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)

Catherine Malabou's concept of plasticity has influenced and inspired scholars from across disciplines. The contributors to _Plastic Materialities_—whose fields include political philosophy, critical legal studies, social theory, literature, and philosophy—use Malabou's innovative combination of post-structuralism and neuroscience to evaluate the political implications of her work. They address, among other things, subjectivity, science, war, the malleability of sexuality, neoliberalism and economic theory, indigenous and racial politics, and the relationship between the human and non-human. _Plastic Materialities_ also includes three essays by (...) Malabou and an interview with her, all of which bring her work into conversation with issues of sovereignty, justice, and social order for the first time. Contributors. Brenna Bhandar, Silvana Carotenuto, Jonathan Goldberg-Hiller, Jairus Victor Grove, Catherine Kellogg, Catherine Malabou, Renisa Mawani, Fred Moten, Alain Pottage, Michael J. Shapiro, Alberto Toscano. (shrink)

What does Emerson want for himself and for us, or, put another way, what does he do in his writings as a whole? Can we understand Emerson's writings today? One critic, F. O. Matthiessen, in his American Renaissance: Art and Expression in the Age of Emerson and Whitman, pithily remarks that some of Emerson's philosophical essays are "generally unreadable";1 Len Gougeon, however, argues that we can know something about Emerson. Gougeon suggests that Emerson emphasizes the individual and the American political (...) sphere, noting Emerson's increased focus on the political climate as America approached civil war.2 Crucial to his argument is the transformation of Emerson the man into one of the most... (shrink)

Part of the greatness of great literature consists in the profound, philosophic ideas the works contain. These ideas may not be unknown to philosophy but, when rendered in literary form, they gain an aesthetic force often lacking in the philosophic treatise with its careful train of reasoning.In this insightful study, Burton Porter explores the philosophic content of some outstanding literary works, analyzing and evaluating the ideas that drive the narrative.Porter first examines the concept of free will and determinism in (...) Melville's Moby Dick, placing the quest for the white whale within the context of foreordination, hubris, prophecy, and defiance of divine power. Connections are also drawn to Euripides' Medea and Shakespeare's King Lear as well as the Old Testament.The good and the right are traced in Anouilh's Antigone and Tolstoy's Anna Karenina, showing the philosophic antagonisms in the literature and in the conflicted minds of the authors.Voltaire' Candide and Dostoevsky's The Brothers Karamazov are then explored insofar as they express the problem of evil--the tension between human suffering on earth and belief in a benevolent, wise, almighty God.Finally, the nature of the self is investigated in Rilke's The Notebooks of Malte Laurids Brigge and Kafka's The Metamorphosis, focusing on identity and the mind-body problem.Porter makes philosophy come alive by showing its expression in art and revealing the depth of ideas that make literature compelling.Burton Porter (Springfield, MA) is currently professor of philosophy at Western New England College and a visiting professor of philosophy at Mt. Holyoke College. He is the author or editor of numerous books including Philosophy Through Fiction and Film, The Voice of Reason, and Reasons For Living. (shrink)

Are the ideas of democracy and isonomy an absolute achievement of civilization, or just a tuning moment in a complex system of metamorphosis? Is this something universal or an aesthetic approach? Could our concept of art, in its deepest sense, be responsible for democracy? Or, could our concept of democracy exist because of art? This paper is a reflection on these questions. Normally, a scientific text should give answers but would this principle be universal? Inside our planetary metamorphosis (...) all values are changing as always but now at high speed. High speed gives us both the sensation of confusion, which was typical in other historical moments, as when Carmina Burana was elaborated in the Middle Ages, and the possibility to take a step back and have, in the eye of the cyclone, dynamic elements showing us change in process. In this paper, democracy and isonomy are taken as the content of a path towards civilization, in a new environment. (shrink)

In this paper I explore two distinct but related emphases in Deleuze's later philosophy, both on his own and in collaboration with Félix Guattari, having to do with literature. The first is the emphasis on the work of literature as an assemblage whereby the author constructs lines of flight in the pursuit of self-experimentation and self-transformation. The second is the rejection of metaphor across Deleuze's work. I use Difference and Repetition to chart the origins of these emphases, by (...) unpacking the metaphysics of language contained in Difference and Repetition. I first recount the basic structure of Deleuze's intensive ontology, before going on to discuss the way in which the ‘fundamental encounter’ forces thought to formulate Ideas, which, as they are transmitted through the subject, alter her nature. This self-transformation is tantamount to a kind of ‘death’, whereby one is continually explicated, but this explication implies the transcendental Other-structure at the end of Difference and Repetition, wherein the Other, through language, gives birth to ‘possible worlds’. I end with the development of an unexplored concept in Difference and Repetition, the loquendum, which is what must be spoken precisely because it is inexpressible, the purely intensive. Language comes closest to this intensive use in its aesthetic, poetic, literary modes whereby authors distort their own languages. (shrink)

HIV stigma, a social-medical problem, continues to confound researchers and health professionals, while undermining outcomes. Empathy may reduce stigma; its absence may predict stigma. This research investigates: How does Kafka’s _Metamorphosis_ advance understandings of HIV stigma in medical health education? _Metamorphosis_ amplifies the sociological-relational mechanisms fostering HIV stigma. It offers a multi-disciplinary, responsive space for ethical, humanistic and clinical inquiry to meet: enabling students to consider how social structures shape health inequities, moral, social experience, and their professional identity within. _Metamorphosis_ (...) may ultimately promote medical health humanities’ social mission—allowing literature to unfold such revelations towards greater equity in health. (shrink)

Humans often seek to improve themselves, whether through self-discipline or through the use of science and technology. At some point in the future, techniques might become available that will change humans to such a degree that they might have to be regarded as something other than human: posthuman. This essay tries to define the point at which such a human-to-posthuman metamorphosis may occur. This is achieved by discerning what is it that makes human substance distinct, i.e. what is the (...) human essence. This is accomplished by examining the features of the human body, looking at the mode of human existence in society and trying to grasp the importance of the body–soul relationship. Throughout the process, humans are compared to animals as well as entities from literature, film, and the gaming world. These are used as case studies to shape and test the ideas developed throughout the essay. This essay's conclusions might become useful when decisions will have to be made as to the legal status of posthumans,... (shrink)

How does art – literature, visual art, or music – endure over time? What special power does it possess that enables it to “transcend” time – to overcome temporal distance and speak to us not just as evidence of times gone by, but as a living presence? The Renaissance, which discovered this transcendent power of art in the classical sculpture and literature it admired so strongly, concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – (...) a belief that left a profound impression on Renaissance culture and often found expression in its poetry. Subsequently the same belief exerted a powerful influence on Enlightenment aesthetics and, in various forms, it still lingers on today. The nineteenth century, however, saw a major challenge to this thinking. Hegel, Marx and Taine stressed the historical embeddedness of art and for these three thinkers, as for a series of more recent theorists such as Sartre, Benjamin, and Adorno, art belongs within the world of historical change. To locate its essential qualities in a “timeless” realm removed from the flow of history would be an idealist illusion. The conflict between these two positions has resulted in an impasse, and today we appear to lack any viable account of one of art’s key features – its capacity to transcend time. André Malraux proposes an entirely new account of this unique power of art. For Malraux, as this article explains, art is neither exempt from history (timeless) nor wholly inseparable from it. Art overcomes temporal distance – transcends time – through metamorphosis, a process of continual transformation in significance in which history plays an essential, but not exclusive, part. “La métamorphose,” Malraux writes, “est la vie même de l’œuvre d’art dans le temps, l’un de ses caractères spécifiques.” This proposition, to which contemporary aesthetics has so far paid very little attention, is a revolutionary step in our thinking about art. -/- . (shrink)

This dissertation focuses on the problem of novelty as seen from the perspective of two French philosophers: Paul Ricoeur and Gilles Deleuze. As such, a new interpretation of the works of these two philosophers is developed. I argue that two models can be derived from their works: a model that strives to make tensions productive (based on Ricoeur) and a model that aims to organize encounters between bodies (taken from Deleuze). These models are developed on their own terms without superimposing (...) one over the other. Hence, the first part of the dissertation focuses on Ricoeur, the second on Deleuze. Through an extensive reading of Ricoeur’s La métaphore vive, it is shown that the living metaphor creates a productive tension in which two previously distinct domains are drawn together. This results in a semantic innovation that first appears as an image and only later can be conceptualized. This argument is further developed by analyzing Augustine’s notion ‘time is a distention of the mind (distentio animi)’ as an example of how a living metaphor introduces a new language that re-describes reality. This example prepares the way for broadening the model of productive tensions by showing how, from Ricoeur’s perspective, the innovative potential of actions can be understood in terms of a productive tension between two orders of imagination. In contrast to Ricoeur, Deleuze’s conception of novelty is not analyzed in terms of a productive tension between two heterogeneous domains, but in terms of an encounter between bodies in which a creative coupling or an affective relation emerges that links these bodies together in a common trajectory. On the basis of a reading of Deleuze’s essays on literature, it is shown how such an encounter can give rise to a single process of metamorphosis. This process can be divided in two closely connected moments: a mutual metamorphosis that sets the whole process in motion and a continuous metamorphosis of proliferating series that keeps it alive. This first, intuitive understanding of the model is deepened by linking it to a metamorphic ontology of expression that is derived from Deleuze’s works on Spinoza. This provides the model with a more rigorous vocabulary and also shows in how these encounters can be organized in such a way that they create the conditions for novelty in three forms of thinking: science, art, and philosophy. (shrink)

Talk of educational reform and of the importance of ‘the management of change’ in education and elsewhere is still in vogue. However it often seems concerned to persuade us that if we engage fully with change rather than resisting it we will find our lives more meaningful, thus omitting the important matter of the goal of the change in question. Change here is in any case invariably a euphemism for the impoverishment of education and the annihilation of its ideals, together (...) with the deprofessionalisation of teachers and other educators. Recent writers about educational change tend to be less concerned with an ever-changing, labile world than with how to make the transition—and make others make the transition—from one stable condition of things to another. Different ways of thinking about change, drawing on different literature, might help us see beyond the ways in which we are currently being asked to respond to educational change and reform. (shrink)

This paper aims to investigate the importance of literature in Maurice Merleau-Ponty’s reflections concerning two strictly connected phenomenological themes: 1) the virtuality of objects and of existence itself; 2) the genesis of truth and the intuition of essences. According to Merleau-Ponty, modern novelists have adopted a phenomenological method: instead of ‘explaining’ the world through words, they ‘show’ the lifeworld and its paradoxes indirectly. In his view, and against Jean-Paul Sartre’s position, analyzing literature means developing a theory integrating perception (...) and the imagination. Moreover, at the beginning of the 1950’s, this perspective led Merleau-Ponty to a deep revision of the Sartrian concepts of spontaneity and engagement in literary practice in favour of a theory of expression as style. As a conclusion, the paper argues for the key-role of literature in Merleau-Ponty’s indirect ontology as a way of rediscovering unity and harmony behind the metamorphosis of reality. (shrink)

Abstract:Describing the metamorphosis of a beloved wife into a vixen, David Garnett's novella Lady into Fox does not depict a possible world that is remote from our actual one. This metamorphosis is a metaphor, a speech act embedded in a literary description of actual reality, in which marriage, dissociated from natural, free untrammeled love, turns into a hunt—terminating in the horrible death of the wife as a hunted vixen. The unity of the literary realism and fantasy, as a (...) metaphor, is what makes Lady into Fox such a moving novella. (shrink)

Philosophy and literature are natural allies--philosophy supplying perennial themes raised anew from one generation to the next, literature providing vivid illustrations of the meaning and poignancy of abstract thought. Illuminates basic philosophical concepts through literary worksThis unique text introduces students to philosophy through the medium of great literature. The book is divided into seven parts, each devoted to the illumination of a basic philosophical concept-such as Knowledge, Truth, Personal Identity, Ethics, and justice through the use of literary (...) selections from Sophocles (Oedipus the King), James Joyce (Araby), Kafka (The Metamorphosis), and John Dos Passos (The House of Morgan), among many others. The editors have given special attention to choosing the right combination of literary piece and philosophical issue to ensure that the story or play lend itself to philosophical scrutiny. Selections of the best philosophical writingsThe questions raised by these selections are then explored further through some of the best philosophical writings available, including the writings of Aristotle, William James, Plato, Locke, John Stuart. Mill, and many other classic philosophers, as well as contemporary pieces from Richard Rorty, Peter Unger, John Rawls, John Hick, and others. In each chapter, the editors have attempted to include the clearest presentation of a particular point of view, sometimes going back to an earlier article not generally found in other current texts. Throughout, they have made an effort to balance the analytic tradition with hermeneutics and feminist philosophy. Excellent introduction for studentsEvery chapter is introduced with an essay by the editors that provides a unifying thread through the various philosophical and literary pieces that follow. Each chapter ends with discussion questions and suggestions for further study. The result is a volume that will provide students with a valuable tool for illuminating timeless, as well as contemporary issues, and an introduction to philosophy that they will remember and to which they can return over and over again. (shrink)

This article illuminates Nietzsche’s and Kafka’s spiritual kinship and its manifestation in Kafka’s story The Metamorphosis. Nietzsche’s role as a practitioner of “disruptive wisdom” serves as the point of departure for the examination of Gregor Samsa’s untimely and abrupt transformation into a giant vermin. The article explores Gregor’s development in light of Zarathustra’s parable of the three metamorphoses of the spirit, and it examines the relevance of the myth of the Way in the protagonist’s search for meaning. Central to (...) this discussion are Kafka’s and Nietzsche’s fascination with animal similes and Kafka’s modification of the Nietzschean metaphor of man as a rope. (shrink)

In this article, the potential for Artificial Intelligence (AI) to be appraised as an object of beauty is critically examined through the lens of philosophical thought. Tracing beauty’s evolution from Platonic ideals to contemporary interpretations, the analysis contends that AI’s emergence offers a unique illustration of beauty in the modern age. Confronting the challenge of assigning beauty to entities devoid of consciousness or emotional depth, the argument unfolds to suggest that the intricate design of AI’s algorithms and its technological advancements (...) constitute an emergent form of beauty, one inherently tied to human intellectual endeavor. The article proposes that with time, as with historical art forms, the aesthetic qualities of AI may gain broader acknowledgment, implying that technological advancements necessitate an ongoing revision of established beauty norms. The historical evolution of beauty has been traced in details, and an extended literature review has been provided, serving as the foundation for a comprehensive exploration into the potential for AI to be recognized as an object of beauty. The harmony, elegance, and problem-solving capabilities of AI algorithms have been meticulously evaluated, with a comparison made to classical elements of beauty in an effort to contextually situate AI within longstanding aesthetic traditions. Furthermore, the analysis has been extended to consider the emergence of artificial and digital beauty, alongside an investigation into the parallels drawn between divine and artificial intelligence. As part of a deeper inquiry, the possibility of human emotions, such as awe and love, being authentically directed towards AI has been scrutinized. In conclusion, a reflection has been presented on the transformative role of AI in reimagining the conceptual landscape of beauty, prompting readers to thoughtfully engage with an extended review and the philosophical and cultural implications emerging from AI’s evolving influence on the field of aesthetics. (shrink)

The concept of “magic realism” raises many problems, both theoretical and historical. I first encountered it in the context of American painting in the mid-1950s; at about the same time, Angle Flores published an influential article in which the term was applied to the work of Borges;1 but Alejo Carpentier’s conception of the real maravilloso at once seemed to offer a related or alternative conception, while his own work and that of Miguel Angel Asturias seemed to demand an enlargement of (...) its application.2 Finally, with the novels of Gabriel García Márquez in the 1960s, a whole new realm of magic realism opened up whose exact relations to preceding theory and novelistic practice remained undetermined. These conceptual problems emerge most clearly when one juxtaposes the notion of magic realism with competing or overlapping terms. In the beginning, for instance, it was not clear how it was to be distinguished from that vaster category generally simply called fantastic literature; at this point, what is presumably at issue is a certain type of narrative or representation to be distinguished from realism. Carpentier, however, explicitly staged his version as a more authentic Latin American realization of what in the more reified European context took the form of surrealism: his emphasis would seem to have been on a certain poetic transfiguration of the object world itself—not so much a fantastic narrative, then, as a metamorphosis in perception and in things perceived . In García Márquez, finally, these two tendencies seemed to achieve a new kind of synthesis—a transfigured object world in which fantastic events are also narrated. But at this point, the focus of the conception of magic realism would appear to have shifted to what must be called an anthropological perspective: magic realism now comes to be understood as a kind of narrative raw material derived essentially from peasant society, drawing in sophisticated ways on the world of village or even tribal myth. Recent debates, meanwhile, have complicated all this with yet a different kind of issue: namely, the problem of the political or mystificatory value, respectively, of such texts, many of which we owe to overtly left-wing revolutionary writers .3 In spite of these terminological complexities—which might be grounds for abandoning the concept altogether—it retains a strange seductiveness which I will try to explore further, adding to the confusion with reference points drawn from the work of Jacques Lacan and from Freud’s notion of the “uncanny,” and compounding it by an argument that magic realism is to be grasped as a possible alternative to the narrative logic of contemporary postmodernism.4 1. See Angel Flores, “Magical Realism in Spanish American Fiction,” Hispania 38 : 187-92.2. See Alejo Carpentier, “Prólogo” to his novel El Reino de este mundo ; the most useful survey of the debate remains Roberto Gonzalez Echeverria, “Carpentier y el realism magico,” in Otros Mundos, otros fuegos, ed. Donald Yates, Congreso International de Literature Iberoamericana 16 , pp. 221-31.3. See Angel Rama, La Novel en America Latina , and especially Carlos Blanco Aguinaga, De Mitólogos y novelistas , in particular the discussions of Gabriel García Márques and Alejo Carpentier.4. My own general frame of reference for “postmodernism” is outlined in my “Postmodernism; or, The Cultural Logic of Late Capitalism,” New Left Review 146 : 53-92. Frederic Jameson, William A. Lane Professor of Comparative Literature at Duke University, is the author of The Prison-House of Language and The Political Unconscious: Narrative as a Socially Symbolic Act. He is also a member of the editorial collective of Social Text. His previous contributions to Critical Inquiry are “The Symbolic Inference; or, Kenneth Burke and Ideological Analysis” and “Ideology and Symbolic Action”. (shrink)

‘We are before Dante’: In this interview, held via email in March 2020 amid the massive outbreak of the COVID-19 pandemic, Jean-Luc Nancy leads us on a brief but far-reaching foray through his thought. He succeeds in providing an overview of the subjects that he has raised since the beginning of his career as a philosopher, while maintaining a focus on their pertinence for what we are currently facing in the world today. He supplements his insight that ‘we are before (...) Dante’ with the equally remarkable conclusion: ‘Desire is what is born par excellence’. In between these two propositions, and in between the lines and words documented here – touching upon topics as diverse as the moai statues of Easter Island, the music of Schumann, Wagner, and techno, as well as the writing of Artaud, Proust, and Verlaine – we find an exciting, up-to-date treatment of the question of how to ‘deal with the world intellectually’ (Musil) without, in doing so, participating in the modern claim to ‘master’ it. Instead, Nancy suggests, we ought to be attentive to what escapes us by its very principle, with philosophy, literature, and art serving as witnesses of what has always been absent from our mind, that is, the sensibility of meaning, in order to become aware that, since we are always already before and after birth, ‘we come from nowhere and everywhere’. This realization enables us to understand the political consequences that it has for our understanding of a world in metamorphosis, including for highly controversial issues such as colonialism, anti-Semitism, the far right, neo-liberalism, and other totalitarian forms that supposedly manifest a return of the myth, as well as its consequences for the insurmountability of Marx(ism). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Delatores And The Tradition Of Violence In Roman OratorySteven H. RutledgeTwo very prominent scholars have asserted that oratory became more violent and aggressive during the early Principate, as delatores (professional accusers and informants) came to dominate the genre. 1 This assumption has a place in a number of studies on Roman history, culture, and literature which accept their premise. 2 However, such an assumption, before it is accepted, (...) needs to be set in the larger context of Roman oratory over the period from the Republic to the Empire. It is my object here to do just that, for I propose that the new style—one which is generally perceived as more violent—represents not so much a change as a continuity in Roman rhetorical practice, and that the perceived transformation is more a product of how our sources represent orators in the first century c.e. rather than oratory’s metamorphosis into something with a perceptibly more violent style. To that end my argument has two parts. First, we need to put professional accusers into their republican as well as imperial context. Professional accusers in [End Page 555] particular were by no means exclusive to the Empire, and even in Cicero’s time they were associated with a more violent style. 3 After we set them in their larger historical context, we may then set them in their rhetorical context: Roman rhetorical theorists expected prosecution, in which delatores specialized, to be more violent by its very nature—something generally overlooked by scholars. All of this is not to deny that rhetoric underwent a fundamental change between the Republic and Empire; that is indisputable. Rather, I suggest that given the nature of what delatores did, in and of itself, and given our sources, it is very difficult to conclude that the style of delatores was essentially more “savage and aggressive” than that of their predecessors under the Republic. It was the inherent nature of Roman oratory and the ever-competitive milieu of Roman politics—during both the Republic and the Empire—which worked in unison to create such continuity. It is the nature of our sources under the Empire, on the other hand, which has led scholars to a distorted impression of oratory in the first century c.e.Let us turn first to accusatio under the Republic. Accusation appears to have always been a morally dubious undertaking, and the revulsion felt by Tacitus and Pliny under the Empire at those who pursued it professionally was by no means unique to their age. Cicero, our main source for this activity during the late Republic, by all indica-tions felt accusation generally unethical and something to be avoided, for while he noted that it could indeed make a reputation, he also remarked that prosecution ought to be undertaken only in certain circumstances. 4 Pursuit of such activity, if it turned into a habit, could become [End Page 556] an embarrassment for the accuser’s family, as Cicero indicates it was for M. Brutus’: Isdem temporibus M. Brutus, in quo magnum fuit, Brute, dedecus generi vestro, qui, cum tanto nomine esset patremque optimum virum habuisset et iuris peritissimum, accusationem factitaverit (Brut. 130). But even if it was not the habit of an individual to accuse, it was necessary to justify at length the acceptance of a case for the prosecution, as Cicero illustrates in his apology, in Divinatio in Caecilium (passim), for taking up the accusation against Verres. That prosecution was an ethically questionable activity is by no means in doubt; we see an inherent bias against prosecution in Rome in Cicero’s day, one which was carried over into the Empire and which left its mark on our sources. 5This did not prevent orators, however, from habitually undertaking prosecutions. One of the initial indications that orators had started to specialize in accusation is found in Cicero’s Pro S. Roscio Amerino (89–90), where he notes that the dominatio of Cinna and Sulla served as impetus for such activity: 6Verum ego forsitan propter multitudinem patronorum in grege adnumerer, te pugna Cannensis accusatorem sat bonum fecit. Multos caesos non ad Trasumenum lacum, sed ad Servilium vidimus. Quis ibi non... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ovid’s Causes: Cosmogony and Aetiology in the MetamorphosesMargaret Worsham MusgroveK. Sara Myers. Ovid’s Causes: Cosmogony and Aetiology in the Metamorphoses. Ann Arbor: University of Michigan Press, 1994. xvi + 206 pp. Cloth, $32.50.This book takes seriously Ovid’s claim in the proem of the Metamorphoses that his work will encompass the entire universe. Ovid’s primaque ab origine mundi (1.3) must be read as a statement of thematic, not merely (...) chronological scope. “The origin of the world” will continue as a central concern throughout the poem. Myers reads the cosmogony of Book 1 as a continuation of the programmatic statement of the proem: Ovid is allying himself with the tradition of natural-philosophical poetry, as originated by Hesiod and adapted to Hellenistic standards by Apollonius and Vergil. The theme of cosmogony does not merely “frame” the poem, and does not surface only in the explicit creation stories of Book 1 and the didactic discourse of Pythagoras in 15, but instead pervades the entire work. Aetiological stories, as explanations of where individual phenomena come from, continue the scientific theme displayed in the opening cosmogony. The whole Metamorphoses can thus be read as an exploration of the type of poetry which investigates origins of everything, from the universe to natural features to cultural institutions. We should credit Myers with elucidating this cosmogony-aetiology link, which breaks us free of narrow, literal categories, and allows us to see the similar poetic aims of these two literary devices. Her introductory chapter, exploring “The Generic Question” of the Metamorphoses and of post-Callimachean literature in general, points out how recent Latin scholarship has already begun to blur some of those long-unquestioned black-and-white distinctions between genres.At the same time, Myers acknowledges the clash between science (or natural philosophy) and myth. Ovid uses “scientific” language, often in the form of Lucretian allusions, to recount fantastic mythological tales of creatures whose very existence would be questioned by the philosophers. Chapter 1 examines metamorphosis stories which involve natural phenomena, such as the cosmos itself, various animals, etc. Metamorphosis is seen and narrated as a kind of scientific process; hence Ovid’s detailed descriptions of the moment of transformation. [End Page 338] But by calling attention to the incongruity of his subject and his language, Ovid questions the authority of cosmogony to validate myth and of myth to convey the truth.The remainder of Myers’ book focuses on the way in which Ovid unmasks the devices used in aetiological poetry’s claim to a voice of authority. Chapter 2 examines the Alexandrian affiliations of aetiological stories explaining the origins of cultural or religious institutions. This chapter follows something of the approach of P. Knox in the studious attempt to look at the elegiac, unepic features of Ovid’s narrative. Myers investigates the language used to mark a story as an aetion: words such as causa, origo, novus, and unde. Partially through comparison with Ovid’s technique in Fasti (a consistently aetiological, didactic poem) and through examination of the fragments of Callimachus, she also points out certain narrative techniques as characteristic of aetiology. The embedded narrative, related by a supposedly authoritative informant, is revealed as part of the modus operandi of didactic and aetiological poetry.This chapter is perhaps Myers’ most valuable contribution, because it gives us a rationale for some of the seemingly odd features of Ovid’s narrative. One example: why, at Met. 4.772–89, are Perseus’ most famous adventures reported only in indirect statement? Variatio for its own sake is not an adequate answer. Genre would seem to be part of the explanation: battles with monsters belong in epic, a genre which Ovid eschews, at least for the moment. But beyond that negative explanation, Myers suggests a positive one. After the indirect report, someone asks Perseus for an aetiological story: why Medusa had snakes in her hair. His answer in direct speech displays several of the linguistic features which Myers has identified as characteristic of aetia. Thus, Ovid depicts Perseus not so much at a Homeric banquet, with stories of battles and conquests, but at a Callimachean one, with learned exchanges of aetiological myths (cf... (shrink)

The dissertation is an interdisciplinary study of the dismantling effects postmodern discourses have within the humanities. Postmodernism's anti-foundationalism, I argue, can only take shape around questions of ultimacy and sacrality in human existence. The dissertation explores the emergence, persistence and metamorphosis of the ultimate and the sacred in art history, modern literature, continental philosophy, and religion. Central figures studied in the work include Mircea Eliade, Gilles Deleuze, Jacques Derrida, Andre Malraux, Friedrich Nietzsche, and Ludwig Wittgenstein.

The power of literature to resist "totalization," to divide and oppose whole meaning, to separate Being from the word, or to name Being as itself divided—this is de Man's oldest and best-defended idea. Behind its deconstructionist and semiological variations in the recent work is a long genealogy of such insistence.6 This "genealogy" contains instructive continuities and aberrations. The continuities tend to show de Man to an extraordinary degree the captive of his beginnings. The aberrations pose a threat to the (...) very criterion of rigor which he makes the touchstone of his position. I will restrict myself here to an account of what is coherent and what is incoherent in de Man's treatment of the category of error.[…]Error is not mistake. The concept of the mistake is usable, perhaps, within the restricted teleology of pragmatic acts or within the quasi-rigorous language of scientific description. Mistakes are without true value: trivial, in principle corrigible according to a norm already known. But the skew of error implies a truth. Furthermore, the concept of error supplies to the categories of blindness and insight as much coherence as they are able to achieve. As we shall see, it brings together the constituents of the essential ambivalence of all literary and at least some philosophical language .6. In 1956, for instance, in a review of Nathalie Sarraute's L'Ère du Soupçon, de Man offered his reading of "the central moment of Ulysses, the carefully prepared encounter between Bloom and Stephan Dedalus": it "indicates, surely, the total impossiblity of any contact, of any human communication, even in the most disinterested love" .Stanley Corngold, professor of German and comparative literature at Princeton University, is the author of books and articles on Kafka, including The Commentator's Despair and an annotated translation of The Metamorphosis. A volume of his essays on the question of the self in Hölderlin, Dilthey, Nietzsche, Freud, Kafka, Mann, and Heidegger is forthcoming. (shrink)

For decades, nursing as a discipline has tried to establish itself within the socio‐professional and the socio‐political arenas. To date, several theorists have attempted to thoroughly define the essence (ontology) of nursing while others have proposed means (syntax) to achieve this ‘collective’ objective. Considering that this preoccupation, rooted in essentialism, is pervasive in the nursing literature, our claim is that these quests should be criticized because they impede innovative and transdisciplinary approaches to nursing theory. Our criticism includes the perspective (...) supported by the so‐called ‘postmodern nursing theorists’. We argue that the oeuvre of some nursing postmodern scholars is as prescriptive and linear as the ones they critique. Like it was done before, the discourse of these thinkers perpetuates the status quo by excluding alternative forms of knowledge that cross the boundaries of the discipline of nursing. Using the work of Deleuze and Guattari, this paper proposes an alternative way to conceive the development of nursing knowledge, which, we think, could represent an alternative way to explore the discipline of nursing. (shrink)

Present day anti-refugee and anti-immigrant rhetoric both in European countries and in the USA makes reference both to shared tropes and to culture-specific rhetoric devices. The paper analyzes four instances of Polish rabid anti-refugee rhetoric that is eminently country specific: they invoke Holocaust scenario as the means of dealing with the refugee question, should they appear on Polish soil, and specifically suggest exterminating them in former Nazi death camps. The analysis is carried out within the Conceptual Integration Theory, amended by (...) the Author with the notion of parasitic blends: these are said to occur when audiences recruit into the blend some elements of the two input spaces that were not intended to be recruited and come up with an emergent meaning that differ from the intended one. It is claimed that such possibility is actually built into CIT and explains why some of the criticism of CIT claims blends’ non-predictability and generally ex-post character of most analyses found in relevant literature. (shrink)

This comparative and interdisciplinary study focuses on a cluster of epoch-making themes that emerged in the late sixteenth century. Michelangelo and Giordano Bruno are taken as the founding fathers of the Baroque, and we see that beyond the Alps their lessons were echoed in Montaigne, Cervantes, and the Counter-Reformation culture of the Mediterranean basin. Maiorino shows that the common denominator that links the origins of the Baroque to its maturity is the concept of form as &"process,&" which is then articulated (...) into chapters on the formative unity of the arts, art forms at the threshold, and the development from humanist perfection to Baroque perfectibility. Such an evolution in literature and the arts is situated in relation to the age of explorations (Columbus), scientific inventions (the telescope), and the fundamental shift from the enclosed Ptolemic system to the open universe of the Copernican revolution. At the Baroque point of origin, the inner vitality of Michelangelo's emphasis on creation as &"process&" rather than completed act taught a crucial lesson to Baroque artists. Their response to the infinite and open universe of the &"New Science&" was one that took part to be as dynamic and metamorphic as life itself. It is in the context of &"open&" forms within an &"open&" universe that this study moves from Michelangelo to Bruno. His poetics of immeasurable abundance set &"process&" at the very core of the Baroque art, thought, and science. Applied to the forms of art, growth and metamorphosis are linked to what Maiorino calls (borrowing from Mikhail Bakhtin) the Baroque chronotope of formation, which refers to forms responding to the dynamics of space-time interactions. Such interactions were exhaustive and even tested the boundaries between reality and fiction, creation and denial, conformity and criticism from picaresque Spain to middle-class Holland. And it is the painting of a Dutch artist&—Rembrandt's Aristotle Contemplating the Bust of Homer&— that is taken as a symbol of the Baroque reconciliation of humanist learning with human or humane understanding. Such a humanizing attitude also marked the final transformation of humanist ideals of perfection into the Baroque experience of human perfectibility. This book will be of importance to all scholars concerned with the history of ideas, cultural history, and the Baroque in literature and art. (shrink)

Oui, sous le rayon d'un soleil dilué de nuages roses, j'ai rédigé la plupart de ces textes Rue du Poète. Il convient de ne point nous méprendre à penser que le poète se complaît dans une indolente béatitude. Poiêsis, c'est l'action, l'expression même des mouvements et des relations qui déterminent notre univers, nos lieux d'échange, au présent, le plus souvent insaisissable, de ce que l'on prend pour le réel et cet imaginaire vers lequel l'homme projette sa mémoire, son " récit (...) ", son désir, son attente afin de " se " créer du devenir. La mort veille toujours en coulisse mais l'existence lui ravit la vedette et la tentation de vivre édifie le monde tel que l'autre l'induit en nous jour après jour, au coeur d'une cité partagée. Fragiles, " labiles ", métaphoriques, leurrés par l'illusion de se reconnaître, les êtres et leur vie, les être et leur ville... En parler? Pourquoi non? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 21.1 (2001) 139-140 [Access article in PDF] Book Review Dimensionen Der Leere: Gottals Nichts Und Nichts Als Gott Im Christlich-Buddistischen Dialog Dimensionen Der Leere: Gottals Nichts Und Nichts Als Gott Im Christlich-Buddistischen Dialog. By Armin Münch. Münster, Hamburg, London: LIT-Verlag, 1998. 337 pp. This is a most unusual study, pieced together out of hidden facets and neglected aspects of Buddhist and Christian studies and containing an unrivaled (...) overview of the literature. If modernWestern theology, taking its cue from Heidegger, has emphasized the temporality of existence, Münch draws our attention to its "spatiality" in what he calls "dimensional thinking." He is able to point to an astonishing number of thinkers from a variety of disciplines who have taken as their starting point our need to orient ourselves in space. In this light, the kenôsis.assage Philippians 2:5-11 is seen to be patterned on a U-shaped movement linking the dimensions "above" and "below" as distinct from S- and O-shaped movements found elsewhere in the mystical tradition.Münch goesonto establish left/right, behind/before, inside/outside, coming to be/passing away as what he calls "immanentals" (12-13) analogous to the "transcendentals" of scholastic theology. In particular, he seeks out thinkers who have tried to formulate the "fourth dimension," which would take us beyond conventional space-time. Plotinus, Eckhart, and the Kabbala are all examined for their attempts to conceptualize the transcendent in this way.What is the purpose of this exercise? Münch's leading question, to which he eventually returns, is clear: "What is lacking in our idea of God if we are ignorant of Buddhist experience?" (5). His purpose is to evaluate the relative significance of kenôsis ("he emptied himself") and tapeinosis."he humbled himself") in Philippians 2. This becomes apparent when he comes to the leading thinkers of the Kyoto School--Nishida, Nishitani, and Abe--and the debate between Takizawa and Yagi. Here Münch finds evidence of a "backwards-directed," or "dorsal," theology that corresponds to a rearwards movement in Buddhist thinking (264). This interesting hypothesis would need further verification by consulting the textual and extratextual traditions that shaped Japanese Buddhism in the context of their Indian and Chinese origins. In criticizing the work of Perry Schmidt-Leukel, Münch suggests that for Buddhists the balance between the experiences of relationship and transitoriness is not so much a matter of different directions or perspectives of transcendence as a leaving behind of all perspectivity (130-133). The search for salvation is orientated rearward in the Buddhist case, forward in the Christian, but these can be seen as complementary directions on the one road.Münch is able to agree with Ueda that Buddhist "nothingness" is best understood as a "desubstantializing dynamic" (283-284). Shûnyatâ.s the "fullness of nothingness" corresponds to the Christian concept of God. Christ is said to have "gone outside himself" rather than to have "emptied himself out" ["Christus entäusserte sich, aber er entleerte sich nicht!"(287)], to have undergone a metamorphosis. In Münch's view, only trinitarian language can encompass all the dimensions, from zero to the [End Page 139] elusive fourth, which are necessary to express what we mean by God in Buddhist terms (305-306).One of the most original things Münch does is to draw a parallel between the Zen ox-herding pictures and the Christian story. This serves to draw together pictorially, if not conceptually, the sometimes arcane researches that go to make up Münch's mosaic. It is perhaps because spatially dimensional thinking has been so rare in Western science, philosophy, and theology that he must search in such dark corners for evidence of it. The result is an at times bewildering patchwork of apparently unrelated contributions that do not blend smoothly into a unity. This sometimes puzzling heterogeneity is justified, in my view, in that it presents us with a highly diversified tool kit for getting to work on the potential offered... (shrink)

In the tenth book of Ovid’s Metamorphoses there is a moving story which explores the relationship between the artist and his work of art. It is the myth of the sculptor Pygmalion. The story of the Cypriot artist for whom the ivory statue of his ideal woman came to life knew a very widespread transmission. The myth inspired authors and artists to reflect about love, idolatry, lifeless matter, the artist vis-à-vis the one Creator, and so on. The secondary literature (...) which has been published on the reception of this metamorphosis is proportionately plentiful. However, it mainly takes Pygmalion as its starting point. Scant attention has been paid to the other figure: the woman, who is silent in Ovid’s tale, but increasingly became the mouthpiece for a Western vision of the image of women. The Middle Ages ascribed to Pygmalion all the vices they could come up with. Already in the early Christian period there was mention of a Cypriot artist who had intercourse with a statue of Aphrodite. He was adduced as an exemplum warning of the madness of idolatry in Antiquity. With the development of humanism these Christian interpretations are swept away and the simple love-story comes into its own again. Pontormo paints the female figure as a woman of flesh and blood who gazes, not towards the kneeling Pygmalion, but towards the viewer and the painter. For various reasons this painting fits into the so-called paragone, which was in full swing at this time: the struggle for rank between the arts of sculpture and painting. For the art of painting can do what the art of sculpture cannot: paint skin, suggest movement, paint the art of sculpture itself, etc. The influence of the Pygmalion myth reaches a peak in the eighteenth century. Rousseau gives the female figure what Voltaire, in his poem of love for an actress, had not: a name. She is Galathea, after the nymph, the image of perfect inner and outer beauty. The beloved thus acquires an identity? Well, she does speak, in any case. Rousseau’s musical play – in the eighteenth century the arts of the stage recognize new challenges in the Pygmalion theme – endswith the words of the beloved: “c’est moi” , “ce n’est pas moi” , “aussi moi” . This points to a complete amalgamation of the beloved with her creator. Diderot subscribes to the same body of ideas, and again relates them to the paragone. But for him it is sculpture, and not painting, which provides the ultimate access to Nature, and thus to the Divine. For the third dimension is the most direct emanation of the internal image of the artist, his muse, in reality. For him, Falconet’s Pygmalion et Galathée is the sculpted group which on all fronts revives the supremacy of the discipline. He even claims that Falconet is the eighteenth-century Pygmalion. In the nineteenth century we see the first signs of change. Galathea begins to reject Pygmalion. In literature she is portrayed a the cold and unattainable woman. From the point of view of gender we see indeed that women’s self-image had come to a crisis. She could not mirror herself in the past. The woman of the nineteenth century had to put an end to a male ideal image. Christina Rossetti’s poems express this impasse. Galathea – who had in the meantime herself become a “metaphor” for the plastic arts – becomes the fitting cue to mark the beginning of the new, “modern” art. Rodin has her looking away from Pygmalion in disgust. Goya portrays himself as the sculptor who, as it were, rapes Galathea. This moribund Galathea was intended to express criticism of the academic “dictatorship” of mimesis, but also the social responsibility of the artist in a society wracked by civil war. Paul Delvaux reads another subjection into his Pygmalion . The domination of the artist by his mother, who segregates him from the female sex. He puts himself in Galathea’s place as a helpless torso; his mother embraces him. Here we pick up the trail of the psycho-analytical archetypes in the myth. They are not so clearly established as in the case of Narcissus, for example, but they relate to the feminine attributes which the beloved has personified throughout the ages: from lust-object to frigidity. Ever since her awakening, the story of her tranmission has been fed on the evolving images of woman herself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 125.1 (2004) 152-155 [Access article in PDF] Victoria Rimell. Petronius and the Anatomy of Fiction. Cambridge: Cambridge University Press, 2002. x + 239 pp. Cloth, $60. The jacket illustration of this book shows a detail from Dali's Autumnal Cannibalism(1936), now in the Tate Modern, London. This bleak picture shows the upper parts of two fluid bodies, one wearing a cream shirt and having an apple (...) on its head, the other clad in a red garment (a striking touch amongst the predominant dark-green colors); both hold cutlery and, set against the background of rocky mountains, cut pieces from each other while locked in a tender embrace. Critics have often seen this painting as an allusion to the outbreak of the Spanish Civil War, or as a representation of Dali (a latter-day William Tell) and his wife Gala, who did not meet with the approval of Dali's father. The choice of this disturbing illustration cannot have been accidental, for the horror of (the Roman) Civil War, the act of cannibalism, the concept of corporeal fluidity, and the implications of eating habits and eating hierarchies (we are ultimately eaten by what we eat) are central issues to Rimell's sophisticated Petronian study, which is sometimes as difficult to follow as Dali's painting.Influenced by Froma Zeitlin's "RomanusPetronius: A Study of the Troiae halosisand the Bellum civile" (Latomus30 (1971), 56-82) and Catherine Connors' Petronius the Poet(Cambridge University Press, 1998), Rimell views the Satyriconas a theatrical and highly metaphorical work in which the characters' role-playing corresponds to a disruptive process of metamorphosis, and literature is "imaged as a live body, a flesh or food ingested in the process of learning and spewed out from bodies in performance" (9). Petronius' metaphors, involving bodies presented as texts and texts as bodies, complicate our reading experience of this novel and create unifying patterns of images that evoke a chaotic world where borders melt and hierarchies (eater-eaten, text-context, author-narrator, book-reader) are confused. Even the narrative modes of prose and poetry, far from being fixed and rigidly defined, are seen to devour one another through the repeated image of recitation as a penetration of solid physical boundaries. Exteriors are deceitful (the dishes served by Trimalchio lend themselves easily to this view) and interiors menacing (what lies inside the belly of the Trojan horse, the devious creature of Eumolpus' Troiae Halosis?). The food Petronian characters eat (and hence the literature they read) affects and potentially threatens their [End Page 152] bodies (and hence their inner selves), because what they consume may gnaw them away from within (there seems to be no place in Rimell's argumentation for pleasure in the mere act of eating, which, according to her, equals penetration of physical boundaries and hence feminization of the consumer). Yet, poets and scholars in Petronius' world must stuff themselves, Rimell argues, with food (= literature) before they start ejecting it (= writing), for, once literature is consumed, it cannot stay trapped inside the human body for long. A complete list of the uses of fundereand cognates in the Satyricon(in Appendix I) is brought in to support Rimell's claim. The literature that comes out of the body has been transformed during its digestion: "as the consumed alters the consumer, as we become what we eat, so too Petronius' 'sources,' be they solid, liquid, or vaporous, are rewritten in the process of their incorporation" (47); and "Vomiting is always imaginable as recitation, an often violent ejection of contained knowledge" (170). I am not sure I follow Rimell here: this is not how human bodies process their food; are there any examples of defecation imaged as composing literature? Pursuing this line of enquiry, Rimell strongly argues against scholars who make clear-cut distinctions between the low and the high, the material and the spiritual, the physical and the intellectual worlds of the Satyriconand challenges interpretations of Petronius' novel as theatrical entertainment for its own sake.Rimell's views are articulated in detail in the... (shrink)

Inner Strength of Female Characters in Loitering with Intent and The Public Image by Muriel Spark Women characters in Muriel Spark's novels are diverse, some strong and powerful, some weak and unable to make decisions. And there are characters who develop throughout the novel and learn from their own mistakes. From being passive, they gradually start acting and making their own choices. Loitering with Intent and The Public Image present women characters who go through metamorphosis, from being dependent on (...) others into living their own lives and freeing themselves from former influences. Such kaleidoscopic change enables them not only to be able to finally make their own decisions but also to overcome many difficult situations threatening their future life.Fleur Talbot, a heroine in Loitering with Intent, finds herself at a point in which she thinks that everything she cares for is lost. Chronically passive and naïve, she cannot imagine another way of being until she understands that she is being cheated, that her life will be ruined if she does not act. Everyone around her seems to be in conspiracy against her; only taking a firm stand and opposing her surrounding world can help. Fleur's life has become totally dependent on her ability to be strong and decisive. She knows that if she remains what she is, her career and prospects for the future will be lost, so she decides to prove her determination and her will to be finally happy. Her transformation into a powerful character saves her dignity and makes her a successful writer.Annabel, a character in The Public Image is the same type of person as Fleur, as she lacks self-confidence and has no support from anybody, even her own husband. Muriel Spark, however, presents her as another example of a heroine who develops as the action progresses, able to evoke strength in herself when her situation seems hopeless. Annabel, at first treated as a puppet in the hands of other people, who use her image for their own benefit, shows that she is capable of anything by the book's end. When her career and reputation are threatened and her privacy invaded, she decides to leave the country. This requires both effort and sacrifice, as she has to leave behind everything she has worked for all her life, but this is the necessary price for her freedom.The ability of both female characters to show so much determination reveals an inherent inner strength, and their weakness and vulnerability as just superficial. When the situation requires it, both Annabel and Fleur are ready to fight for their rights, for their freedom and self esteem, and they discover that they are indeed capable of changing their lives. (shrink)

The intent of this chapter is to suspend the belief in the goodness of literacy -- our chirographic bias -- in order to gain a deeper understanding of how the engagement with texts structures human consciousness, and particularly the minds of children. In the following pages literacy (a term which in this chapter refers to the ability to read and produce written text) is discussed as a consciousness altering technology. A phenomenological analysis of the act of reading shows the child’s (...) engagement with texts as a perceptual as well as a symbolic event that builds upon but also alters children’s speech acts. Speaking and reading are both forms of language use, but with different configurations of perceptual and symbolic qualities. Children’s literature uses textual technology and, intentionally or not, participates in structuring children’s pre-literate minds. Some of its forms, such as picture books and early readers, are directly intended to bridge the gap between the pre-literate listener and the literate reader and ease the transition into the literate state. It is my hope that the phenomenological analysis of the experiences of speaking and reading might help us understand more clearly how children’s literature impacts the minds of children. Such an analysis can awaken a critical awareness of the power that letters wield as they shape the reader’s psychological reality, and it can sharpen our sense of wonder about the metamorphosis of language from speaking to writing. (shrink)

The images of the clown and the freak and representations of the grotesque body are recurrent motifs in modern Jewish literature, film, art, theatre and dance. Kafka’s novella Metamorphosis is an early prototype of the changeling who leaves conventional human appearance behind and is gradually transformed into an insect-like creature. The story served as a prototype for Woody Allen’s film Zelig, in which the main protagonist adopts a variety of different personas, amongst them a Nazi in the Third (...) Reich. The theme of morphing into a freak, clown, or grotesque body reappears in various forms in contemporary Jewish culture and art: The American Jewish writer Philip Roth declared in the 1960s that he was not a Jewish sage but a Jewish freak. Freakishness, clowns, and the circus have a subversive potential: they constitute a digression from what is considered normal appearance and behaviour and play with presumptions, expectations, and social values. A study of this subject reveals the constant dialogue between religion and culture as far as Judaism is concerned. (shrink)

From accounts of migration and stories of personal alienation, through the fragmented memories of former incarnations, to fable-like tales of half-breeds and species metamorphosis, Ying Chen's fiction evolves as it revolves around questions of difference, otherness and identity, which is never fixed or singular. While presenting the narrators' inner preoccupations and, in some cases, unreliable nature, the increasingly complex texts of this francophone-Chinese writer (1961-) also reveal larger concerns about dominant discourses, the limitations of social realities, survival, and the (...) relationship between beings, all framed within an aesthetics of non-belonging. Intriguingly, the author achieves this by consciously distancing her works, from 1998 onwards, from any categorisation by ethnicity. This engaging study considers Chen's writing from the contemporary perspective of the breakdown of traditional spatiotemporal experiences, the homogenization of places, the erasure of cultural differences, and the resulting tendency towards universalism. Rosalind Silvester is Senior Lecturer in French Studies and Director of Education in the School of Arts, English and Languages at Queen's University Belfast. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Isaac Barrow on the Mathematization of Nature: Theological Voluntarism and the Rise of Geometrical OpticsAntoni MaletIntroductionIsaac Newton’s Mathematical Principles of Natural Philosophy embodies a strong program of mathematization that departs both from the mechanical philosophy of Cartesian inspiration and from Boyle’s experimental philosophy. The roots of Newton’s mathematization of nature, this paper aims to demonstrate, are to be found in Isaac Barrow’s (1630–77) philosophy of the mathematical sciences.Barrow’s attitude (...) towards natural philosophy evolved from his earnest interest in medicine of around 1650, when a young Cambridge graduate, to natural philosophy (apparently under Henry More’s influence); from his thesis on the insufficiency of the Cartesian hypothesis to geometrical optics and the strong program of mathematization of natural philosophy of the middle 1660s; from Lucasian professor of Mathematics to Chaplain of his Majesty and eminent Restoration divine. Contemporary accounts of Barrow’s life suggest that he grew ever more skeptical about the worth of natural philosophy and mathematics. 1 In his last years he became a prolific [End Page 265] author of sermons and theological works. Published shortly after his death by John Tillotson (1630–94), later archbishop of Canterbury, they occupy over two thousand folio pages. Overloaded with involved philosophical arguments, Barrow’s sermons were apparently not very popular, but they were highly regarded by scholars and the Anglican hierarchy. 2 It is on certain of his sermons, as well as on the philosophical discussions contained in the Mathematical Lectures that our account of Barrow’s philosophy of the mathematical sciences will rest. 3 Barrow’s understanding of the mathematical sciences will allow us to discuss together three issues often analyzed independently: the theological background to English natural philosophy, the changing notion of mixed mathematical sciences during the seventeenth century, and finally the philosophical foundations of modern geometrical optics.It has long been recognized that significant relationships exist between theological voluntarism or intellectualism and views on natural philosophy. In particular Robert Boyle’s theological voluntarism is seen as grounding his experimentalist approach to natural philosophy. It is not quite so clear, however, how well theological voluntarism may relate to a strong program of mathematization such as the one embodied in Newton’s Principia Mathematica. In fact it has been suggested that the relationship is a negative one. This is derived from the necessary character of mathematical laws, which would put unwanted restrictions on God’s absolute dominion over nature, and also from the notion that theological intellectualism is conducive to a deductive, a priori science—the paradigm of which is of course geometry. However, Barrow’s theological voluntarism lead him to heighten the role of mathematics within natural philosophy.During the seventeenth century the so-called mixed or subalternate mathematical sciences changed profoundly. In the Enlightenment mixed mathematics—meaning above all rational mechanics—became one of the most prestigious and influential disciplines. The mixed mathematics of the Enlightenment, however, was markedly different from the Aristotelian [End Page 266] mixed mathematical sciences. The differences are noticeable both in the subject matter and in the substitution of mathematical infinitesimal analysis for geometrical synthesis, but also in the way of grounding mathematical theory on empirical evidence. Barrow’s Mathematical Lectures (delivered at Cambridge from 1664 to 1666) offer a fresh insight into the metamorphosis of these sciences just when Newton’s “mathematical principles” were in the making. Not the least interesting feature of Barrow’s discussion is that God’s omnipotence allows an evaluation of the truth of mathematical theories that do not apply to this world. Therefore, Barrow is led to introduce the distinction between the internal consistency, or mathematical truth, of a mathematical theory and its physical truth. This, in turn, leads him to the notion that theories need testing.Barrow on Matter and GodRecent literature has established significant correlations between theological voluntarism and empiricism, as well as between theological intellectualism and rationalism. As E. B. Davis writes, “the Christian doctrine of creation is a dialogue between God’s unconstrained will, which utterly transcends the bounds of human comprehension, and God’s orderly intellect, which serves as the model for the human mind.” Intellectualist theology considers God’s omniscience His... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Anthony Close THE EMPIRICAL AUTHOR: SALMAN RUSHDIE'S THE SATANIC VERSES HOBBES, comparing the author ofan action to the owner ofgoods, asserts, "And as the right of possession, is called dominion; so the right of doing any action, is called authority" (Leviathan, Book I, chap. 16). My purpose in this essay is to apply this Hobbesian maxim to the relation Author/Text, expanding somewhat Hobbes's notion of authority. I presuppose that (...) in our day-to-day dealings with our fellow men, we envisage each others' acts as exhibiting purpose and commitment, which make them ours in more than the platitudinous sense that we performed them. By virtue of that, they confer on us a privileged, though clearly not unchallengeable, authority in saying what they are and what they are for. Such, in effect, is the position reached by Austin in How to Do Things with Words, and it broadly corresponds to that of various philosophical writings on human action—by Anscombe, Davidson, and Melden.1 To be sure, we may legitimately consider human behavior from other viewpoints (e.g., structuralist, anthropological, psychoanalytical, Marxist) trained on its unconscious presuppositions. Yet, insofar as such theorizing fails to acknowledge the priority of the Hobbesian perspective, it will seem perverse for a reason that has been well put by Charles Taylor. Precisely because history is made up of purposeful activity, Taylor argues, we need to explain historical patterns in a way that is "intelligible in relation to conscious action" even though they may not "issue from conscious action."2 By this criterion much of our modern literary theory is defective. A vivid measure of the deficiency is provided by the furor over Salman Rushdie's TL· Satanic Verses, culminatingin thefatwa pronounced against Philosophy and Literature, © 1990, 14: 248-267 Anthony Close249 him by the Ayatollah Khomeini in February 1989. I take it that for anyone vocationally committed to the practice or study ofliterature and to the cause of freedom of expression, the defense of Rushdie cannot be a matter of indifference. Nor can one be indifferent to the chasm of misunderstanding that separates Rushdie and his apologists from the novel's Muslim opponents. I believe that these two causes—defending Rushdie and bridging the chasm—can be reconciled by offering better explanations ofhis novel in place ofcrude denunciations or, from some non-Muslim quarters, smug and knowing dismissals. Yet, as we shall see, the task of explanation could be considered hamstrung by our modern poetics. I was reminded ofHobbes's textby Rushdie's lucid and cogent defense of his novel in TL· Independent (London, February 4, 1990). Against the accusations that he had deliberately reviled the Islamic faith, he argued as follows. Though TL· Satanic Verses, like many novels that Rushdie esteems, is a work of radical dissent, questioning, and reimagining, it is motivated by a spirit of serious inquiry rather than debunking derision. More particularly, it reflects a determination that underlies all Rushdie's work: "to create a literary language and literary forms in which the experience offormerly-colonised, still-disadvantaged peoples might find full expression." He continues: "It is written from the very experience of uprooting, disjuncture and metamorphosis... that is the migrant condition, and from which, I believe, can be derived a metaphor for all humanity.... [It] celebrates hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs. It rejoices in mongrelisation and fears the absolutism of the Pure." Note the insistence on how these themes flow direcdy from Rushdie's own experience. Two days after the publication of this article, Harold Pinter gave on Rushdie's behalf a lecture on the relationship of literature to religion and society at the Institute of Contemporary Arts in London. In this lecture, Rushdie articulated a Bakhtinian view of the novelist's function: to dramatize ironically and noncommittally the clash of voices, languages, and ideologies in a world without gods and without traditionsanctioned truth. Rushdie referred specifically, I think, to a species of postmodernist novel which we may dub "palimpsest history";3 the species includes Rushdie's works, García Márquez's One Hundred Years of Solitude, Carlos Fuentes's Terra Nostra... (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

In lieu of an abstract, here is a brief excerpt of the content:The Origins and Evolution of Bioethics: Some Personal ReflectionsEdmund D. Pellegrino (bio)AbstractBioethics was officially baptized in 1972, but its birth took place a decade or so before that date. Since its birth, what is known today as bioethics has undergone a complex conceptual metamorphosis. This essay loosely divides that metamorphosis into three stages: an educational, an ethical, and a global stage. In the educational era, bioethics focused (...) on a perceived “dehumanization” of medicine by the rising power of science and technology. Remedies were sought by introducing humanities, ethics, and human “values” into the medical curriculum. Ethics was one among the humanistic disciplines, but not the dominant one. In the second era, ethics assumed a dominant role as ever more complex dilemmas emerged from the rapid pace of biological research. As such dilemmas were applied to medical practice, the need for a more rigorous and more formal analysis of their moral status was clear. Philosophically-trained ethicists had an obvious role. They began to teach, write, and profoundly influence medical education and practice. In the third—and present—period, the breadth of problems has become so broad that ethicists must, themselves, draw on disciplines well beyond their expertise—e.g., law, religion, anthropology, economics, political science, psychology, and the like. The era of bioethics as a global enterprise is upon us. The original hope for humanizing medicine has not been overtly successful; however, much has been accomplished of value to patients, the profession, and society. Medical morality has been transformed into a formal, systematic study of a whole range of issues of the greatest significance to humanity. Now the major challenge is one of identity, or inter-relationships and connections between the theoretical and the practical. Bioethics has outgrown its beginnings.I have been invited to give a “personal recollection” of the early development of bioethics. Such invitations are notoriously hard to resist, but also problematic when they are the recollections of a participant [End Page 73] in the events to be described. We need only be reminded of the vagaries common to the plethora of memoirs on the book stands today. Few have escaped the perils of selective memory, self-promotion, or the settling of old scores. Yet their perils notwithstanding, memoirs may serve some useful purpose. They are the raw material—verbal kitchen middens so to speak—out of which historians can later sift fact from fancy. They enable “tribal elders” to give witness to the past from which the present can fashion some sense of continuity.I will organize my reflections around three very arbitrary time periods that represent my own way of thinking about the evolution of bioethics: (1) an era of “proto-bioethics” (1960–1972), (2) an era of philosophical bioethics (1972–1985), and (3) an era of global bioethics (1985-present). Each era, of course, overlaps with the others, and the dominant strand of each runs through the others as well.In the proto-bioethics period, the language of human values predominated; in the era of bioethics philosophically construed, it was the language of philosophical ethics; and in the era of bioethics globally construed, the social and behavioral sciences have gained greater prominence. In each period, interest in the traditional humanities other than philosophy waxed and waned. In the earlier years, religion and theology predominated. Beginning in the 1970s, philosophy took a dominant role. In the last two decades, other disciplines, like law, literature, and the social sciences, have exerted more and more influence (McNeur 1963; Pellegrino 1997; Barker 1987).I make no pretense here of writing any part of the formal “history” of bioethics. Works of this nature are beginning to appear (Rothman 1991; Jonsen 1998 ; Dell’Oro and Viafora 1996). Thomas McElhinney and I are preparing our own account of the work and influence of the Institute on Human Values in Medicine, one of the influential programs of the Society for Health and Human Values (Pellegrino and McElhinney, n.d.). Space limitations as well as prudence preclude any attempt to do justice to all the events, institutions, and people who have made the field of bioethics what it is today. I apologize for these omissions, for any unintentional lapses of... (shrink)

In this creative and engaging reading, Richard Kuhns explores the ways in which _Decameron's_sexual themes lead into philosophical inquiry, moral argument, and aesthetic and literary criticism. As he reveals the stories' many philosophical insights and literary pleasures, Kuhns also examines _Decameron_in the context of the nature of storytelling, its relationship to other classic works of literature, and the culture of trecento Italy. Stories and storytelling are to be interpreted in terms of a wider cultural context that includes masks, (...) class='Hi'>metamorphosis, mythic themes, and character analysis, all of which Boccaccio explores with wit and subtlety. As a storyteller, Boccaccio represents himself as literary pimp, conceiving the relationship between storyteller and audience in sexual terms within a tradition that goes back as far as Socrates' conversations with the young Athenians. As a whole, Boccaccio's great collection of stories creates a trenchant criticism of the ideas that dominated his social and cultural world. Addressed as it is to women who were denied opportunities for education, the author's stories create a university of wise and culturally observant texts. He teaches that comic, religious, sexual, and artistic themes can be seen to function as metaphors for hidden and often dangerous unorthodox thoughts. Kuhns suggests that _Decameron_is one of the first self-conscious creations of what we today call "a total work of art." Throughout the stories, Boccaccio creates a detailed picture of the Florentine trecento cultural world. Giotto, Buffalmacco, and other great painters of Boccaccio's time appear in the stories. Their works and the paintings that surround the characters as they prepare to leave the plague-ridden city, with their representations of Dante, Aquinas, and other thinkers, are essential to understanding the ways the stories work with other works of art and illuminate and enlarge interpretations of Boccaccio's book. (shrink)

ABSTRACT Metamorphosis is a term inherent to colonial reality in which ontological and identity paradigms and conceptions reveal a recurring question in African literature: Who am I? Based on this, this article aims to analyze the phenomenon of metamorphosis/transmutation as a characteristic of real-animist texts, which is an aesthetic consequence arising from the animistic conception of perceiving the world. We will discuss how the presence of the imaginary of traditional African religiosity translates into recurrent unusual episodes, such (...) as transmutations, through the works of African writers such as Nigerian Amos Tutuola, Angolan Décio Bettencourt, and Mozambican Mia Couto. Finally, we will observe that the presence of this phenomenon translates not only into a mythical imaginary but also into becoming-individual and becoming-nation in societies fragmented identity-wise by colonialism. (shrink)

Drawing on Yan’s novella Serve the People (2005), the author examines the metamorphosis of the titular master signifier that has served as a central moral mandate in the Chinese Communist Party’s ideological discourse. Relying on a Lacanian framework via Žižek’s and others’ writings, this paper attempts to show that totalitarian ideological transformation hinges on the organization of jouissance (enjoyment) that has undergone three ideological modes — proto-, post-, and neo-totalitarianism. In the first mode, the subject procures enjoyment from the (...) symbolic order through a gesture of sacrifice. Due to the collapse of the imaginary of the Socialist New Man that sustains the totalitarian gaze, the post-totalitarian subject’s cynical distance from the “official” ideology functions as the very support for the effectiveness of the ideological apparatuses. Finally neo-totalitarianism is characterized as the inverse of proto-totalitarianism: the obscene underside that supports the totalitarian order is brought to the front stage as the new symbolic mandate to enjoy. The manifestations of such metamorphosis in literary and filmic works follow the path that starts from the sublime and ends at the obscene. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Queer Defamiliarisation: Writing, Mattering, Making Strange by Helen PalmerTrevor Norris (bio)Helen Palmer, Queer Defamiliarisation: Writing, Mattering, Making Strange Edinburgh: Edinburgh University Press, 2020, 214 pp. ISBN 978-1-4744-3414-0Helen palmer is senior lecturer in English literature and creative writing at Kingston University in London and the author of Deleuze and Futurism: A Manifesto for Nonsense (2014). Her research examines queer theory, performance, literary modernism, gender, aesthetics, and feminist and (...) Afrofuturist fiction. Queer Defamiliarisation explores these ideas and also includes part of Palmer’s literary creative response to James Joyce. The project here is an inquiry into reading, thinking, writing, and pleasure and considers how language can change us when we experience the relationship between naming and the performance of identity as a material boundary: the places where our bodies, behavior, and language are subject to violence in gendered, sexualized, and racialized forms. Palmer also suggests how our own and others’ experiences of violence might be bound up with an aesthetics of linguistic and formal complexity, and she reimagines the difficulty of naming for violently excluded identities by reviewing a range of complex experimental and avant-garde literary works in which new identities can emerge. Showing us how we might understand the materiality of bodies, sense making, and desire in emancipa-tory ways, Palmer attunes us to a phenomenology of reading in which we [End Page 217] recognize how argument undergoes metamorphosis by always being a hybrid of theory, criticism, cultural history, appropriation, memoir, and experimental form. Palmer’s wide-ranging arguments speak about the porosity and mutual embeddedness of our selves, our language, our bodies and environments, and the queer processes of world creation that act on and emerge from these things. Placing her work with other texts that rethink gender, personhood and ecology through new materialisms is productive, therefore, and readers might find value in looking at Queer Defamiliarisation alongside Donna Haraway’s (2016) Staying with the Trouble, Timothy Morton’s (2019)Humankind, and Rebecca Tamás’s (2020) Strangers inasmuch as they think through the ethics and emergence of relatedness and examine what it means to play, be alongside, care for, and nurture other beings and their worlds. Palmer’s project stays with the kind of “serious and... lively” trouble that allows “unexpected collaborations and combinations, in hot compost piles” (Haraway 2016, 4).The fertile landscape is mapped out in three introductions whose themes are explored in four chapters. Palmer transforms the early-twentieth-century Russian formalist concept of defamiliarization as literary and aesthetic device, the “paradoxical process that... restores sensations to things through a [linguistic] distancing that is also a re-proximation, an approximation, a touching” (9), by reading early- to mid-twentieth-century literary and cultural theorists such as Shklovsky, Brecht, and Jakobson through the ideas of contemporary queer, feminist, and decolonial scholars such as Sara Ahmed, Rosi Braidotti, and Vicki Kirby. She questions how the estrangement of naming operates for those whose bodies are not normatively gendered, racialized, and sexualized in relation to dominant forms of representation and power and explores concerns with and for queer, trans, decolonial, and feminist aesthetics. Throughout, she encourages us to think of the strangeness of language in relation to an ethics and an erotics of radical sympathy with the stranger because it is in the “continuous movement and continual transformation” (13) of naming, and categories of naming, that an emancipatory ethics can be found. This is a timely intervention by Palmer given current anxieties around naming gender and sex, and her argument seeks to move beyond “unhelpful binaries” to acknowledge the “infinite variations and permutations of existence and experience” (14).Palmer productively combines Sara Ahmed’s concept of disorientation from Queer Phenomenology (2006) with the psycholinguistic registers of Jakobson’s “contiguity and displacement” to suggest that queer defamiliarization is a performance of language and naming that “cleaves through and between sameness and difference,” “knocking signifiers loose and ungrounding bodies,” leading to “perceptual shifts and corporeal responses” that can “materially en-gender newness” (Palmer 17). From the start of the section “Spectaxa” (152), Palmer foregrounds the materiality of her text in increasingly modernistic excess to illustrate what we have been reading and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cynthia Willett HEGEL, ANTIGONE, AND THE POSSIBILITY OF ECSTATIC DIALOGUE In his lectures on aesthetics, Hegel argues that drama is the highest form of art. Only drama can resolve, or sublate (auflieben), an opposition between objective and subjective poles ofaesthetic experience.1 This opposition takes its penultimate form in the difference between epic and lyric poetry. Subjective feelings expressed in lyric and the objective representation ofevents in epic are sublated (...) in classical drama as ethical character and action. In this article I will examine both what Hegel does and does not say about the structure and function ofclassical drama in order to determine its role in the education of humanity, or what Hegel calls the "phenomenology of spirit." As it turns out, drama is not only a climactic moment in the development of spirit. The structure ofdrama also traces a paradigm and an historical origin for Hegel's dialectic. The ironic reversals and discoveries that emplot tragic drama also constitute dialectic. An immediate consequence of this parallel is mat, in accordance with Aristode's definition of tragic drama, dialectic demands the catharsis, or purging, of emotion from educated spirit.2 After establishing the analogy between dialectic and cathartic drama, I turn to the exemplary role that is played by Sophocles' Antigone in the Phenomenology ofSpirit. A reinterpretation of the play suggests that Hegel fails to see that emotional engagement, or the unsublated subjective feeling relegated to die lower art of lyric, in fact orients the dramatic action of Antigone. The resemblance between drama and dialectic suggests that desire can no more be purged from dialectic than from classical tragedy. As a consequence, Hegelian dialectic should be reconceived in terms of a notion of tragedy that is not cathartic but ecstatic. Philosophy and Literature, © 1990, 14: 268-283 Cynthia Willett269 In the AesUietks, Hegel places drama after epic and lyric as the third and final moment of the highest stage of art. Drama presents actions that are ethical and thus differs from the lyrical expression of feelings as well as the adventures narrated in epic (A, pp. 1158; 474). Hegel's definition of epic in terms of narration and description suggests that the language of epic functions as representation. Representational language externalizes, or objectifies, spirit's movement in a series ofevents which are related by the epic poet. This narration functions without the mediation ofa subject, which is to say without an "agent's inner will and character" (A, pp. 1160; 476). Lyric poetry, on the other hand, concerns feelings or "the inner life alone" (A, pp. 984; 254). In accordance with its subject matter, the language oflyric is not representational but expressive. Drama presents actions before an audience, such actions occurring primarily in the mode of speech (A, pp. 1159; 475). What we can characterize as the "speech-acts" performed in drama carry out intentions of, or ends soughtby, the main character. Drama advances dialectic because, as Hegel writes, "drama does not fall apart into a lyric inner life and an external sphere as its opposite, but displays an inner life and its external realization" (A, pp. 1 160; 476). First, events which occur episodically in epic attain the unity of a single action that comprises dramatic plot. Secondly, a "cleaned-up" version ofthe "chaotic" feelings expressed in lyric poetry develops into the intention of a character to adher to a universal ethical principle. It is important to emphasize that, according to Hegel, drama should not draw any of its effect from subjective emotions. Drama sublates lyrical feeling into ethical law. Only thus does drama bring together the epic-making events and lyrical subjectivity, notby wayofa mechanical synthesis, but in a metamorphosis enabling elements initially opposed to give rise to an original whole. The proximity ofdrama to dialectical thought appears in the contrast Hegel draws between dramatic action and action which is prosaic, or philosophically insignificant (A, pp. 1159; 475). Dramatic action, Hegel explains, "is notconfined to the simple and undisturbed accomplishment ofa specific aim; on the contrary, it rests entirely on collisions ofcircumstances, passions, and characters... which in turn necessitate a resolution of the conflict and discord" (A, pp. 1159; 475). On the other hand, a prosaic, or ordinary... (shrink)

As part of his recent study of ‘Narration and allusion in Archaic Greek Art’, Professor A. M. Snodgrass has cause to treat of the famous Attic black-figure vase which depicts Circe handing a cup containing her sinister brew to one of Odysseus’ sailors. She is stirring it with her wand the while, and yet this sailor, and three companions besides, have already been transformed into various animals. Professor Snodgrass has no difficulty in explaining the apparent simultaneity of separate events here (...) and elsewhere on this vase-painting as relating to what he calls the ‘synoptic’ technique of early Greek Art, that familiar device whereby several successive episodes in a narrative are presented together within the same picture. And he is inclined towards a similar line of explanation as regards the partial transformation of Odysseus’ ἑταῖροι: the artist ‘wished to express the passage of time by indicating a half-way stage in the transformation’. (shrink)