detailed and cohesive treatment of responsibility. The book is engaging, crisp, and admirably clear. It is marvelously ambitious in its strategy and framework, engagement with multiple literatures, and decidedly novel approach to Strawsonian theory. Moral philosophers, psychologists, clinicians and practitioners, and anyone who has ever wondered about "marginal agents"—people with dementia, autism, depression, OCD, and psychopathy—will find much (...) to entice them in this thorough and accessible treatise.Shoemaker's starting point—the phenomenon he aims to... (shrink)

French theorists have recently proposed a theory which describes all literature in terms of the probable, the vraisemblable.6 This poetics of the probable commences with a purely relativistic claim. What is probable not only changes in accordance with the audience’s concept of reality but also changes in accordance with the needs of the story and with the narrative possibilities open to various genres. It includes all of the norms and models making a given text understandable to the reader, however (...) outlandish and eccentric it may be. Various levels of the vraisemblable are distinguished from each other, and the vraisemblable based upon models of the world or the world view prevalent in a given culture is scrupulously separated from types of the vraisemblable that are based upon literary, generic models. However, as Tzvetan Todorov gladly admits, “the two notions tend to melt into each other.”7 He and other theorists see the literary genre itself as one of the models “probabilizing” a given text, at times in direct contradiction with “natural” models of the world. Still others see the world, or the prevalent world view, as the universal text which probabilizes other texts.[…]Rather than how this new concept of the vraisemblable, of probability, fares in relation to farce in films, theater, and literature, I prefer to ask how farce fares in relation to it. I think that it doesn’t do well. Farce shows that it is a mistake to unify the possibilities for understanding a text and the possibilities for understanding its fictional world within a single integrated concept. It is a further mistake to term such a concept “probability.” When dealing with the fantastic or the marvelous, for instance, probabilizing the text and probabilizing the work’s fictional world may legitimately be unified under a single principle or concept. If we agree to change or suspend a fundamental belief about the world, we will be able to perceive as logical and probable not only the texts but also the fictional worlds of such works. Coleridge’s “willing suspension of disbelief” excellently fits works that are written in these genres. Such works require that we temporarily forget a certain general belief about the world. After we’ve agreed, as a result of this suspension, to include certain elements in the world , we may then rebuild the fictional world while using the rest of our beliefs along with this new assumption. Farce’s incredibility creates a different situation. Before we have even begun to recover from an attack upon one probability principle, another is undermined. In farce the rules of probability are not neutralized in one specific realm of reality; their inversion operates constantly on all of reality’s realms. The image of a seemingly real world, reminding us of our own world and of our own set of probabilities, is all we need to be constantly astonished by farce’s persistently novel deviations from predictable probability. Here, in direct opposition to the marvelous, the new deviations must keep on coming from unexpected directions, because farce won’t allow its incredibilities to consolidate and become new rules of probability. The fictional world of overt farce lacks a specific factor, the one that would have probabilized all of the other factors of this world. Such an Archimedean center might seem to be located in the genre’s definition—this genre, however, does not probabilize the incredible. Farce’s definition does not make farce’s world more intelligible in any sense of that word. At the very most, farce allows us to forgo such intelligibility without transgressing the established boundaries of art.6. For an excellent presentation of their views, see Jonathan Culler, Structuralist Poetics: Structuralism, Linguistics, and the Study of Literature , pp. 131-60.7. Tzvetan Todorov, The Poetics of Prose, trans. Richard Howard , p. 83. See also his introduction to Communications 11 : 2. (shrink)

This paper finds its origin in a debate between Georges Bataille (1897-1962) and Octavio Paz (1914-1998) on what is central to the idea of eroticism. Bataille posits that violence and transgression are fundamental to eroticism, and without prohibition, eroticism would cease to exist. Paz, however, views violence and transgression as merely intersecting with, rather than being intrinsic to, eroticism. Paz places focus on imagination, and transforms eroticism from a transgressive, to a ritualistic act. Eroticism thus functions as an intermediary, turning (...) animal sexuality into ceremony and rite. In this paper, I argue that Paz and Bataille are not fundamentally at odds in their conceptualisation of eroticism. Instead, Paz redefines the locus of eroticism by subverting its unsettling aspects. His conception of eroticism gives precedence to the imagination, which in itself is an act of violation. Imagination transgresses normal life, but this transgression – the violation of the habitual world – also introduces a glimpse of the numinous that Paz associates with belongingness. The paper further explores eroticism, as this is perceived today, and argues that it ultimately eliminates the threshold marked by transgression. The rise of the contemporary pornographic society is marked by a loss of imagination and transcendence, which ultimately reduces the subject into a mere automaton that demands instant gratification. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Descartes and the Last ScholasticsBlake D. DuttonRoger Ariew. Descartes and the Last Scholastics. Ithaca: Cornell University Press, 1999. Pp. xi + 230. Cloth, $42.50.The attempt to understand Descartes vis-à-vis the scholastic tradition dates back to the studies of Etienne Gilson early in this century. Though Descartes saw himself as a revolutionary who would overthrow the Aristotelianism entrenched in the universities, Gilson was able to demonstrate his reliance upon (...) a variety of scholastic sources for important terminology, distinctions, and arguments which permeate his writings. Unfortunately, this line of investigation was largely ignored among Anglo-American scholars who were generally hostile to Scholasticism and uninterested in contextualizing Descartes's thought. However, since the mid-eighties there has been a distinct shift in attitude as scholars have increasingly turned their attention to the place of Scholasticism within Descartes's intellectual environment. Among these, Roger Ariew has to be counted as one of the most sophisticated, and his new book, Descartes and the Late Scholastics, marks an important contribution to the growing literature on the topic.Ariew's book is actually a collection of essays published over the last decade, including two which he co-authored with Marjorie Grene. Many of these have been substantially expanded to include fresh material and reworked so as to give the whole a greater sense of continuity. After a marvelous opening chapter in which he lays out his overall account of Descartes's attitude towards Scholasticism, Ariew presents the remaining essays in two large groups: those dealing with the immediate context of Descartes's thought and those dealing with its reception through the early part of the eighteenth century.Among the more interesting results of the first group of studies is Ariew's claim that the scholastic climate in and around Paris during Descartes's lifetime was predominately Scotistic rather than Thomistic. He shows this by looking at positions taken by a number of Parisian schoolmen on important issues which typically divided Scotists and Thomists. Ariew goes on to argue that not only was the Parisian environment Scotistic, but that Descartes aligned himself with the Scotists on many key issues in both physics (e.g., that time is independent of motion) and metaphysics (e.g., that the principle of individuation is a form). This is certainly an intriguing claim since most studies of this type have viewed Descartes in relation to Aquinas and those Jesuit thinkers who were broadly Thomistic in outlook. In bringing to light this Scotistic background, Ariew has opened up an important new line of inquiry.Other topics included in this first section are the literary and philosophical background [End Page 275] to the "new way of ideas" of which Descartes is a founder, the place of Descartes's doctrine of matter and form in seventeenth century debates over hylomorphism, and the reaction of Scholastics to the observational results of the new astronomy. What emerges in these essays is not only a highly nuanced view of Descartes's relation to Scholasticism, but an important corrective to still prevalent views of the Scholastics as reactionary and blindly opposed to developments within the new science. This last point is made with particular force in the fifth essay entitled "Scholastics and the New Astronomy." There Ariew argues that the astronomical observations of Galileo et alia were not in themselves decisive for overthrowing the Aristotelian cosmology as it had been articulated in the seventeenth century. This is because scholastic astronomers were generally accepting of such findings (e.g., sunspots) and were able to accommodate them within their own systems by making relatively minor adjustments. Although these systems ultimately proved themselves inadequate, Ariew makes a strong case that the Aristotelianism of the seventeenth century was sufficiently fluid to accommodate most of what the astronomers offered up. Thus the necessity for a radical overhaul of basic philosophical and scientific assumptions was by no means as evident as standard histories of this period would have us believe.The second section of the book is dedicated to debates over Cartesianism and its fate in the generations immediately following Descartes's death. Here Ariew provides a wealth of detail about various condemnations of Cartesianism, a comparative study of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 133 The Foundations of Mysticism. Vol. I of The Pl'.esence of God: A History of Western Christian Mysticism. By BERNARD McGINN. New York: Crossroad, 1991. Pp. xxii and 49. Index and bibliography. $39.00 (cloth). With this work Bernard McGinn delivers the first of a projected four volume History of Western Christian Mysticism. The Foundations in· cludes, as one might expect, the Scriptural tradition, Neoplatonic phi· losophy, early (...) Greek Fathers who influenced the Latins, as well as the early "Founders" Ambrose and Augustine. Judged by the quality of its start, this work promises to become a standard history for years to come. The author displays a stunning acquaintance with the sources of a subject that extends over full twenty centuries. Though " spe-·cialized " in the spirituality of the high and late Middle Ages (he has written substantial studies on Joachim de Fiore and Eckhart), the Chi· cago professor has admirably succeeded in mastering the mass of per· tinent literature of this early period, as the 150 pages of notes and bibliography testify. His ideas are clearly presented, his evaluations of others critical yet generous, his overall judgment impressively balanced. Moreover, he ventures well beyond the usual territory. His work in- -eludes subjects rarely discussed hut often alluded to in the history of.early Christian spirituality: e.g. Gnosticism, which appears here not as a " heresy ", but as a spiritual movement in its own right. The thorough discussion of Philo together with the introductory chapter on 4 ' The Jewish Matrix" (somewhat improperly entitled since it deals only with the Hebrew Bible) display an unusual appreciation of the underestimated influence of Jewish mysticism. One would have been happy to read more about Marius Victorinus, hut is grateful to find him present at all. A historical survey of this scope may easily degenerate into an enumeration of titles and trends, whereby ideas are treated as facts. Professor McGinn has judiciously avoided that. Entire sections of his history are rich monographs about spiritual systems treated for their intrinsic interest rather than as transitory moments of an indifferent history. The sections dealing with Origen, Evagrius, and Ambrose in particular deserve to be read as independent treatises. The long concluding chapter on Augustine also presents a marvelous synthesis, though one primarily written from the point of view of its later impact. In a study of this nature the definition of its formal object presents.a unique problem. Before the late Middle Ages the concept of a purely private spiritual experience remained largely unknown in Christian 134 BOOK REVIEWS spirituality and until the seventeenth century even the substantive " my,;· ticism ", referring to a separate activity, did not exist. H what we now take to be characteristic were to serve as normative concept, almost all spiritual writers of the :first Christian millennium and a good many after that would he excluded. Moreover, the subjective mystical ex· perience remains inaccessible to the historian. McGinn has wisely confined his subject to the spiritual text in its social and ecclesiastical context. But this choice leads to a further, equally difficult question: What constitutes a mystical text? Obviously not all religious or theo· logical writings are mystical. Protestant theologians of the nineteenth century tended to consider a genuine Christian faith incompatible with mysticism, while prominent students of mysticism in this century (such as Underhill, Butler) :remained highly suspicious of speculative theology, including the so-called "mystical" one, But friend and foe of mysticism agree that the mystical, however conceived, cannot simply he identified with the religious. Some scholars, such as von Hiigel, distinguish the mystical from other aspects of religion, but leave its positive content vague and controvertible. Avoiding a precision which the nature of the subject precludes, McGinn nevertheless goes to the heart of the matter in :referring to the mystical as to the dynamic power that drives the religious mind toward the experienced presence of God, without necessarily bringing it to the state of full union. The author's position appears in the felicitous choice of the general title: The Presence God. All religious life aims at entering into the presence of God. But " mystical " religious texts speak of a particular mode of divine presence, not ordinarily... (shrink)

Although a sizable number of works on analytic philosophy are published in non-Western languages, the literature continues to be written mainly in Western languages, especially English and German. This article makes a case for discussing analytic philosophy in Chinese and argues that it entails a dilemma: it can fulfill either the audience-service or knowledge-service functions but not both at the same time. This is problematic because a standard original or critical philosophical article should fulfill both functions. Then, to challenge (...) the validity of this dilemma, I pose the hypothetical scenario of Jake, who writes a marvelous, purely original publication on analytic philosophy in Chinese. This article posits that the dilemma will not be undermined by such a case and suggests an alternative way to resolve it. (shrink)

Christopher Arciszewski, Arian mercenary and man of many facets, conducted a journal in which, it is suspected, he described military campaigns, the state of the colony and other interesting phenomena he was able to observe during his time of service in Brazil. In 1641, Gerard Vossius was completing his magnum opus De theologia. In Chapter 8 of the first volume, Vossius discusses the “cult of the demon” among various peoples. As an example the Netherlander erudite provides a colorful description of (...) such a cult among the Brazilian Tapuya tribe. Since the author never traveled to Brazil, he makes use of the observations of Christopher Arciszewski. How does an Arian, brought up in an atmosphere of intense pluralism and far-reaching tolerance towards other belief systems, react when he encounters, first-hand, a culture utterly different, and completely alien to him? His presentation of a hierarchically constructed morality existent among various cannibalistic tribes is, in a sense, an intellectual breakthrough. Instead of treating the nativescollectively as one homogenous culture, as simply “savages”, Arciszewski distinguishes between various cultural units, and treats them individually. The nobleman attempts to convey their own views of morality not on the basis of European ethical systems, but on the local ones in place. In his day, such ideas were nearly unthinkable for most educated Europeans. Cannibalism of any kind was perceived as godless behavior, a sort of devilry, which would eventually be abolished with coming of the “light of Christianity” to the New World and the inevitable Europeanization of the natives. The reader can marvel at the extent to which Arciszewski is willing go in his relativism, to the point of sympathizing with the Tapuya. He allows them to explain to the reader the functioning of theirendo-cannibalistic culture. Arciszewski adds to the rationalization of cannibalism a detailed description of the death-rite among the Tapuya, presenting these ceremonial customs in accordance with their own beliefs, as something potentially interesting for humanistic intellectuals back in the Old World. Vossius’ book also discusses the question of the tribe’s spiritual beliefs: their conceptions of good and evil, deities, etc. The reader once again witnesses Arciszewski’s readiness to accept beliefs and deities completely unknown to European religion. The author does not prima facie discount the possibility that the “universal laws” operating in the Old World have no place in the Brazilian wilderness. His philosophical outlook, demonstrated by his rationalization of what had before been considered “magical” or “irrational”, is surely a foreshadowing of the rationalism of Enlightenment, whose modes of thinking constitute the core-foundation for alllater philosophical and scientific inquiry. Arciszewski, as an Arian brother par excellence, essentially operated with such conceptual tools as relativism, toleration and universalism, and his intellectual arsenal did not altogether differ from our own. As such, Arciszewski, and Europeans like him, helped free the Western worldview of its mediaeval philosophically limited conceptions of the cosmos, and propelled it in new directions of inquiry. This led eventually to a decided shifting of the European worldview away from superstition towards reason: the most definitively crucial moment in European intellectual history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Last Puritan: A Memoir in the Form of a NovelChristopher PerriconeThe Last Puritan: A Memoir in the Form of a Novel, by George Santayana; edited by H. J. Saatkamp and W. G. Holzberger; xli & 744 pp. Cambridge: MIT Press, 1994, $50.00.In 1936, Irwin Edman reviewed The Last Puritan for the New York Times. It was a sympathetic review. However, Edman was not blind to the novel’s (...) fundamental weakness: it is driven by ideas, “essences,” rather than characters, ones you might hate or love: “... this is a poet’s novel and philosopher’s tale.... If the characters do not come to life, they live as themes dramatized and as ‘human persuasions.’”This year Harold Bloom wrote in The Western Canon that canonical works are those works which deserve re-reading. As a novel, The Last Puritan does not deserve re-reading, as Tom Jones, The Trial, or Huckleberry Finn, do. But as a philosophy “not argued but presented as a picture” (Edman), The Last Puritan may be among Santayana’s best works. Yes, one reads and re-reads The Last Puritan because one wants to know the ideas of America’s great philosophical poet. Without the philosophy to support the novel, I am not sure it would have a reason for being. One is not interested per se in Santayana’s plot or characters, their friendships and failures, Oliver and Jim, their deaths, or Mario, his paganism and love of life. Rather one wants to be enchanted by [End Page 186] Santayana’s poetic voice; one wants to know what Santayana thinks about the play of spirit and matter and how “the genteel tradition” had so much promise and yet had gone bad. And these are, indeed, in principle, the very same reasons why one reads and rereads Plato, Lucretius, or Dante.The critical edition, put together by Saatkamp and Holzberger, with an introduction by Irving Singer, is a first-class piece of work. It is everything a Santayana scholar would want or need. Singer’s introduction provides the reader with a sound and well-researched background on Santayana and Oliver’s story, and anticipates some problems of aesthetics the reader will face, e.g., the problem of character development. Unlike me, Singer thinks Santayana’s “idealizations” bring vitality to character: “Far from being desiccated types, the great characters in fiction give one a sense of individuality that often seems more natural to us than what is found in nature itself” (p. xix). Notwithstanding my disagreement with Singer, his presentation is well thought-out and plausible.The “Editorial Appendix,” written by Saatkamp and Holzberger, is impeccable. In the “Notes to the Text” they provide the scholar or the curious reader with a marvelous wealth of information. They run down and support with convincing evidence every allusion in the novel. In the “Textual Commentary,” they provide a statement of textual principles and procedures, a description and development of the text, and an explanation of how the critical text was established; in effect, after one has read the product, one can then read about the process by which the product was brought about. Naturally, there are also lists of emendations and variants.As a philosophical novel, I recommend The Last Puritan to anyone who believes that “... what the realm of essence, in its mute eternity, chiefly adds to our notion of nature is the proof that nature is contingent. An infinite canvas is spread before us on which any world might have been painted. The actuality of things is sharpened and the possibilities of things are enlarged. We cease to be surprised or distressed at finding existence unstable and transitory. Why should it have been otherwise? Not only must our own lives be insecure, as earthly seasons change, but perhaps all existence is in flux, even down to its first principles. Dum vivimus, vivamus. Everything, so long as it recognizably endures, is free to deploy its accidental nature, and we may lead the life of reason with a good grace, harmonizing as well as possible our various impulses and opportunities, and exploring the realm of essence as our genius may prompt” (Santayana, “A General Confession... (shrink)

How does literature illuminate the way we live? Maurice Natanson, a prominent champion of phenomenology, draws upon this method's unique power to show how fiction can highlight aspects of experience that are normally left unexamined. By exploring the structure of the everyday world, Natanson reveals the "uncanny" that lies at the core of the ordinary. Phenomenology--which involves the questioning of that which we usually take for granted--is for Natanson the essence of philosophy. Drawing upon his philosophical predecessors Edmund Husserl, (...) Alfred Schutz, and Jean-Paul Sartre, Natanson paves his own way with stories and examples that themselves bear witness to how phenomenology occurs in literature. In considering such works as Samuel Beckett's Waiting for Godot, Thomas Mann's The Magic Mountain, and Franz Kafka's The Metamorphosis, Natanson shows how literature opens us to the domain of possibility and how metaphor offers philosophical power when we think about freedom and change. This book, written by one of the twentieth century's leading phenomenologists, will interest students in philosophy and in literature. They will value the work particularly for its clarification of concepts and terms that frequently emerge in the contemporary intellectual climate. (shrink)

Volume 23, Issue 2, June 2019, Page 120-123.

This study deals with the functions of the feuilleton, which is in the newspaper but has an important role in the development of literature. The 19th century is a period in which Westernization movements began to enter political and social life. Political developments such as the Tanzimat Edict, the Reform Edict and the acceptance of the Constitutional Monarchy had significant effects on cultural life over time. Newspaper is the most important mass communication tool of that period that accelerates this (...) effect. Journalism has an important role in the introduction and development of Western genres such as novel, Western-style story, theater into Turkish literature. The newspaper, which plays an important role in the change of Turkish literature wih new genres, has cultural effects on large masses of people. The feuilleton, which emerged with the publication of long literary texts in certain series, continued its influence in Turkish journalism for a very long time. Feuilleton paved the way for more people to meet literature by making it possible for long literary texts to appear in the newspaper. Many young writers in Turkish literature became famous for their articles in newspapers. These articles found their place in the newspapers, generally with 'feuilleton'. Feuilleton is a cultural and literary activity in terms of journalism; in case in terms of literature, copyright and translation, especially popular literature, have enabled many works to meet with the reader. Thus, by ensuring the interaction between the reader and the work, he developed rapidly in the literary gathering-place. At the same time, it prevented the authors' book printing costs. Therefore, the feuilleton built a mutually beneficial relationship between literature and journalism, and mediated the revival of intellectual life. (shrink)

Digital Pills are an innovative drug-device technology that permits to combine traditional medications with a monitoring system that automatically records data about medication adherence as well as patients’ physiological data. Although DP are a promising innovation in the field of digital medicine, their use has also raised a number of ethical concerns. These ethical concerns, however, have been expressed principally from a theoretical perspective, whereas an ethical analysis with a more empirically oriented approach is lacking. There is also a lack (...) of clarity about the empirical evidence available concerning the application of this innovative digital medicine. To map the studies where DP have been tested on patients and discuss the ethically relevant issues evident therein, we performed a scoping review of the empirical literature concerning DP. Our search allowed us to identify 18 papers reporting on studies where DP were tested on patients. These included studies with different designs and involving patients with a variety of conditions. In the empirical literature, a number of issues with ethical relevance were evident. At the patient level, the ethical issues include users’ interaction with DP, personal sphere, health-related risks and patients’ benefits. At the provider level, ethically relevant issues touch upon the doctor-patient relationship and the question of data access. At the societal level, they concern the benefits to society, the quality of evidence and the dichotomy device-medicine. We conclude that evidence concerning DP is not robust and that more research should be performed and study results made available to evaluate this digital medicine. Moreover, our analysis of the ethically relevant aspects within empirical literature underscores that there are concrete and specific open questions that should be tackled in the ethical discussion about this new technological solution. (shrink)

Publication date: 15 October 2018 Source: Author: Ehiosun O. Marvel NHIS was launched officially on 6th of June 2005. The Scheme is designed to provide comprehensive health care at affordable costs, covering employees of the formal sector, self-employed, as well as rural communities, the poor and the vulnerable groups. However, client satisfaction of services rendered continues to be a major concern for the improvement of NHIS. This study is designed to determine the level and causes of dissatisfaction of clients accessing (...) NHIS clinic at the Kubwa General Hospital, Kubwa, FCT, Abuja. This study employed a descriptive cross sectional survey. 279 NHIS enrollees were recruited for this study at the Kubwa General Hospital. Questionnaires were administered and the level of dissatisfaction and satisfaction of NHIS services were analyzed. The satisfaction rate was 69.2% while the dissatisfaction rate was 22.9%. The respondents were satisfied with the attitude of health workers in NHIS clinic, Kubwa. However, they were dissatisfied with waiting time, attitude of record officers and those in pharmacy department. This study found that the level of dissatisfaction with NHIS services is high despite a high satisfaction level. The Attitude of health workers may influence the dissatisfaction of enrollees. NHIS is still limited to the formal sector. (shrink)

The twelve essays by Kendall Walton in this volume address a broad range of issues concerning the arts. Walton introduces an innovative account of aesthetic value, and explores relations between aesthetic value and values of other kinds. His classic 'Categories of Art' is included, as is 'Transparent Pictures', his controversial account of what is special about photographs. A new essay investigates the fact that still pictures are still, although some of them depict motion. New postscripts have been added to several (...) of the reprinted essays. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wonder, Imagination, and the Matter of Theatre in The TempestMary MooreAriel occurs. Recounting his performance of "the tempest" in Act I, scene 1 of The Tempest, he presents himself as being and action, fracturing grammar, spatial and temporal logic in ways that amaze and confound:I boarded the King's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement. Sometime I'd divide, And (...) burn in many places; on the topmast, The yards, and bowsprit would I flame distinctly, Then meet and join...(1.2.195–201) 1"I flamed" means that Ariel emits or is flames, which in the normal order of things would consume him. His very narration, however, proves his survival, evoking wonder through the utterance itself. Forceful and compacted syntax, a recognized source of wonder in Classical and Renaissance accounts of style (Biester, pp. 14; 35–40), magnifies this effect. 2 Shakespeare's transitive use of the usually intransitive verb flame reflects a not uncommon practice, as E. A. Abbott shows; 3 but this syntactic device also reflects The Tempest's own logic. Ariel crosses boundaries between [End Page 496] deed and being, verb and noun, subject and object, matter and spirit: he both is and does flames. What could be more jarring to syntax and semantics than a singular subject whose utterance claims that he can flame, divide, meet and join? Just as "a" fire consists of many flames yet functions grammatically as a singular substance in English, just as the Christian Trinity is both singular and multiple, Ariel burns in many places at once. Meanwhile, this extraordinary language seems belied by the actor's very embodiment. Ariel cannot have done what he claims; yet the prior scene has represented the very storm in which Ariel flamed. In that sense, the actor's embodiment represents what we imagine to be matter's intractability, while Ariel's claims, coupled with the storm we have just witnessed, reveal matter's fluidity and permeability to imagination. Fluidity and intractability co-exist, another source of wonder. Sound mimics these paradoxes: the assonance and consonance in flame and amazement create a near rhyme that echoes the near identity of fire and human amazement. If, as Gurr and Ichikawa observe, a Renaissance audience expected to hear more than see a play, this echo calls attention to Ariel's marvelous powers. 4 Lest the noises and pleasures of the Renaissance theatre, which recent scholarship deems to be considerable, distract audience members from this bit of language, similar moments reinforce Ariel's play in and with language and matter throughout the play. Marvelous poetic language is of a piece with a "fever" that is of "the mind," with music that "creeps," actors who vanish, new found goddesses who speak the discoverers' own language.Amazement provides our cue: it and its cognates name the appropriate response to Ariel, his language, and to The Tempest itself. Attention to Ariel's poetic language reveals that it, like the plot, conforms to the marvels of the play and to the period's well documented love for marvels in several ways. Wonder, an aesthetic "'object of desire'" in itself, and a response to the inexplicable in classical and early modern views, may be evoked by the unexpected in style (and through other strategies that the era's handbooks taught). 5 The clause "I flamed amazement" epitomizes the unexpected in syntax as well as differing from one of the few sources found for The Tempest, William Strachey's 1610 letter, which describes just such a storm. 6 While St. Elmo's fire itself may elicit wonder, Shakespeare's syntax and diction reinforce that marvel. And no wonder: rhetoric and theatre alike depend upon audience attention, and wonders naturally evoke it. Jarring language also harmonizes with The Tempest's structural marvels—loose ends, disrupted actions, unforeseen futures—issues several critics explore. 7 [End Page 497]The wonders of The Tempest, however, also involve imagination—in early modern psychology, the human faculty that permits perception of the world and invention of images. 8 Wonder responds to how the perceived differs from the expected, how the imagined supplants the usual, how an... (shrink)

Poetry of life in literature and through literature, and the vast territory in between - as vast as human life itself - where they interact and influence each other, is the nerve of human existence. Whether we are aware of it or not, we are profoundly dissatisfied with the stark reality of life's swift progress onward, and the enigmatic and irretrievable meaning of the past. And so we dramatise our existence, probing deeply for a lyrical and heartfelt yet (...) universally valid sense of our experience. It is in great works of literature that we seek those hidden springs that so move us. It is in honour of this search that this collection focuses on the creative imagination at work in literature and aesthetics. (shrink)

In the history of Islamic thought, it is prominent to examine the sects according to certain facts. In this research, it is aimed to read the development of the sect through aqāid works by taking the aqāid texts into the center. By centering Ash'ariyyah, we determine the aqāid literature of this sect in general terms and center two Ash‛ari aqāid works. These two aqāid texts that we have examined are the works identified with the Seljuk and Ottoman madrasahs. Al-Juwaynī’s (...) al-Aqīda an-Nizamiyyāh and al-Ījī’s al-Aqāid al-adudiyya hare extremely valuable identity texts in terms of Ash‛arī aqāid tradition. As a product of the Seljuk world of thought, al-Juwaynī’s work deals with aqāid issues with much broader titles and explanations. Al-Juwaynī lists his criticisms by targeting Mu‛tazila on most issues. Al-Ījī’s al-Aqāid al-adudiyya is one of the basic books of Ottoman madrasahs. In al-Ījī’s work, on the other hand, plain narration and a concise aqāid presentation attract attention. When we look at the work, it draws attention that the audience has changed and the opposition to the Mu‛tazilite is not too dominant. In addition, while a political interpretation over the imamate/caliphate issue is included in the creed in al-Ījī’s text, virtuousness, which is the perception of the Sunni companions, is also emphasized. The aqāid works of al-Juwaynī and al-Ījī bear the traces of the historical development of Ash‛arism, depending on their addressees, the period in which they were written, and many other reasons. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Negative Capability Reclaimed: Literature and Philosophy Contra PoliticsIhab HassanI began a few years ago to try to make space in my reckoning and imagining for the marvellous as well as the murderous.Seamus HeaneyTwo concerns cross in this essay: the first, explicit, regards the current condition of the academic humanities, their idioms and axioms, especially in America; the second, implicit, regards my own need to confront criticism, its abstractions (...) that now enable, now disable, the profession and even more the experience of literature. Such concerns must mix speculation and autobiography, mix the pride with the pathos of mind.But I should admit it from the start: my title cries paradox. Negative capability reclaimed? Can reclamation dwell in “uncertainties, mysteries, doubts, without any irritable reaching after fact and reason,” as Keats thought, and can a critic aspire to the condition of a poet, in whom the “sense of Beauty overcomes every other consideration, or rather obliterates consideration”? 1Mine, I repeat, is a hybrid critical discourse, touched by exasperation more than mystery. Yet negative capability can still serve us as emblem of certain qualities, attitudes, dispositions that we bring to literature, without turning that happy phrase into yet another slogan. Beyond the arrogance of transient ideologies, beyond the mawkishness of self-regard, negative capability may offer us a kind of patience, perhaps ascesis, the intellectual and, yes, spiritual equivalent of discipline in our moment. [End Page 305]IStated baldly, my proposition, which I will need continually to texture and qualify, is this: the prevalence of politics, the obsession with power, the unrelieved pressure of both in the university, skew our language, thought, values. Thus the ancient quarrel between poetry and philosophy, between Homer and Plato, now cedes the field to a nastier agon between both and politics as GRIM (my acronym for the Great Rumbling Ideological Machine) grinds on. These are no abstractions; the clamorous evidence is all about, indicative even in its triviality, banality.Take a book blurb. Kathy Acker endorses a new, and quite intelligent work, entitled Male Matters, thus: “Calvin Thomas is able to hint at a way out of the prisonhouse of straight male identity.” Granted, this is but an ad in a university press catalogue. But what does the language reveal about the assumptions of academic discourse? “Prisonhouse,” really, for all unfortunate, straight males? Is a generalization of this kind permissible when blander generalizations about other groups raise such a hue and cry? Will straight African-American or Native American males feel “offended” by the statement? Or is it all a matter of restitution, categorical loyalty, political commitment? And when will that supreme fiction, the white, straight, bourgeois, rational male “subject” cease to prop up every ideological complaint?Thought blends into hype; words writhe; stereotypes become as transparent as the stereotypes they once repugned. But let us consider an example worthier of criticism. In his Inaugural Lecture as Robert Wallace Professor at the University of Melbourne, entitled “The Departure of English?” (the question mark risks disingenuousness), Professor Simon During inelegantly states: “The academic appropriation of the avant-garde transfiguration of values is happening as what I am calling the departure of English—in the relative decline of literary studies and cultural studies’ emergence.” 2 Professor During thus assumes, on behalf of cultural studies, the mantles of Friedrich Nietzsche, Arthur Rimbaud, Alfred Jarry, Hugo Ball—where is Antonin Artaud?—and Walter Benjamin, though none really had a mantle to bequeath. For a moment, the mind reels: Nietzscheans and poètes maudits, Pataphysicians and Dadaists, as apostles of cultural studies, of political correctness, group think, and GRIM? Involuntarily, the lines of William Butler Yeats, in “The Scholars,” sing out: “Lord, what would they say / Did their Catullus walk that way?” [End Page 306]We are all free, of course, to reinvent our ancestors and to derive later authority from what an earlier generation derided—free, this side of ludicrousness. But Professor During’s argument, a sort of academic conceit, discourages mere ridicule; it has pedagogical consequences. Thus he continues: “I am certainly not claiming a causal relation between modernism circa 1900 and academic cultural studies today. Rather I want to argue that cultural studies... (shrink)

Thoroughly revised and expanded, this guide to the reference literature is the only up-to-date guide in the field and is by far the most extensively annotated. It covers all areas of Western and Eastern philosophy, emphasizing recent English-language publications but including some older and foreign-language sources. More than 450 reference works, about a third of them new to this edition, are listed, described, and often evaluated. Special chapters cover core periodicals and major organizations and research centers. Designed as an (...) aid in reference work and collection development for librarians, this book will also be of interest to theologians, professional philosophers, philosophy instructors, and philosophy students. (shrink)

Untangle the complex web of philosophical dilemmas of Spidey and his world—in time for the release of The Amazing Spider-Man movie Since Stan Lee and Marvel introduced Spider-Man in Amazing Fantasy #15 in 1962, everyone’s favorite webslinger has had a long career in comics, graphic novels, cartoons, movies, and even on Broadway. In this book some of history’s most powerful philosophers help us explore the enduring questions and issues surrounding this beloved superhero: Is Peter Parker to blame for the death (...) of his uncle? Does great power really bring great responsibility? Can Spidey champion justice and be with Mary Jane at the same time? Finding your way through this web of inquiry, you’ll discover answers to these and many other thought-provoking questions. Gives you a fresh perspective and insights on Peter Parker and Spider-Man’s story lines and ideas Examines important philosophical issues and questions, such as: What is it to live a good life? Do our particular talents come with obligations? What role should friendship play in life? Is there any meaning to life? Views Spider-Man through the lens of some of history’s most influential thinkers, from Aristotle, Thomas Aquinas, and Immanuel Kant to Nietszche, William James, Ayn Rand, and Alasdair MacIntyre. (shrink)

The writings of the Church Fathers form a distinct body of literature that shaped the early church and built upon the doctrinal foundations of Christianity established within the New Testament. Christian literature in the period c.100–c.400 constitutes one of the most influential textual oeuvres of any religion. Written mainly in Greek, Latin and Syriac, Patristic literature emanated from all parts of the early Christian world and helped to extend its boundaries. The History offers a systematic account of (...) that literature and its setting. The works of individual writers in shaping the various genres of Christian literature is considered, alongside three general essays, covering distinct periods in the development of Christian literature, which survey the social, cultural and doctrinal context within which Christian literature arose and was used by Christians. This is a landmark reference book for scholars and students alike. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 361-363 [Access article in PDF] Book Review Henry David Thoreau and the Moral Agency of Knowing Henry David Thoreau and the Moral Agency of Knowing, by Alfred I. Tauber; xi & 317 pp. Berkeley: University of California Press, 2001, $40.00. Among the marvelous qualities of Thoreau's writing is its vivid concreteness and immediacy. As befits one who spent his life seeing for himself, (...) Thoreau shares a vision of a cosmos whose significance is there to be discovered in the things themselves, if only one cultivates the desire, faith, and discipline required for seeing to the bottom of things. An ironic and happy consequence of Thoreau caring more for the company of nature than for that of his fellow man is that it ultimately made him a finer, more engaging writer with a large audience. Whereas Thoreau might have lost himself and his subject-matter (not to mention the better part of his audience) amidst the twists and turns of Kant's or Fichte's conceptual plumbing, he came to his senses instead--and avoided their abstractions and the intellectual fuss they generate. Imagine how tedious and stale his reflections on the supposed bottomlessness of Walden pond would be if he had framed them explicitly in the terms of intellectual debates revolving around skepticism and realism, phenomena and noumena, and their like. It belongs to Thoreau's enduring genius and charm that he avoided such trappings. One can rely on him for a philosophically inflected appreciation of the realms of nature and spirit, while Plato, Aristotle, Hegel, and Nietzsche are more reliable for philosophically incisive articulations of the first principles governing these realms.Inevitably, scholarly books like Alfred Tauber's Henry David Thoreau and the Moral Agency of Knowing will not have the same fresh, original spirit as do their subjects. But though a scholar addresses someone's views rather than the things themselves, one nonetheless chooses whether to develop one's subject's views primarily in light of (what the scholar understands to be) the things themselves, or whether to focus on how the subject's views relate to the views of others. By claiming his book is philosophical, Tauber in effect claims that it is of the former sort, but in fact it is of the latter sort. As such, readers interested in Thoreau's Zeitgeist and contemporary influences, in past and recent assessments of his thought, as well as in some discussion of its place in contemporary intellectual currents will find Tauber's book timely and valuable. For example, prior to articulating his own view of Thoreau's relation to the science of his day, Tauber gives the reader a primer on the history of positivism. Similarly, in the course of assessing how Thoreau viewed the relation of self and nature, Tauber leads the reader through summary appraisals of (and here I give only a sampling) some relevant swatches of Kant, Fichte, and Barthes's thought. And this is not the half of it. Tauber also weaves into his argument reflections on Augustine's discussion of time in the Confessions, themes from Polanyi's Personal Knowledge and James's Principles of Psychology, as well as Goethe's interpretation of what should constitute scientific activity. So Tauber's [End Page 361] book addresses itself to Romanticism, Transcendentalism, positivism, environmentalism, postmodernism, mysticism, idealism, solipsism, and the like. Though eclectic in their material, his discussions are grounded in copious references to and an interpretation of Thoreau's own words. (One pleasure of the book for this reviewer was the opportunity to become acquainted with more of Thoreau's journal entries.) Yet the variety of the book's sources and themes contribute to some repetition as well as diffuseness in the main arguments.Tauber sees his book as "structuring [Thoreau's] project on a philosophical edifice" and thereby making possible "critical insights into certain quandaries that reach into the very mainstream of contemporary science studies" (p. ix). He argues that his approach is novel (Tauber's own background is the history and philosophy of science) because most... (shrink)