The point of departure for this essay is a fourfold classification emerging from the European debate on the religious and ethical significance of the so-called Islamic headscarf, also known as hijab. Plurality promises a positive engagement in mapping multiculturalism toward intercultural dialogue and understanding. With a paradigm of an emergent intercultural ethics, the public leadership assumed by women in this debate testifies to the creativity by which imposed patterns of behavior are turned into strategies of resistance and liberation.

Refrigeration has become so well established over the last 125 years that today a crude ice maker becomes a boon for primitive people in the jungle or desert. Only a total dislocation in energy sources will quickly loosen the connections between people and cooling. A few centuries ago, Hippocrates observed: ‘most men would rather run the hazards of their lives or health than be deprived of the pleasure of drinking out of ice’ … In the U.S.A. [today], 750 million frozen (...) Eskimo Pies are sold annually and seven ice cream plants are said to be operating in Moscow … Like the men of Hippocrates, a lot of people will resist any curtailment in food and freezing operations. They have come to expect these for survival in our present social and industrial orders.These remarks, asserting the extent to which the people of the United States of America regarded refrigeration not as an optional luxury but as a necessity for survival even at the height of the energy crisis of the late 1970s, formed part of a contribution to a massive 11-volume international compendium, Alternative Energy Sources, produced in 1978 in response to Western concerns about rising oil prices and falling reserves. An enthusiastic advocate for geothermal energy, the contributor's perception provides a vivid contextual starting point for our study of Paul Theroux's novel The Mosquito Coast . In this novel the central narrative focuses upon a New England family's rejection of post-war American consumer society with its imperative to ‘build automobiles that would fail within five years and refrigerators that would fail in ten’. The novel indeed explores some of those very kinds of alternative energy sources which had been exciting scientists and inventors since the early 1970s when journals such as The Ecologist had begun to prophesy an end to energy-driven economic growth in the western world. (shrink)

Whether in journalism or medicine, education, law, or television, trans writers and trans studies scholars consistently develop this critique of the representational totalization of trans people, whereby they are and have been made whats, not whos; objects, not subjects; voiceless, not vocal; passive, not active; dehistoricized, not historical; and single, not multiple. In what follows, I aim to supplement this critique by attending to the role of curiosity both as a technique of (trans) objectification and as a practice of (trans) (...) freedom, on both the individual and social level. That is, I trace how curiosity—through the monadic and collective acts of gazing, inquiring, investigating, and imagining—functions as part of the project of the representational totalization of trans people but also as part of trans people’s own praxis of resistant de-totalization. (shrink)

In The LEGO Movie, Vitruvius's notion of the "The Special" introduces what will be a central motif for the film. As it turns out, the one who finds this "Piece of Resistance" is not quite the hero he was expected to be. Emmet Brickowoski, a construction worker, will find this "Piece of Resistance". Throughout the film, others suggest to Emmet both implicitly and explicitly that he brings nothing of value to any particular individual or to society, (...) and that consequently he himself has no value. If one interpret The LEGO Movie as being driven by Emmet's quest for discovering his value, the real philosophical turning point in the film is not when Emmet's double‐decker couch permits the Master Builders to escape from the sinking submarine and they realize that Emmet's ideas actually are useful. Rather, it is when Emmet realizes their approval is irrelevant to his value. (shrink)

Western intellectual history, viewed as the way things occurred, simultaneously or in a time sequence, requires interpretation even more substantively than does history in general. This is because as being a history of specifically intellectual activity it is a history of a type of activity that necessarily includes concurrent self-interpretation, as he who understands understands that he understands. There is, though, a sense in which all human activity is intellectual, as, for Aquinas, the intellectual soul is forma corporis. Hence it (...) is that any piece of historiography is necessarily a work of interpretation of what has happened, if only because it is never in the first place a record of what happened but of what was done, only as a result of which certain things happened. All the same, in a history of theoretical intellect the bond of interpretation with things thought or said will be that much closer than it is with things done as recorded in the various histories of practical intellect. (shrink)

This piece of work intends to shed light on Alexander of Aphrodisias from the second-century Aristotle commentator through the history of Aristotelian psychology up to the sixteenth century's clandestine prompter of the new philosophy of nature. In the millennium after his death the head of the Peripatetic school in Athens served as the authority on Aristotle in the Neo-Platonic school, survived the Arabic centuries of philosophy as Averroes' exemplary exponent of the mortality of the soul and as such was (...) not considered worthy of translation by the Latin Scholastics. This attitude changed only in the Late Middle Ages, when the resistance against Averroes grew fierce and Alexander emerged as the only Aristotelian alternative to him. In 1495 his account of Aristotle's psychology was translated and published and the underlying principles of a natural philosophy, based on sense perception and exempt from metaphysics, became accessible. The prompt reception and widespread endorsement of Alexander's teaching testify to his impact throughout the sixteenth century. (shrink)

RESUME Jean-Paul Sartre débute comme dramaturge durant la Seconde Guerre mondiale alors qu'il est prisonnier de guerre en Allemagne, dans un camp de 25.000 détenus. Durant sa captivité, le philosophe écrit une pièce de théâtre réunissant des victimes et leurs bourreaux, des juifs, des prisonniers et des allemands. Bariona est la toute première pièce de Sartre et elle restera une référence pour le théâtre de situations que l'auteur ne cessera de réaliser pendant toute sa vie. Traditionnellement la pensée sartrienne est (...) analysée, dans un premier temps, sous le prisme de la philosophie abstraite et individualiste dont L'être et le néant est l'expression fondamentale, puis, dans un second temps, après la Seconde Guerre mondiale, à travers le marxisme dont la Critique de la raison dialectique serait le principal ouvrage. L'objectif essentiel de cet article est de mettre à l'épreuve cette idée en analysant les concepts de l'homme seul et de la collectivité dans la première pièce dramaturgique de Sartre. On verra que l'interprétation que divise la pensée de Sartre en deux n'est pas si juste. RESUMO Jean-Paul Sartre estreia como dramaturgo durante a Segunda Guerra Mundial, quando é feito prisioneiro de guerra na Alemanha em um campo de concentração com outras 25 mil pessoas. Durante seu cárcere, o filósofo escreve uma peça de teatro reunindo vítimas e seus algozes, judeus e alemães. Bariona é a primeira peça de Sartre e permanecerá a referência do teatro de situações que o autor continuará a perseguir por toda a vida. Tradicionalmente, o pensamento sartriano é considerado, em um primeiro momento, sob o prisma da filosofia abstrata e individualista, que teria na obra O ser e o nada a expressão fundamental; em seguida, em um segundo momento, depois da Segunda Guerra Mundial, o é por meio do marxismo, do qual a Crítica da razão dialética seria a obra principal. O objetivo fundamental do presente artigo é o de colocar à prova essa ideia, analisando os conceitos de homem solitário e de coletividade na primeira peça de teatro de Sartre. Veremos que a interpretação que divide o pensamento de Sartre em dois não é, com efeito, justa. (shrink)

Unable to respond to the questions, to all the questions, I will ask myself instead whether responding is possible and what that would mean in such a situation. And I will risk in turn several questions prior to the definition of a responsibility. But is it not an act to assume in theory the concept of a responsibility? Is that not already to take a responsibility? One’s own as well as the responsibility to which one believes one ought to summon (...) others?The title names a war. Which war?Do not think only of the war that broke out several months ago around some articles signed by a certain Paul de Man, in Belgium between 1940 and 1942. Later you will understand why it is important to situate the beginning of things public, that is the publications, early in 1940 at the latest, during the war but before the occupation of Belgium by the Nazis, and not in December 1940, the date of the first article that appeared in Le Soir, the major Brussels newspaper that was then controlled, more or less strictly, by the occupiers. For several months, in the United States, the phenomena of this war “around” Pula de Man have been limited to newspaper articles. War, a public act, is by rights something declared. So we will not count in the category of war the private phenomena—meetings, discussions, correspondences, or telephonic conclaves—however intense they may have been in recent days, and already well beyond the American academic milieu. Jacques Derrida is Directeur d’Études at the École des Hautes Études en Sciences Sociales and also teaches at the University of California, Irvine. A teacher at Yale for ten years, he is the author of Mémoires: for Paul de Man .Peggy Kamuf is associate professor of French at Miami University. She is the author of Fictions of Feminism Desire: Disclosures of Heloise and Signature Pieces: On the Institution of Authorship . Her article “Pieces of Resistance” is forthcoming in Reading de Man Reading. (shrink)

This piece of work intends to shed light on Alexander of Aphrodisias from the second-century Aristotle commentator through the history of Aristotelian psychology up to the sixteenth century's clandestine prompter of the new philosophy of nature. In the millennium after his death the head of the Peripatetic school in Athens served as the authority on Aristotle in the Neo-Platonic school, survived the Arabic centuries of philosophy as Averroes' exemplary exponent of the mortality of the soul and as such was (...) not considered worthy of translation by the Latin Scholastics. This attitude changed only in the Late Middle Ages, when the resistance against Averroes grew fierce and Alexander emerged as the only Aristotelian alternative to him. In 1495 his account of Aristotle's psychology was translated and published and the underlying principles of a natural philosophy, based on sense perception and exempt from metaphysics, became accessible. The prompt reception and widespread endorsement of Alexander's teaching testify to his impact throughout the sixteenth century. (shrink)

The summer of 2020 witnessed perhaps the largest protests in American history in response to police and vigilante brutality against the black community. New protests are still erupting every time another suppressed video, such as of Daniel Prude, surfaces, or another killing, such as Breonna Taylor’s, goes unpunished. As communities demand meaningful reform, the point – or pointlessness – of “implicit bias training” takes on renewed urgency. Implicit bias trainings aim to raise awareness about the unwitting or unwilling prejudices and (...) stereotypes that shape our habits of thinking, feeling, and navigating through the social world. These trainings have been widely adopted by businesses, schools, and law enforcement agencies. Do they make any difference? -/- Although I conduct implicit bias trainings myself (including for courts, judges, police, and attorneys), I share many critics’ concerns. Many trainings are too brief and oversimple, and too often their real function is to permit organisations to “check a box” to protect against litigation, rather than to spark real change. But “implicit bias training” is just another way of saying “education about implicit bias,” and, like all kinds of education, it can be done well or poorly. If implicit bias is one important piece of a large and complex puzzle, then education about it – when done right – should have a meaningful role to play in helping us understand ongoing inequities and enact reforms. (shrink)

This is a reply piece to a series of book symposium contributions to my book, Resisting Scientific Realism. The contributions were by Steven French, Peter Vickers, Stathis Psillos, and Kyle Stanford.

While many recent readings of The Heat of the Day (1948) address Bowen’s indeterminate and unsettling prose style as a mirror or even an enactment of the destructive, nullifying forces at work in Blitz-weary London, this article posits that those same stylistic elements as well as the novel’s depictions of unstable subjectivities work against nullity to create complexly rendered regenerations, including two surreally conceived pregnancies. This article also suggests that the tensions often noted in Bowen’s negotiations between fictional realism and (...) what critics have classified as the hallucinatory or surreal can be better understood by exploring Bowen’s spiritual beliefs, which she elucidates in numerous nonfiction pieces. The provocative liminality of the material and the spiritual in The Heat of the Day offers a compelling critical space from which to further explore Bowen’s prolific hybrid creations and the ontological, epistemological, and metaphysical mysteries they engender. (shrink)

The challenge I address in this chapter is a fear of repetition, as I turn to a performance by an artist whose work has already provoked my own thought and writing—the Chinese-born artist based in Germany, Yingmei Duan. At a performance in a London gallery, in spite of my personal acquaintance with the artist and despite my own fears, misgivings, and hesitancy, I found space-time-matter transformed by her presence. Or perhaps it is because of this hesitancy and the unanticipated power (...) of the gesture that I was prompted to respond in kind, mouthing manacled words to camera in the making of a video piece that attempted to link on to that gesture. The art is in the gesture, not the artist or the work, and it is the presence of the remainder that is the concern of this chapter. In what follows, I attempt to evoke the complexity of the gesture, which resists and rejects expected articulations, prompting a transference of affect. Accepted forms of communication are broken down and the codified body dismembered, as Lyotard writes: “The body doesn’t belong to you.”. (shrink)

Worries about scientific objectivity seem never-ending. Social critics and philosophers of science have argued that invocations of objectivity are often little more than attempts to boost the status of a claim, while calls for value neutrality may be used to suppress otherwise valid dissenting positions. Objectivity is used sometimes to advance democratic agendas, at other times to block them; sometimes for increasing the growth of knowledge, at others to resist it. Sandra Harding is not ready to throw out objectivity quite (...) yet. For all of its problems, she contends that objectivity is too powerful a concept simply to abandon. In Objectivity and Diversity, Harding calls for a science that is both more epistemically adequate and socially just, a science that would ask: How are the lives of the most economically and politically vulnerable groups affected by a particular piece of research? Do they have a say in whether and how the research is done? Should empirically reliable systems of indigenous knowledge count as "real science"? Ultimately, Harding argues for a shift from the ideal of a neutral, disinterested science to one that prizes fairness and responsibility. (shrink)

The expropriation of marginalized women’s labor is a key issue in business ethics in these times of global outsourcing and informal work arrangements. This has led to a transnational advocacy movement for securing the labor rights of homeworkers, who are poor women working on piece-rate contracts out of their homes. Drawing on materialist feminism, our paper critically explores the homeworker network in Pakistan, that was set up as part of a global push by international institutions and networks to localize (...) the issue across geographies. Our focus is the national women’s NGO that leads advocacy efforts on the issue in the country and its relationship with other actors. Through fieldwork spanning 3 years we find that the network employs a top-down ‘us versus them’ approach in advocacy and mobilization. The race-to-the-bottom between the network’s national and district-level actors for donor funding further undermines prospects for developing indigenous narratives of resistance. The network, while mission bound to enhance the collective agency of its constituency, has depoliticized what should have been a class-based feminist struggle. From a materialist perspective, we conclude that the NGOized network rests upon and feeds off of its constituency, creating an additional layer of primitive accumulation over the workers it represents. (shrink)

In this experimental piece of writing I want to think about the pedagogy of contact and the plight of the hikikomori or social recluse in Japan. I am interested in exploring how the hikikomori practices a kind of contactlessness or what I will call a deadly ipseity of desire. What does it mean to resist contact, to be without contact, to be without desire? What does it mean to risk contact, to risk being tactile with the other, to risk (...) affirming one’s desires? I want to generate a discussion about what has happened to desire, to its promise and possibility and why it is so difficult to anticipate or forecast what is to come. For me the BwO of hikikomori is the ruin of desire, the collapse of desire, a disaster of desire. I am pursuing a line of thought which highlights the loss of the possibility of processual schizophrenic breakthrough and in its place the becoming-autistic of the self, the perilous breakdown of the self. (shrink)

In Northern Canada, Indigenous mixed economies persist alongside and in resistance to capital accumulation. The day-to-day sites and processes of colonial struggle, and, in particular, their gendered nature, are too often ignored. This piece takes an anti-colonial materialist approach to the multiple labours of Indigenous women in Canada, arguing that their social-reproductive labour is a primary site of struggle: a site of violent capitalist accumulation and persistent decolonising resistance. In making this argument, this piece draws on (...) social-reproduction feminism, and anti-racist, Indigenous and anti-colonial feminism, asking what it means to take an anti-colonial approach to social-reproduction feminism. It presents an expanded conception of production that encompasses not just the dialectic of capitalist production and reproduction, but also non-capitalist, subsistence production. An anti-colonial approach to social-reproduction feminism challenges one to think through questions of non-capitalist labour and the way different forms of labour persist relationally, reproducing and resisting capitalist modes of production. (shrink)

Abstractabstract:This article analyzes Claude McKay's last novel, Amiable with Big Teeth—recently discovered in 2017—as a piece of postcolonial utopianist writing. The novel participates in an important debate on the role of utopias and utopian writing as ideological mechanisms that perpetuate colonial structures such as the nation-state. Through a critique of the Popular Front project in the black community of 1930s Harlem, Amiable with Big Teeth vindicates local knowledges and the assessment of the specific conditions of the present—ever-changing and transformable—in (...) the development of strategies for resistance. As such, the spiritual role of Ethiopia for the community depicted, rather than constitute yet another national utopia, fulfills the same role as it did for the Jamaican Rastafarians: it is a mechanism for group self-assertion and the promotion of self-esteem that subaltern communities need in order to achieve full agency. (shrink)

The notion of resistance to the state has come to be bandied about a great deal, and a great many political movements place themselves under its sign. This intrusion of violence into the realm of the law seems to be spreading since the advocates of insurrection, who accuse the state of betraying its mission, are not those who consider revolt to be the necessary first step towards any kind of affranchisement. Where the partisans of revolution believe that violence is, (...) in Marx's words, “the midwife of every old society that carries a new one within it” and that it is “the instrument by which the social movement sweeps it away and breaks to pieces the political forms that are fixed and dead,” the partisans of the right to resist the state do not share these hopes for political and social upheavals. Marxist theory, which praises revolutionary insurrection, stands opposed to a kind of philosophy that admits of armed opposition to the state, but can nevertheless be called liberal in two respects: formally, from its present perspective, where it appears opposed to Marxist thought, and also historically, in the evolution of political ideas, where it is opposed to absolutist conceptions of the state. For, as R. Derathé remarked, the question of the right to resist “cast light on the chasm that separated the theologians from the legal experts.” The doctrines of divine right left no room for envisaging a limitation on the duty of obedience, without turning such a limitation into the equivalent of a revolt against God. Bossuet, in his Politique tirée des propres paroles de l'Ecriture sainte, asserts that “God has made the kings and the princes his lieutenants on earth so as to render their authority sacred and inviolable.” The result is unconditional obedience to the kings and to all those who hold a parcel of authority: “Declared impiety and even persecution do not exempt the subjects from the obedience they owe to their princes.” The only possible attitude in the face of “the violence of the princes” is to submit “respectful remonstrances, without mutiny and without a murmur, and with prayers for their conversion.” It is also necessary to ban “remonstrances full of bitterness and grumbling” since these “are the beginnings of sedition, which must not be tolerated.”. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The (...) questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

In Documentality (2013), Maurizio Ferraris argues that documents are at the heart of social institutions. Taking this notion as a cue, this piece considers a key organisation in the resistance to state violence and Pinochet's dictatorship in Chile, the Vicaría de la Solidaridad, and focuses on the remarkable document where the desperate stories of people detained, disappeared and murdered following the coup in 1973 were recorded. This process of registration adopted an overtly rational, administrative response akin to the (...) ‘bio-political’ modes of governing life that Foucault described. As such, it was also built upon a refusal to allow the lives of a section of the population to be cast as without value. Moreover, it ‘deferred’ to a future, in which such documentation would be an invaluable record of injustice. Its legacy is not confined to legal forums, however; academic work and Nicolás Franco's artwork La Sábana (The Sheet, 2017) have also emerged. (shrink)

P.F. Strawson’s Individuals contains a condensed version of an ontology of art. According to this ontology, musical and literary compositions are similar to types. They are abstract entities, instantiated in the performances of the piece of music or the copies of the literary work. Musical and literary compositions are “well-entrenched”, Strawson says – we cannot eliminate these abstractions, or perhaps we have no need to do so. Strawson’s ontology of art forms an integral part of what he calls his (...) “descriptive metaphysics”, and his resistance to the elimination of types and type-like entities is one example of his reservations against “revisionary metaphysics”.Nowadays, Strawson’s name is seldom mentioned in connection with the philosophy of art. Yet the general view of the ontology of art advocated in Individuals is still probably the one most widely held in analytical aesthetics today. Thus, for example, Stephen Davies adopts the same general position as Strawson in his article “Ontology of Art” , the best informed contemporary overview of the complex of problems surrounding the mode of existence of works of art. Unlike Strawson, Davies also adduces explicit reasons why concepts of musical and literary compositions cannot be successfully eliminated.Critically reviewing Strawson’s and Davies’ standpoints and arguments, I maintain that concepts of artworks can in fact be successfully eliminated, and that the bracketing of such notions leads to a better theoretical perspective on musical and literary communication. Throughout the paper, I speak for an open-minded approach to conceptual revision. (shrink)

Ludwig Wittgenstein suggests that ?A serious and good philosophical work could be written consisting entirely of jokes?. The idea for this dialogue comes from a conversation that Michael Peters and Morwenna Griffiths had at the Philosophy of Education of Great Britain annual meeting at the University of Oxford, 2011. It was sparked by an account of an assessment of a piece of work where one of the external examiners unexpectedly exclaimed ?I knew Jean-Paul Sartre?, trying to trump the discussion. (...) This conversation is a dialogue about comedy and humor as a basis for philosophy, education and pedagogy that provides an introduction to recent works and a context for ongoing research. The concluding section provides further reflection on some of the main themes, drawing attention to the significance of humor in dialogues within philosophy and education, and suggesting that it has a particular role in resisting managerialism at all levels of educational institutions. (shrink)

continent. 1.3 (2011): 201-207. “Poetry is experience, linked to a vital approach, to a movement which is accomplished in the serious, purposeful course of life. In order to write a single line, one must have exhausted life.” —Maurice Blanchot (1982, 89) Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school graduation he was incessantly educated, reading the entire private library of his granddad, comprising mainly (...) the Orthodox Church Fathers and the ancient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again: “I carry sorrow like a cage/ I got no birds/ as I come back from her hair/ I see the profit emptied/ cool from terror.” (1993, Ι, 101) Nowadays—and ridiculously recently—we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expenditure without any type of investment, sometimes not (even) symbolic. In the vaults of the European unconscious, this imprudent stance still conjures a “capital punishment” in the form of de-capitation, reflecting back the fear of excess and the terror of its consequences.1 Thus the Greek way of living is very close to what a stranger could have termed as “the Greek way of dying.” Yet, what is not often understood is that the Greek esprit , the same one that invented the maxim μηδ?ν ?γαν (“nothing in excess”), does not experience death solely as an imminent fear of bankruptcy. For it miraculously combines its unconditional acceptance with the promise of a resurrection that is always there in the scents of Spring, from Dionysus to the orthodox Christ: “Everyone resurrects himself through dying [….] Resurrection is the switching of mortalities.” (2002, 94) Hence, if an entire library was imprudently traded for a plate with seven olives, a sliced tomato and some fresh goat cheese, let us not be fooled: this is not the meal of the pauper, but that of “an aristocrat from God” (1993, II, 491) feeding his eloquent loudmouth, ridiculously cut open in an otherwise rock-solid caput . *** To speak of the Greek experience is to speak about a half-dead language that still utters in life what is seemingly excluded from it and thus forbidden to be talked about: death. Death as anything that is out of this world, as something that will never return . Still, along with an experience of death that recently waned as a worn-out academic fashion, the Greek experience is dead too. Nearly 2300 years of written words separating Homer from the fall of Byzantium equal 500 books on a library traded for money: “I am with the killed. Hence my deepest solitude. I do not feel this tremendous macho society, beyond from the fact that it is a ruthlessly consuming one. It is me who pays all the time .” (2002, 57) Let us do the math and see how much this dealing with the Greek experience is costing the poet and how much dealing with the Greek experience might cost us today. *** “I do not guarantee a single word.” (Karouzos, 1993, II, 454) Through its various dialects and forms, the Greek language speaks through an incessant historical dissemination. Anyone who is aware of this terrifying polymorphy and still calls himself a poet, must stand against a white sheet of paper, pen-in-hand, with a very particular duty: to be as fully inconsistent as possible. In the formally ironic uniqueness of the poem, the poet functions as “a band-aid for lesser and greater antinomies.” (1993, I, 251) Of course these antinomies are not exhausted in language—they are historical, political and, alas, existential. Yet, beyond appearances , it is language that ruthlessly encodes them through history, submitting the poet to the temptation of placing them one next to the other on a single white sheet. The closer their neighboring, the greater the scattering of the writer in the ironic uniqueness of the paper. In a work where poetic license is described as a “freedom-impasse” (2002, 51), this task is undertaken in full conscience of its personal consequences: “what I am interested in is to escape my individuality (envisioning the non-ego) […] Nevertheless, my dissociations never achieve duration.” (2002, 74-75) Hence, though poetry is the “deserted direction of will,” (1998, 62) the stance of the poet is not that of a Nietzschean “great man.”2 Whereas drunkenness provides a thread between the poem and the excess it both presupposes and infuses (“Poetry always enlarges. ‘Drunkenness’ is nothing more than that,” (2002, 85)), whereas language flashes in loudmouth spurts of déraison (“When I am alone I do something else. I utter words. For example, while having my ouzo and listening to music I am most likely capable of randomly shouting ‘Electricity!’” (2002, 138)), the poet never gives in to the double affirmation that would eventually risk the “element of pleasure in discourse.” (2002, 80)” It is exactly because the gap of the antinomies is so vast that poetry is not meant to be written with a hammer. Neither does writing consist in a reevaluation of those elements. In short, poetry is not an affirmation of difference, but the surprising beauty of chiming antinomies. We might never transcend them, but it is up to us to put them together. Yet again, this voisinage is not to be identified with the necessity of chance as an eternal return.4 On the contrary it is a return from that very return : Let us treat Yes as a No to No and No as a Yes […] And let us not forget that this pissed affirmation crumbled down Nietzsche’s intellect in the dark paths of this world. (2002, 88) This return from the “vicious circle” should in no way be taken as a form of artistic prudence. Rather it can be seen as a dribble of demonic inconsistency as Dionysus transforms himself into a Christ that is in turn de-theologized: “Who can forbid that? Every man is capable of his own theology, nothing can stop him.” (2002, 73-74) This is a turn towards an existential vision of the world, historically coinciding with a particular political defeat of the Left, to which the poet devoted all his life: after the defeat of the popular front I raised the question “why do we exist?” while others were asking “why we failed.” (2002, 57)5 But most of all it is a return to poetry that exceeds the existential question itself, going beyond the issue of faith. Poetry comes in as a question of return after a defeat that is confessed in full profanity. Though it accepts the necessity of the defeat, it does not affirm it. Though it negates it, the negation is not in the name of a promise to be delivered in the kingdom of heavens. Following a historical and existential defeat, poetry is born post mortem . It signals a return to Christ as “groundless religiousness in the surprise of the real as such” (2002, 72) which is at once a return to the refuge of childhood. It is not a question of endurance towards an eternal return. Rather it is a question on the possibility of an existential return. Returning in a world as someone who cannot enjoy any returns exactly because he is averse to guarantees. A return without returns. *** PHOTOCOPY OF HAPPINESS When I was young I used to pin down cicadas and step on ant nests. I used to stand there silent for hours. With threads I decapitated bees. Now I am a dead man breathing. (Karouzos, 1993, II, 336.) The return to the “paradise of childhood” (2002, 68) constitutes the devouring refuge of its own memory when defeat becomes the synonym of adulthood. The political struggles of a young communist in a country torn up by a civil war right after World War II fraught with incarcerations and exiles. Historically they resulted in the defeat of the communist movement in Greece and opened up a long turbulent road that would peak in the dictatorship of 1967. Existentially they led to a series of disillusionments: mental breakdown, divorce, abandonment of studies in law school. To the question “why do we exist” the answer was poetry. Still this exposé should not be read as a sweeping chronography of a man. For it actually happens to coincide with the historical fate of a nation that after its modern constitution never stopped dreaming of the glories of its past youth, in a present that was (and is) sweepingly disappointing. But isn’t this return to youth finally a way of compensating for a loss of youth that necessarily results in a losing adulthood? Will Greeks, the eternal children of Plato and Nietzsche, ever learn? How to return without dying, how to remember without wasting time? WE ARE IN THE OPEN MEANING Living the coldest mauve night right across Parthenon I went to take a piss on some foliage and I was enjoying the foliage as it was steaming. (Karouzos, 1993, II, 340) Beyond the historical tragedies of modern Greece and away from any personal disappointments, the relation that this land holds with language and history is mediated through the Greek light—whose omnipresence is the very condition of its transcendence. All historical contradictions from Dionysus to Christ took place under this light; all those disseminated dialects were spoken beneath its warmth. To paraphrase Lévinas,6 light is both the condition of the world and of our withdrawal from it—a withdrawal towards the invisibility of God, of the dead, of meta-physics, resulting from the temptation that all is still here, behind this light the visibility of which they once evaded: “birds, the allurement of God.” (1993, I, 17) Under that luminous sky, if Greeks can do anything at all, it is to envision a return that will never come. All they can do is write poetry—which is doing nothing; other than lending an ear to a disseminated language whispering a unity that cannot be promised, as an adulthood in defeat is ready to recognize. Trying “to trap the invisible in visibility” (1993, II, 483) they forget that they have grown up and one day they die—with the promise of return. Hence an additional meaning must be given to this return to childhood. It does not signal salvation but rather its promise. To the ears of an aged continent it means that the return to/of poetry is a losing game, a return without returns. “Europe, Europe… you are nothing more than the continuation of Barabbas.” (1993, I, 295) *** “Life is not there to verify theories.”7 The records show that Karouzos was finally given a second-class pension from the Greek government, at the time when he was being recognized by the literary press as one of Greece’s major contemporary poets. Being neither a bourgeois nor a nobelist, he proclaimed himself to be an anarcho-communist, unconditionally faithful to the utopia of a classless society. He also drank, heavily. “Capitalism made an animal out of man/ Marxism made an animal out of truth/ Shut up.” (1993, II, 369) Perhaps one of the most scandalous divides of our times has been the one between the living and the dead, the latent prohibition that the living should not be concerned with the dead based on the mere impossibility of the dead to be concerned with the living in the first place. What adds to this scandal is that this divide abuses anything that cannot return to us by subsuming it under the same futility. Hence death is no longer “loss” in the usual sense. It no more refers to the things we lost but to our “loss” (of time, money and well-being) as we insist to dwell on them. Death is a waste —of time. It is this waste that we find in the insouciance of Greek expenditure; the waste in dealing with a language that most of its historical part is no longer spoken (a dead language); the waste in translating a poet who is ex definitio untranslatable; the waste of his vision, his money, his life. The waste of dealing with anything that cannot return and that cannot bring in any returns . But it is also the waste of life that poetry itself presupposes, the waste of dealing with invisibility, with anything that is out of this world and thus invokes the fear of death that is in turn—and surprisingly— nowhere to be found. Instead of death, what is there, beyond the light, is the being without us (to recall the Lévinasian il y a ), the mumble of our own nothingness which constitutes the price to be paid for writing poetry under an evergreek light. To understand this to-and-fro, is to realize that poetry is something out of this world that nevertheless takes place in this world, by virtue of this world. But to ridiculously equate this to-and-fro with death as non-existence, is to exile poetry along with its own possibility from this same old world: I do not believe that poetry will ever disappear from this world. […] But I am also sure that it does not have many chances of playing, as you say, a redemptive role in our vertiginous technological future. Without being endangered as a creative need, it will be placed on the side of history. (2002, 32) It is mainly there that we would like to locate the meaning of Nikos Karouzos’s poetry today. If we are willing to include the Greek original it is because we consider that it will be both a waste of time for us to do so (since most of you cannot read Greek) and because it might induce you to the even larger waste of learning it. We would additionally be glad if this small introduction served as an equally wasteful, academically useless piece of reading, gesturing towards a taboo of investing in anything Greek—that is in anything dead among the living, in anything that will never come back and maybe was never here in the first place. This is the only way to reserve for ourselves the possibility of poetry and preserve the light of its promise. “To return: that is the miracle.” (1993, I, 17) Athens, Greece July 10, 2011 NOTES 1 “ Capitale (a Late Latin word based on caput “head”) emerged in the twelfth to thirteenth centuries in the sense of funds, stock of merchandise, sum of money or money carrying interest.[…] The word and the reality it stood for appear in the sermons of St. Bernardino of Siena (1380-1444) ‘… quamdam seminalem rationem lucrosi quam communiter capitale vocamus ’, ‘that prolific cause of wealth that we commonly call capital’” (Braudel, 1992, 232-233). 2 “A great man – a man whom nature has constructed and invented in the grand style – what is he? First : there is a long logic in all of his activity, hard to survey because of its length, and consequently misleading; he has the ability to extend his will across great stretches of his life and to despise and reject everything petty about him, including even the fairest, ‘divinest’ things in the world.” (Nietzsche, 1968, 505, §962) 3 Cf. Deleuze, 1986, 186-9. 4 “Return is the being of becoming, the unity of multiplicity, the necessity of chance: the being of difference as such or the eternal return.” (Deleuze, 189)5 In this 1982 interview Karouzos refers to the defeat of the communist movement in Greece after the civil war of 1946-1949 between the Governmental Army and the Democratic Army of Greece, the military division of the Greek communist party. Karouzos’s father was a member of the communist National Liberation front (EAM) members of which formed the mainl resistance movement (ELAS) in Greece during WWII. The poet was a member of the United Panhellenic Organization of Youth (EPON), which was a youth division of EAM. After the end of the war, ELAS was called to disarmament in view of the formation of a National Army. The members of EAM resigned from the government of national unity and a series of protests led to a 3 year civil war between ELAS and the Government Army. After the defeat of ELAS the Communist party was outlawed and many communists were exiled in deserted Greek islands. Karouzos, who took action in the Greek resistance and was active during the Greek civil war, was exiled in Icaria on 1947 and in Makronisos on 1953 where he was called two years earlier to do his military service. 6 “Existence in the world qua light, which makes desire possible, is then, in the midst of being, the possibility of detaching oneself from being. To enter into being is to link up with objects; it is in effect a bond that is already tainted with nullity. It is already to escape anonymity. In this world where everything seems to affirm our solidarity with the totality of existence, where we are caught up in the gears of a universal mechanism, our first feeling, our ineradicable illusion, is a feeling or illusion of freedom. To be in the world is this hesitation, this interval in existing, which we have seen in the analyses of fatigue and the present.” (Lévinas, 1988,43-4) 7from a TV interview. THE POETRY OF NIKOS KAROUZOS From Redwriter [ Ερυθρογρ?φος ], in Collected Works, Vol . II, Athens: Ikaros. 1993, 463-4. [Athens: Apopeira, 1990, 9-10.] JESUS ANTI-OEDIPUS* Why were we once saving till the fifth day the Paschal lamb? The scriptures say: with this victim’s meat we ought to cleanse all of our senses. To give life to the whitest wave miraculous odors in the extension of the chest. Ideals to death. For us to witness the illustrious dawns of Absinthe and for the soul to be a deeply carved ornament on the fore we named will. Then many deer running amidst the evergreen growth with watery hymns, then, the unintended angels descending with heights spiraling in their momentum offer themselves to the luminous Adventure. Whence the need for speech and our sufferings covered with flags like the glorified dead. An incorporeal finger pointing at the flamboyant and fragrant holocausts within the tired horizons and the exhausted breadths with joys of the mistletoe on fire and shivering all of the green-leaved love. Something would have chirped again had we not driven it away— maybe the ewe’s grass. Something would have called us to the eternal resurrection— maybe the grace of spring. But now our heart is fiercely blinded, withdrawn to the appearances of Hades. Silence and ice incessantly cover the Infant Spirit in thatched times. While the cherry trees are dreaming faintly glowing in absolute darkness there’s nothing the Babylonians can contemplate in labs with automatic colored lights. How to rejoice now in the fifth day of the lamb? We have forked the stars. We’ve gradually become supposedly sublime with plucked chimeras in our hands. Avenged relentlessly by science. *Though the poem appears in a 1990 collection, it was actually written in 1968. Hence the reader must be aware in not associating Karouzos’ Anti-Oedipus with the famous 1972 work of Deleuze and Guattari, given that the former precedes the latter. ΙΗΣΟΥΣ ΑΝΤΙ-ΟΙΔΙΠΟΥΣ Γιατ? κρατο?σαμε κ?ποτε ?ς την π?μπτη μ?ρα το πασχαλιν? πρ?βατο; Τα κε?μενα λ?νε: μ’ αυτο? του θ?ματος το κρ?ας ?πρεπε να καθαρ?σουμε ?λες τις αισθ?σεις. Για να δ?σουμε κ?μα στη ζω? λευκ?τατο θαυμ?σιες ευωδι?ς στην ?κταση του στ?θους. Ιδανικ? στο χ?ρο. Για να βλ?πουμε τα λαμπρ? χαρ?ματα του ?ψινθου και να ’ναι η ψυχ? στ?λισμα βαθυχ?ρακτο της πλ?ρης που την ε?παμε θ?ληση. Τ?τε πολλ?ς δορκ?δες τρ?χοντας αν?μεσα στην καταπρ?σινη φ?ση με τους υδ?τινους ?μνους, τ?τε, κατεβα?νοντας οι αθ?λητοι ?γγελοι με κυλινδο?μενο το ?ψος στην ορμ? τους χαρ?ζονται της αστραφτερ?ς Περιπ?τειας. ?θεν η μιλι? γι’ αυτ? χρει?ζεται και τα δειν? σκεπ?ζονται ωσ?ν τους τιμημ?νους νεκρο?ς με σημα?ες. Ασ?ματο δ?χτυλο δε?χνει τα φλογ?δη και μοσχοβ?λα ολοκαυτ?ματα στους κουρασμ?νους ορ?ζοντες στα εξουθενωμ?να πλ?τη καθ?ς αν?βουν οι χαρ?ς του νερα?δ?ξυλου και τρ?μει ολ?κληρη η πρασιν?φυλλη αγ?πη. Κ?τι θα κελαηδο?σε π?λι αν δεν το δι?χναμε— μπορε? της προβατ?νας το χορτ?ρι. Κ?τι θα μας καλο?σε στην απ?ραντη αν?σταση— μπορε? του ?αρος η χ?ρη. Μα η καρδι? μας ?γρια τυφλ?θηκε π?ρασε στα φαιν?μενα του ?δη. Σιγ? και π?γος αδι?κοπα σκεπ?ζει στους αχυρ?νιους καιρο?ς το Ν?πιο Πνε?μα. Την ?ρα που ονειρε?ονται οι βυσσινι?ς και λ?μπουν αμυδρ? μεσ’ στο απλ?τατο σκοτ?δι τ?ποτα δε στοχ?ζονται οι βαβυλ?νιοι στα εργαστ?ρια με τ’ αυτ?ματα χρωματιστ? φ?τα. Π?ς να χαρο?με πια την π?μπτη μ?ρα του προβ?του; Φουρκ?σαμε τ’ αστ?ρια. Γ?ναμε σιγ?-σιγ? δ?θεν υπ?ροχοι με μαδημ?νες χ?μαιρες στα χ?ρια. Μας ν?μεται σκληρ? η επιστ?μη. From: Redwriter [Ερυθρογρ?φος], in Collected Works, Vol. II, Athens: Ikaros. 1993, 472. [Athens: Apopeira, 1990, 18.] DIALECTΙCS OF SPRING Christ the straight angle; Christ the Pythagorean theorem. Christ the infinitesimal calculus from above the blessed Sets Christ. Christ the tessellation of massive particles Christ the zero mass. Hence we spray numbers and fields of lust. We are carabineers of diseased logic plus something— Observed means observer and Hekate The darkness luminous and light in the dark Astarte banqueters demons from today. ΔΙΑΛΕΚΤΙΚΗ ΤΟΥ ΕΑΡΟΣ Χριστ?ς η ορθ? γων?α· Χριστ?ς το πυθαγ?ριο θε?ρημα. Χριστ?ς ο απειροστικ?ς λογισμ?ς ?νωθεν ?λβια Χριστ?ς τα Σ?νολα. Χριστ?ς η ψηφιδογραφ?α στα μαζικ? σωμ?τια Χριστ?ς η μ?ζα μηδ?ν. ?ρα ψεκ?ζουμε αριθμο?ς και πεδ?α λαγνε?ας. Ε?μαστε τυφεκιοφ?ροι νοσο?σης λογικ?ς και κ?τι-- παρατηρο?μενο σημα?νει παρατηρητ?ς και Εκ?τη σκ?τος το π?μφωτο και φως εν τ? σκοτ?? η Αστ?ρτη συνδαιτημ?νες δα?μονες απ’ ?ρτι. From: Redwriter [Ερυθρογρ?φος], Athens: Apopeira, 1990, 18. [1993, II, 472]. CREDO (as we are used to say in Latin) Α I believe in one Poet expelled from heavens / fugitive from the god and vagabond, Empedocles / and here on earth / exile on the earth etc. of Baudelaire /. Β I believe in one Computer inside thunder and through matter. Γ Suffering undefiled / substantive / the Poet uplifts himself slow-burning suicidal implying lengthy sleeps. Δ Cutting down on prospective mistakes. Ε Of all things visible and invisible officiating the onion-peelings. Ζ The Poet has nothing / see the departed /. Η I believe in one Poet that says: madness I enjoy; he ridicules existence; let me light up from my mana. Θ Syntax he doesn’t care about when musicality commands him. Along with still more licenses, and Ts are played according to the concept sound anywhere. E.g. the winters here, he winters there; it will not come—I will not rest, etc. etc. Ι The Poet exercises thought until it’s stripped down. Κ And if he’s Greek he must always study the fineness of Attica, in light, mountains, fields and sea. For this fineness teaches language. Λ And if he’s deeply destined the Poet expresses the unexplainable of the explained; he happens to be a rightful heir to the scientist and his predecessor. Μ On the froth he does not last; the Poet blusters at the bottom of the pot. Ν Flamebred and never redeemed. Ξ The Poet must sometimes say: what a consumption of presence — be a bit lonely for a change! Ο The Poet is twilit. Π He is susceptible of deaths and resurrections. Ρ He looks from the corner of his eye and exists in a glance. Σ He follows behind the mother. Τ Eveningless when it comes to age. Υ I believe in one Poet who says: let the purities coincide. Until the Corinth of the Universe or even further. Φ In a higher despair. Χ In a brighter quintessence. Ψ In one sensation that lifts off. Ω Forgiving everyone. CREDO (ως ε?θισται να λ?με λατινιστ?) Α Πιστε?ω εις ?να Ποιητ?ν εκτ?ς ουρανο? / φυγ?ς θε?θεν και αλ?της, Εμπεδοκλ?ς / και επ? της γης / εξ?ριστος π?νω στη γη κ.λπ. του Βωδελα?ρου /. Β Πιστε?ω εις ?να Υπολογιστ?ν εντ?ς κεραυνο? και δια της ?λης. Γ Υποφ?ροντας ?χραντα / ουσιαστικ?ν / ο Ποιητ?ς ανατε?νεται βραδυφλεγ?ς αυτ?χειρας εξυπακο?οντας πολ?ωρους ?πνους. Δ Τα υποψ?φια λ?θη λιγοστε?οντας. Ε Ορατ?ν τε π?ντων και αορ?των ιερουργ?ντας την αποκρομμ?ωση. Ζ Ο Ποιτ?ς ?χει τ?ποτα / βλ?πε τους αναχωρ?σαντες /. Η Πιστε?ω εις ?να Ποιητ?ν που λ?ει: η τρ?λα μ’ αρ?σει· γελοιοποιε? την ?παρξη· ας αν?ψω απ’ τη μ?να μου. Θ Συνταχτικ? δεν το γνοι?ζεται στην προσταγ? της μουσικ?τητας. Μαζ? και μ’ ?λλες ακ?μη λευτερι?ς, και τα νυ πα?ζονται κατ? την ?ννοια ?χος οπουδ?ποτε. Π.χ. τον χειμ?να εδ?, το χειμ?να εκε?· δε θ? ’ρθει – δεν θα καταλαγι?σουμε, κ. λπ. κ.λπ. Ι Ο Ποιητ?ς γυμν?ζει τη σκ?ψη σε απογ?μνωση. Κ Κι αν ε?ναι ?λληνας οφε?λει να σπουδ?ζει π?ντοτε της Αττικ?ς τη λεπτ?τητα, σε φως, βουν?, χωρ?φια και θ?λασσα. Διδ?σκει γλ?σσα η λεπτ?τητα το?τη. Λ Κι αν ε?ναι βαθι? πεπρωμ?νος ο Ποιητ?ς εκφρ?ζει το ανεξ?γητο του εξηγητο?· τυγχ?νει ν?μιμος δι?δοχος του επιστ?μονα και προκ?τοχ?ς του. Μ Στον αφρ? δεν ?χει δι?ρκεια· στο πατοκ?ζανο μα?νεται ο Ποιητ?ς. Ν Φλογοδ?αιτος και ποτ? ξελυτρωμ?νος. Ξ Ο Ποιητ?ς κ?ποτε πρ?πει να λ?ει: μεγ?λη καταν?λωση παρουσ?ας – γενε?τε και λ?γο μοναξι?ρηδες! Ο Ο Ποιητ?ς ε?ναι αμφ?φλοξ. Π Επιδ?χεται θαν?τους και αναστ?σεις. Ρ Ακροθωρ?ζει και υπ?ρχει σε ξαφνοκο?ταγμα. Σ Ε?ναι ουραγ?ς της μητ?ρας. Τ Αν?σπερος απ? ηλικ?α. Υ Πιστε?ω εις ?να Ποιητ?ν που λ?ει: να συμπ?σουν οι αγν?τητες. Μ?χρι την Κ?ρινθο του Σ?μπαντος ? μακρ?τερα. Φ Σε αν?τερη απελπισ?α. Χ Σε φαειν?τερη πεμπτουσ?α. Ψ Σε μια α?σθηση που πτηνο?ται. Ω Συγχωρ?ντας τους π?ντες. From Large Sized Logic [ Λογικ? μεγ?λου σχ?ματος ], Athens: Erato, 1989, n.p. [1993, II, 521-3]. (shrink)

In 1936, Frank Macfarlane Burnet published a paper entitled “Induced lysogenicity and the mutation of bacteriophage within lysogenic bacteria,” in which he demonstrated that the introduction of a specific bacteriophage into a bacterial strain consistently and repeatedly imparted a specific property – namely the resistance to a different phage – to the bacterial strain that was originally susceptible to lysis by that second phage. Burnet’s explanation for this change was that the first phage was causing a mutation in the (...) bacterium which rendered it and its successive generations of offspring resistant to lysogenicity. At the time, this idea was a novel one that needed compelling evidence to be accepted. While it is difficult for us today to conceive of mutations and genes outside the context of DNA as the physico-chemical basis of genes, in the mid 1930s, when this paper was published, DNA’s role as the carrier of hereditary information had not yet been discovered and genes and mutations were yet to acquire physical and chemical forms. Also, during that time genes were considered to exist only in organisms capable of sexual modes of replication and the status of bacteria and viruses as organisms capable of containing genes and manifesting mutations was still in question. Burnet’s paper counts among those pieces of work that helped dispel the notion that genes, inheritance and mutations were tied to an organism’s sexual status. In this paper, I analyze the implications of Burnet’s paper for the understanding of various concepts – such as “mutation,” and “gene,” – at the time it was published, and how those understandings shaped the development of the meanings of these terms and our modern conceptions thereof. (shrink)

This essay argues that translation in Se questo è un uomo (If This is a Man) (1947), as well as in related pieces, functions for Primo Levi as a key means for claiming and potentially repairing manhood. In its capacity to reposition meaning, translation functions as a powerful vehicle for affirming agency, particularly gendered agency. What emerges in Levi's writings, particularly in Se questo's ?Canto of Ulysses? chapter, is the figure of the translator as resistance fighter: the man who (...) uses his intellect, his love of languages and other men, and his desire to communicate in order to combat the assault on humanity perpetrated by Nazism and sustained by its legacy. In this Levi's writing exists on a continuum with the cultural work of the founding members of Giustizia e Libertà and, accordingly, complicates Italy's postwar understanding of partisan activity. Throughout Se questo è un uomo and related works, translation proves a vital if imperfect means for reclaiming manhood and for asserting the possibility of friendship across cultural, regional, ethnic, and gender boundaries. (shrink)

This piece seeks to elucidate how and why Latin America is neither anecdotal nor peripheral to pandemic preoccupations—nor to larger health and disease narratives—past and present. First, it examines the world's proportionately most destructive pandemic as coterminous with the rise of imperialism. Next, it traces how the impetus for international health cooperation based on regional crises predated and informed efforts elsewhere. Finally, it explores two under-charted narratives: the creative harnessing of data produced under adversity, and alternative health solidarities that (...) bypass reigning hierarchies of “humanitarian” aid. Together, these glimpses underscore a fundamental need for incorporating histories of and from Latin America to overcome the “history-telling injustice” created by the centuries-long Western dismissal of knowledge, practices, experiences, and existential meaning generated in the Global South. In short, these accounts provide a more complex and possibility-filled restructuring of dominant narratives around the diverse trajectories and consequences, as well as varieties of resistance, that shape understandings of pandemics. (shrink)

Description from a book review by J. G. Beebe-Center: "Mr. Allen's book develops in detail the view that pleasure and unpleasure are essentially manifestations of the progression and thwarting of impulses. Part one is a brief summary of the principal theories of feeling. Part two is devoted to "sensory" or "bodily" pleasure and unpleasure. These forms of feeling, it is argued, 'depend on an analogue of conation existing in the organism, a nisus to maintain, or to carry out to the (...) full extent, the functioning proper to the bodily system.' Part three -- the piece de resistance (about half the book) -- deals with the relation of pleasure and unpleasure to the main instincts. Parts four, five and six take up a number of classical problems: the relation of pleasure and unpleasure to sensation, their relation to desire, the relativity of feelings, the qualitative variety of feelings, and the psychology of values. The author shows throughout a rare combination of historicophilosophical sophistication and of first-hand familiarity with the modern experimental literature.". (shrink)

The main thesis of this article is that Western societies risk becoming Balkanized if they confront the superdiversity issue without sound management of intolerance. The Balkanization process has some essential features that allow the use of this term outside the area of origin (namely the Balkan Peninsula). Thus: It always affects a diverse political unit that comprises an inextricable medley of racial, ethnocultural, religious, ideological, or gender identities. It emerges only where neither the hegemony principle nor the confederacy principle can (...) sustain a divided population’s peaceful coexistence. It entails “antagonistic and conflict-oriented relationships resistant to resolution” between the groups or classes dissociated from a diverse political unit. It increases the density of physical and psychological boundaries between the formerly associated parts. It is perpetuated by the great sponsors of the dissociated parts. Any diverse political unit can enter a process of Balkanization, regardless of its degree of culture and civilization. Balkanization does not have a fatal course. Just as there is no society immune to Balkanization, there is no diverse society doomed to Balkanization. Balkanization can be prevented, checked, stopped, or reversed, depending on society members’ individual and collective actions. To survive, the superdiverse liberal democracies from the Euro-Atlantic area need an agonistic public sphere, where actionable truths emerge from a genuine clash of educated opinions. If intolerance management is the first step in preventing the Balkanization of a superdiverse political unit, promoting social and political tolerance towards all people who express educated opinions is the best starting point to genuine tolerance. The return to Enlightenment rationalism values that underpinned our freedom of thought and expression will help us meet the challenges inherent in current and future superdiversity. By feeding enlightened conversations and debates with genuine, educated opinions, people learn to have tolerance for “unpleasant” pieces of knowledge. Then, they spread general tolerance – as a by-product – across the entire society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Memory and Justice:Narrative Sources of Community in Camus's The First ManJohn Randolph LeBlancThere as a certain frustration involved in trying to find Albert Camus's conception of justice in express positive statements. But inasmuch as Camus saw his work in the trope of journey, his complex set of ideas about justice are to be discerned in the narrative structure of his texts. This is particularly so in his last work, (...) the incomplete autobiographical The First Man.1 In the novel, Camus has his protagonist and fictional self Jacques Cormery seek the sources of his orientation to questions of love and justice by attempting to reconstruct the brief life of a father he never knew. It is in the life reconstructed, chiefly through the recollected memories of those who knew the man that Jacques comes to understand his own responses to questions of love and justice. A necessary by-product of the process is that through his questioning, Jacques recreates a community of which he is a product but, until the journey is undertaken, he has never been a part. His journey is, thus, one of self-discovery and inextricably ties justice to community formation. Camus's last novel, I will argue, suggests the importance of memory and narrative to the fundamental questions of political theory, particularly, questions regarding community-formation and the role and nature of justice.IContemporary reflections on the nature of politics take narrative encounters with reality seriously. The significance of narrative to political theory is, I think, tied to the Augustinian recognition that, temporally speaking, we live forward but learn backwards. It is through reconstructing [End Page 140] our experiences as individuals that we learn about who we are and how we got here. Recent political theory has come to recognize that this epistemological structure works at both the individual and the communal level. Michael Walzer, for example, has suggested that a community's culture is the story its members tell so as to make sense of the different pieces of their social life and justice is the doctrine that distinguishes the pieces.2 But distinguishing the pieces can mean and has meant blocking or restricting our access to that reconstruction. While a time-honored political practice, the impulse to control the contents of the narrative by deeming it unworthy or too dangerous to speak became a self-conscious political practice and a particularly dangerous phenomenon in the last century. Controlling the contents of narrative means control in past, present, and future tense. Memory can become a site of resistance because narrative depends on memory for its points of reference. What gets narrated gets remembered. Most often, what does not get narrated either gets lost or must find another way.Narrative and memory have always been political resources, Joshua Foa Dienstag suggests in his important work on memory and narrative in political theory, but the self-conscious control of them is dangerous.3 At the end of a century wherein we perpetrated much we might be tempted to forget, it is increasingly evident that we must remember before we can speak of justice, that is, our stories must be told and heard before we can reconstitute (or re-member) a functional conception of political community. It is in these terms that I want to talk about narrative and its relationship to political community and justice. But what is silenced is as important as what is articulated. Dienstag, who reads political theory as narrative, suggests that, practically speaking, what we have learned is that memory unarticulated is even more dangerous than memory manipulated. Memory unarticulated either festers and becomes a flashpoint for turmoil or is articulated by an interest for its own ends and becomes a tool of control if not oppression. In either case, memory is bastardized to the ends of power politics and distinguishing between authentic and inauthentic experiences becomes the province of politicians. Leaving these distinctions to politicians, I want to suggest, is risky business. When memory represents the absence of a set of experiences rather than their presence, we are confronted by the end of a community rather than its beginning.All cultures, Walzer suggests, have an interest in... (shrink)

One of the world's pre-eminent Max Weber scholars here presents a comprehensive analysis of Weber's ambiguous stance toward modernity considered from a normative, theoretical, and historical point of view. The book is in two parts. Part I scrutinises Weber's world view. On the basis of his thinking about the meaning and inter-relationships of science, politics, and ethics in the modern era, Weber is seen as the embodiment of a social scientist and political thinker who exposes himself to intellectual risks and (...) existential tensions while resisting final solutions. It includes a masterly analysis of Weber's two famous speeches 'Science as a Vocation' and 'Politics as a Vocation'. Part II considers Weber's unfinished project on the sociology of religion. Piecing together planned and partially completed works on Islam and Western Christianity, Schluchter locates them in the history and theory of Weber's overall work. This reconstruction of Weber's work on religion emphasises its interplay between religion, economy, politics, and law. (shrink)

A collection of quirky, entertaining, and reader-friendly short pieces on philosophical topics that range from a theory of jerks to the ethics of ethicists. Have you ever wondered about why some people are jerks? Asked whether your driverless car should kill you so that others may live? Found a robot adorable? Considered the ethics of professional ethicists? Reflected on the philosophy of hair? In this engaging, entertaining, and enlightening book, Eric Schwitzgebel turns a philosopher's eye on these and other burning (...) questions. In a series of quirky and accessible short pieces that cover a mind-boggling variety of philosophical topics, Schwitzgebel offers incisive takes on matters both small and large. A common theme might be the ragged edge of the human intellect, where moral or philosophical reflection begins to turn against itself, lost among doubts and improbable conclusions. The history of philosophy is humbling when we see how badly wrong previous thinkers have been, despite their intellectual skills and confidence. Some of the texts resist thematic categorization—thoughts on the philosophical implications of dreidels, the diminishing offensiveness of the most profane profanity, and fatherly optimism—but are no less interesting. Schwitzgebel has selected these pieces from the more than one thousand that have appeared since 2006 in various publications and on his popular blog, The Splintered Mind, revising and updating them for this book. Philosophy has never been this much fun. (shrink)

Can research be studied in a way that is neither logical reconstruction nor empirical psychology or sociology of science? In contemporary philosophy of science this is usually denied—in spite of the recent 'paradigm shift' there. A system-philosophy approach in theory of research is outlined by means of some models : a research enterprise is viewed as a productive, innovative system, the research process as a transformation of complexes of knowledge-problems-instruments (software and hard ware). The direction this development takes is guided (...) by preconceptions about the subject matter and a programmatic conception of the discipline based on them ('internal steering factors'). The dynamics of the research process are schematized as a co-agency of 'theoretical and 'empirical' moments, which is viewed as a flow of problems, information, and conceptual frameworks. Empirically discovered pieces of knowledge may resist all attempts to explain them: the flow is disturbed, and only an extraordinary innovation on the 'theoretical' level can restore the balance. This involves a shift in perspective: a shift in the 'internal steering factors'. (In this way one type of 'scientific revolution' (Kuhn's type) is conceptualized). After a perspectival shift one will ask 'Does it constitute progress ?' Types of criteria are suggested. Although they do not apply to all research situations, they over-arch research-traditions. Eventually the above models are applied in the reflection of Research Theory on itself. Research Theory should improve our knowledge about knowledge-production. This knowledge should contribute to improving our image of science and the researcher's sensitivity—by providing better tools for concept ualizing research situations and for imagining possible alternatives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Present Trends of French Philosophical ThoughtAlexandre Koyré and Paola ZambelliThe paper that is published here for the first time was read to the Graduate Faculty of the New School for Social Research by Alexandre Koyré, probably during one of his first trips to the United States as a visiting professor in the fall of 1946 or in the fall of 1950. 1 Given its content and the secondary literature (...) he quoted, the paper seems to go back to the end of 1946, when eight lectures were announced in the Bulletin of the New School, 2 but Koyré probably read only the first of them, deciding to postpone the later ones, because the other subject chosen for his 1946 seminars at the New School (“Les philosophes et la machine”) gained more interest and grew longer. He came back to the New School in 1950 to give some lectures on existentialism [End Page 521] in France, but this time he was the guest of Horace Kallen. 3 But we read in this paper that Koyré had spoken in a series of seminars organized by Albert Salomon. It was determined that Koyré should speak on a broad subject—not only on Sartre’s existentialism, but also on French philosophical trends in general in the first year after the Second World War. His American listeners were obviously interested in hearing about Sartre, Camus, Merleau-Ponty, and the development of the new existentialist school in France.The result was that Koyré prepared a long paper—one that began by mentioning philosophers who had died in the War and the Resistance and concluded with an analysis of Sartre’s ontology and ethics. In the archives of the Centre Koyré in Paris there are three originals of this paper: a longer manuscript which, though earlier in date than the other two, is more complete and provides the basis of my edition, and two shorter typescripts, possibly prepared by the author’s typist with a view to publishing the piece in an American journal. In the first of the two typed versions several sentences, names, and words are missing in the typescript but were inserted into the text by an unknown hand. The second of the typescripts is complete in these points, but its preparation was interrupted for unknown reasons, and the copies (an original and two carbons) bear a final handwritten note: “Le texte s’arrête là.” Happily, the present manuscript version continues to the paper’s original conclusion.Perhaps Koyré, having temporarily mislaid the last pages of the manuscript among his many notes, decided not to publish the paper. 4 The omission from the [End Page 522] body of his published work is regrettable, since this is one of the few papers in which Koyré took a position on contemporary philosophical problems. On the basis of his deep knowledge of Husserl’s and Heidegger’s philosophies, he was able to give a serious interpretation of Sartre. In discussing Sartre, Koyré predominantly used Sartre’s polemical lecture L’exis-tentialisme est un humanisme, read, and published in 1946 as a response to Catholic and Marxist critiques. This was certainly a simpler text than the bulky but more authoritative L’être et le néant. And perhaps it was to avoid taking this latter work in his suitcase that Koyré—as he often did—prepared a selection of fundamental passages for his American trip, copying them first in French and then making what was their first translation into English (published below in an appendix).No doubt, after five years of exile, Koyré wished to familiarize himself with the work of contemporary thinkers, both French and German. Indeed, he had already been doing this, since just before the lecture in New York, Koyré took part in a private debate with Jean Wahl, Maurice Merleau-Ponty, Georges Blin, Maurice de Gandillac, and Gabriel Marcel on the subject of Heidegger’s philosophy. The last two speakers, together with Koyré himself, published their papers from the exchange in a journal and later in a volume introduced by Wahl. In his contribution Koyré emphasized Heidegger’s ideas of “concern [Sorge, souci]” and of “being unto death [zum Tode sein],” writing... (shrink)

Translated by Drew S. Burk and Anthony Paul Smith. Excerpted from Struggle and Utopia at the End Times of Philosophy , (Minneapolis: Univocal Publishing, 2012). THE END TIMES OF PHILOSOPHY The phrase “end times of philosophy” is not a new version of the “end of philosophy” or the “end of history,” themes which have become quite vulgar and nourish all hopes of revenge and powerlessness. Moreover, philosophy itself does not stop proclaiming its own death, admitting itself to be half dead (...) and doing nothing but providing ammunition for its adversaries. With our sights set on clearing up this nuance, we differentiate philosophy as an institutional entity, and the philosophizability of the World and History, of “thought-world,” which universalizes the narrow concept of philosophy and that of “capital.” We also give an eschatological and apocalyptical cause to this end, of “times” or “ages” rather than those of philosophical practice. Last but not least, it is the Future itself in the performativity of its ultimatum that determines this end times, reversing these times from the Identity the Future accorded to it, withdrawing the thought-world from the lie of its death. Why this style of axioms and oracles, these more or less subtle distinctions, old and debased, with an appeal to the ultimata , to end times and last words? We fight to give, parallel to the concept of Hell, its new theoretical position, for its philosophical return and its non-philosophical transformation. No more so than any other word, Hell is not a metaphor here, just the Principle of Sufficient World. Every man, no doubt, has his “hell” readily available, connivance, control, conformism, domestication, schooling, alienation, extermination, exploitation, oppression, anxiety, etc. We have our little list that the Contemporaries established in the previous century in the same way one used to construct lists of virtues and vices or honors and wealth. They invented it for us without knowing it, for us-the-Futures who have as our responsibility to invent its use. In the Christian and Gnostic tradition, the struggle of the End Times takes place “on earth.” The most sophisticated of believers have it taking place in Heaven as well, above all in Heaven. The various kinds of gnosis imagine infinite falls and vertiginous highs, the vertigo of salvation. On Earth as in Heaven, a hell is available. The Marxists have the law of profit and the control of production, the class struggle Capital imposes on man. The Nietzscheans, the dull grumble of the struggle in the foundations of World and History, the domestication of man, the society of control. The phenomenologists, the capture of being, the most superficial amongst them, the age of suspicion. But all of these “hells” are taken from World, History, Society, and Religion. What we call Hell is no longer of the order of these specific and total intra-worldly generalities, it is both more singular and more universal, no longer being at all of the same order, it is the determinant Identity of these small hells strung out through history but unified here in the name of the last Humaneity. It is even found within the French idiom for hell [ enfer ], en-fer literally means “in-irons.” We are as much “in-irons” as we are “alive” [ en-Vie ]. We believe in Hell but as non-philosophers and it is even because we are non-philosophers that we can believe in it outside of any sort of religion. Hell is less mythological than ideological, it combines philosophizability with universal capital. Under what form? A single term could work for them without being a metaphor or something they would participate in by analogy, a more innovative and conjectural term than control, more universal than profit. It would denote the growing and permanent extortion of a surplus-value of communication, of speed and of urgency in change, in productivity and in work, in the pressure of images and slogans. It would be worse than solicitation, more tenacious than capture, more active and persecutory than control, softer and more insidious than a frontal attack, just as perverse as questioning and accusation, less brutal and offensive than extermination, less ritualized than inquisition, it would be soft and dispersed, instantaneous and vicious, it would be a crime without declared violence. Collusion and conformism, it would be afraid to show itself. Related to rumor, from which it borrows its infinite and tortuous ways. It is harassment. As a modernized form of Hell, perhaps harassment has a long future in front of it, of innocent torture, slow assassination, in short the fall, but radical with no way of recovering and which tolerates only salvation. THE PHILOSOPHICAL PAST OF NON-PHILOSOPHY Non-philosophy is thus Man as the utopian identity of the philosophical form of the World, a utopia destined to transform it. We still have to understand these equations, in particular that of the being-uni-versed from Man, and this book adheres to this by re-exposing non-philosophy in a different way via one of its new possibilities. It uses this opportunity to once again take up formulations that lead to objections answering certain external critics, as well as revisiting diverging interpretations specific to non-philosophers. A portion of this book is devoted to going through these theories via a strict or “lengthy” presentation of non-philosophy, and its defense against more expeditious solutions. This work of rectification is the occasion, merely the occasion, for refocusing non-philosophy on Man (the “Man-in-person,” “Humaneity”), and in a more innovative manner, on its utopian vocation established since the book Future Christ . As for this “occasion,” it is quite obvious. A school of posture, not to say a school of thought, supposes a minimum of closure from the most liberating of knowledge, a heritage, its utilization, and its no less certain dispersal. Within its development, a variety of interpretations will no doubt appear, deviations that are as much normalizations, and a struggle against this multiplication of divergent tendencies. These are perhaps not inevitable evils, especially here, merely a normal development according to the twisting paths of history. But the problem is made worse by the fact that this school of non-philosophers is that of utopia. Not the former attempts devoted to commenting on the worst authoritarian and criminal forms of the past and the present, but utopia as the determinant principle for human life, or to put it another way, of the Future as an irreducible presupposition of (for) thinking the World and History. Non-philosophers are engaged in an aleatory navigation between the respect for the most rigorous utopia, whose rules are not that of the reproductive imagination but those from the Future determining imagination itself, as well as the temptations, diversions, and remorse of history. Little by little, we will begin to understand that the Future as we understand it no longer has any temporal consistency or positive content, without being an empty form or a nothingness, but that it is foreclosed to past and present History, just as it is foreclosed to the place of places, the World, and that it is the only method for establishing the practice of thinking in a non-imaginary instance. Because it is the World and History that are imaginary and have a terrible materiality, it is not necessarily utopia. We will overlap two objectives here: the defense of non-philosophy against the (non-) philosophers that we are, only occasionally, and the introduction of philosophy to a rigorous future. Together they set out to definitively render, without any possible return to philosophical conformism or towards the facilities of the past and present, the non-philosophical enterprise understood as utopia or uchronia. Imagination and speculation, left to themselves and thus undistinguished, are quite good for participating in the grand game of History but have little value or worse for the Future which is unimaginable and unintelligible and must be maintained as such. MAN-IN-PERSON AS SUSPENSION OF THE PHILOSOPHICAL CHORA The point where philosophical resistance is concentrated is without a doubt the invention of the Name-of-Man, first name, oracular as much as axiomatic, of the determining cause for the non-philosophical posture. And that which concentrates the differends is the style of non-philosophy as identity that possesses the dual aspect, of discipline and of the oeuvre, of the theorem and of the oracle. But the real difficulty in understanding the simplicity of non-philosophy is profoundly hidden in the depths of philosophy itself. Because philosophy, from Parmenides to Derrida, even Levinas, continues to be a divided gesture, without a veritable immanence, transforming its thematic contents of transcendence in also forgetting to transform the operative transcendence in the element from which the ontology of surface is established which we will call, in memory of Plato, the chorismos. The general effect of the chora literally gives place to philosophy, demanding binding and sutures to which we will once and for all “oppose” the Man-in-person, his power of cloning, and his future being. All philosophy contains a hinter-philosophy in which it deploys its operations and weaves its tradition like an understudy of a topographical nature and in the best of cases being itself topological. Philosophy as well consists of two levels, its pre-ontological operative conditions on the one hand, and its superficial theme on the other, it too has its presupposed, but is not aware of it or erases it within the unity of appearance named Logos. Rightly, the Logos, and its flash or lightning nature, possesses a “dark precursor,” the chora, which is as much a virtual image, and philosophy, dazzled by its own lightning flash, seems to completely forget about it at the same time it sets itself up within it. Non-philosophy risks taking this same path, of confusing what it believes to be the real with its phantom double, contenting itself to working on the thematic level of philosophy, not its surface objects and its idle chatter (we stopped talking about this a long time ago and in any case they are merely simple materials for inducing a work of transformation), but the transcendence-form of its objects. In the end it risks, through precipitation, taking back up the heritage of philosophy, a heritage of a misunderstood presupposed, even more profound than the play of transcendences. This is what the imperative of the radicality of immanence meant, to treat immanence in an immanent manner, not to make a new object out of it. And from here we get non- (philosophy) and its refusal of the Platonic chorismos , symbol of all abstraction, and thus all transcendental appearance. There are no illusions. The message will leave a heritage in tattered pieces and interpretations. But it was difficult not to dispute the differend to its core. There will be complete confusion of the multiple, possible, and necessary effectuations of non-philosophy with its interpretations. The non-philosophical or human freedom of philosophical effectuation and the philosophical freedom of interpretation. Effectuations demand non-philosophy to return to zero from the point of view of its philosophical material and thus also but within these limits the formulation of its axioms , but in no way providing from the outset divergent interpretations of the aforementioned axioms. They are divergent because they do not take into account the material from which these axioms are derived within non-philosophy, and because they do not see themselves as symptoms of another vision of the World. The utterances of non-philosophy are not mathematical theorems and pure axioms, they merely have a mathematical aspect . They are, by their extraction or origin, mathematical and transcendental. And by their determined function in-Real, within non-philosophy, they are identically in-the-last-Humaneity entities which have an aspect of an axiom and an aspect of interpretation (or an oracular aspect as we say) that attempts (sometimes it is ourselves who provide the occasion) to isolate and transform, in complete freedom of interpretation. There will be an opportunity to complain about the complex character of the language of non-philosophy, an idiom saturated with classical references, sophisticated in a contemporary way. Its freedom of decision up against the whole of philosophy demands these effects of “complication” and “privatization,” as the saying goes. But it also demands fighting against the drift [ dérive ] of the pedagogical-all and the mediatic-all that leads philosophy into the shallow depths of opinion, which is the site of its impossible death. The noble idealism of “pop-philosophy” has been consumed into a “philo-reality;” against this we propose philo-fiction. Parricide, which is at the bottom of these interpretations and which we can judge as being quite fertile, although it has informed tradition, only takes place once or within one lone meaning. In regards to Parmenides, it was possible; Plato introduced the Other as non-being and language, bringing into existence the philosophical system of the World, but is it possible to repeat it again with the same fecundity in regards to non-philosophy, this time in introducing (non) religion or (non) art, still mixing them without taking into account this mixture, alternatively as a philosophical or religious resentment? If philosophy begins via a crime, it is no doubt obliged to continue down similar pathways, to the effect that the crimes of philosophy, once the founding crime has been committed, are a reaction of self-defense. It is undoubtedly from this that we get Marx’s declaration that history begins by tragedy and repeats itself or ends in farce. The preservation of rigor and fecundity is, in every respect, a psychologically difficult task within a theory such as non-philosophy. Having posited an essential objective of liberation in regards to philosophy and its services, one has often understood this objective as an authorization of providing particular interpretations of its axioms and ends up obliterating their scope. This ends up confusing, on one hand, two kinds of freedoms in regards to non-philosophy, the freedom of its interpretations and the freedom of its effectuations. On the other hand, any defense of “principles” against precipitated interpretations is immediately taxed with a will to orthodoxy, a prohibitive objection when we are dealing with, as is the case here, a heretical theory of thought. Nevertheless, it is time to stop confusing heresy as the cause of thought with an ideology of heresies, which is certainly not at all our object, but rather a form of normalization. As for the “disciplinary” aspect, which is not the only aspect, it demands something other than philosophical “answers to objections,” a precision in the definition and use of its procedures in the formation of utterances, since non-philosophy is neither a supplementary doctrine interior to philosophy nor a vision of the world but one whose priority is a “vision of Man,” or rather Man as “vision” that implies a theory and a practice of philosophy. In the end, struggle is only one aspect of non-philosophy, not its whole or telos, struggle coming only from its materiality. In particular, if the discipline of non-philosophy is inseparable from struggle, it is not a question of reducing the monomaniacal obsession of its “marching orders.” This would reduce its complexity and kill its indivisibility, deploying it in a “long march” and a form of Maoization whose philosophical presuppositions no longer have any pertinence here, a case of the One and the Two, which are now cloned and no longer tied together. More generally, non-philosophy is a complex thought composed of a multitude of aspects, which is to say, unilateral interpretations, of a philosophical origin but reduced by their determination in-the-last-instance . The “liberalism” of non-philosophy is merely one of the aspects of which it is capable, not an essence. Similarly, it is only capable of having a “Maoist” aspect. Let us generalize. The weakness of non-philosophy is due to a specific cause, the determination-in-the-last-Humaneity of a subject for the World. Everything that has a right to the philosophical city can be said about it in turn and in a retaliatory mode since Man contributes nothing of himself that Man takes from the World. We can consider non-philosophy as being pretentious, absurd, idealistic, empty, materialistic, formalistic, contradictory, modern, post-modern, Zen, Buddhist, Marxist; it endures or tolerates, perhaps “appeals” to, or at least renders possible, sarcasms, ironies, and insults without even talking about the misunderstandings, partly for the same reason as psychoanalysis. All of this goes beyond simple “deviations.” They are its aspects, which is to say, its “unilateral” philosophical interpretations in both senses of the word, being either sufficient coming from the mouth of philosophers, or reduced to their absolute dimension of sufficiency and totality in the mouths of non-philosophers, and both times due to the weakness and strength of Man-in-person as their determination only in-the-last-instance. The non-philosopher is certainly not a Saint Paul fantasizing about a new Church. The non-philosopher is either a (Saint) Sebastian whose flesh is pierced with as many arrows as there are Churches, or a Christ persecuted by a Saint Paul. What is engaged in here is the practice of retaliation. A negative rule of the non-philosophical ethics of outlawed discussion by way of argumentation (the sufficient is you, the orthodox one is always you, you are the fashionable one, and when a master you are someone else) that is founded on the confusion of effectuations of non-philosophy and of its overall interpretations. Retaliation is the law but as with any too-human law, it must acquire a dimension that displaces it, or rather emplaces it and takes away its authority but not all of its effectiveness. If the non-philosopher is only authorized by himself, which is to say by philosophy but limited by the Real-of-the-last-instance, its critique of other non-philosophers can merely be retaliatory under the same conditions, only by the Real limited in-the last-instance. THE TREE OF PHILOSOPHICAL SAINTLINESS The thematic horizon or material of these debates is in the relationships between philosophy, religion as gnosis, and non-philosophy. It is inevitable, regarding non-philosophers in general (whether they are non-philosophers by name or simply its neighbors) that we often end up evoking Marx’s Holy Family and imagining, arranged on the neighboring branches of the tree of philosophy and annexed, sometimes abusively, to non-philosophy, authors who would quite evidently and quite rightly refuse this label. So it is that we find, for example, a Saint Michel, a Saint Alain, a Saint Gilles 1 without even mentioning the youngest who aspire as well to the freedom of “saintliness” and who make their muted voices heard here. If there is a Holy Family of non-philosophers, it extends completely beyond these three, provided that the sectarian spirit can save us. This book is organized in the following manner: To begin, in order to recall the essential part of the problematic, we have organized a Summary of Non-Philosophy , a vade-mecum of notions and basic problems, in a classical style. Secondly, there is Clarifications On the Three Axioms of Non-Philosophy , designed to posit their proper use as much as to elucidate their meaning. Thirdly, an analysis of Philosophizability and Practicity , both being extreme constituents of philosophical material or the contents of the third axiom. Fourthly, the heart of this work: Let us Make a Tabula Rasa of the Future or of Utopia as Method . Fifthly, we have a theoretical outline of a non-institutional utopia, The International Organization of Non-Philosophy, L’Organisation Non-Philosophique Internationale, (ONPHI) already created in practice but under the conditions of possibility and functioning from which here we put into question “de jure,” thus not without a perplexity concerning “facts,” in any case, without the capability of “getting to the bottom of things.” Sixthly, an essay characterizing The Right and the Left of Non-Philosophy , a brief topology of several philosophizing and normalizing positions of proponents or tenants of this problematic. Seventhly, Rebel in the Soul: A Theory of Future Struggle , a systematic discussion starting from a confrontation of non-philosophical gnosis and non-religious gnosis to the extent that they pose, posed or perhaps still will pose themselves as rivals to non-philosophy in a mixture of fidelity and infidelity. Despite the fact that it can also be read as putting non-philosophy into perspective: it pits against a standard Platonism two contemporary appropriations of Gnosticism. On the basis of the paradigm of Man who never ceases to come as the Future-in-person, each one of these moments strives to reestablish not the “true” non-philosophy and its orthodoxy, but the minimal conditions to respect in order to allow for its maximum fecundity. And in order to bring about one of the last possibilities of its development, making explicit Humaneity as a utopia-for-the-World. In introducing these considerations in the form of a “testament” and “ultimatum,” we want to indicate two things: First, that this is the last time we will intervene in order to caution non-philosophers against the temptation of returning and looking backwards towards philosophy. Only a disillusioned nostalgia for the former World and its traditions barely remain permissible to us.… Secondly, that non-philosophy is also a sort of ultimatum for considering one’s life and transforming one’s thought from the perspective of a uni-version rather than a conversion. Man as future is this ultimatum in action, not an impatient self-proclaimed genius, and philosophy is his testament. It is obviously the ultimatum that determines this testament as “old” with a view towards a life that is, itself, non-testamentary. In and of itself, the “old” can never bear a veritable eschaton. Thus, this book intersects according to the logic of this paradigm, under the sign of the ultimate or “last” as future, philosophy as testament and cautionary note for maintaining the non-philosophical oeuvre as “future” or “utopian.” We will see that between these two dimensions it cradles a theory of struggle. In the end, this book envisions non-philosophers in multiple ways. It inevitably sees them as subjects of knowledge, most often academics insofar as life in the world demands, but above all as close relatives of three great human types. The analyst and political militant are quite obvious, for non-philosophy is close to psychoanalysis and Marxism insofar as it transforms the subject in transforming philosophy. Here again, one must have a sense not of certain nuances but of aspects (of the interpretations, albeit unilateralized) and not in order to construct a simple proletarization or militarization of thought as theory. To be rigorous, rather than authoritarian or spiteful, is its task. And lastly, non-philosophy is a close relative of the spiritual but definitely not the spiritualist. Those who are spiritual are not at all spiritualists, for the spiritual oscillate between fury and tranquil rage, they are great destroyers of the forces of Philosophy and the State, which are united under the name of Conformism. They haunt the margins of philosophy, gnosis, mysticism, science fiction and even religions. Spiritual types are not only abstract mystics and quietists; they are heretics for the World. The task is to bring their heresy to the capacity of utopia, and their utopia to the capacity of the paradigm. NOTES We will recognize allusions, and sometimes references, to closely related or distant themes, but which are related, in the work of Michel Henry, Alain Badiou and via the representative of “non-religious” gnosis of a Platonic origin, in Gilles Grelet. It goes without saying that these discussions are current and local, neither concerning the ensemble of doctrines nor prejudging the eventual evolution of certain amongst them. This concerns defining certain proximities with non-philosophy (rather than adversaries which in some sense they are) and typological and emblematic differends (rather than conflicts with a certain author). (shrink)

In this piece, the editor of Common Knowledge introduces a long-term project titled “Antipolitics: Symposium in Memory of György Konrád.” Konrád, who died in 2019, was a founding member of the Common Knowledge editorial board, and the symposium is meant to find present-day applications for the arguments of his book Antipolitics, published in 1982 in Hungarian. Although written under Cold War conditions and to that extent dated, the book is directed against politics and politicians as such: “What Machiavelli's Prince (...) is to would-be rulers, Antipolitics should be for those resistant to being ruled — a treasury of axioms and apothegms,” which this editorial collects, updates, and analyzes. Given that democratic systems and constitutions are “open and subject to further development,” Konrád urges us to devise and run experiments in governance that apply “creative imagination” to problems that, in better times, we might leave to politicians to resolve. “The crisis for democracy today,” Perl argues, “is that bad government (as Konrád, Václav Havel, and Adam Michnik defined it in the 1980s) appears to be what various electorates crave and therefore choose.” Realizing that elections produce, as Aristotle said, oligarchy rather than democracy, we should rethink majority rule and experiment with sortition as a counterpolitical means of self-government. (shrink)

In his ‘Could Extended Objects Be Made Out of Simple Parts?: An Argument for “Atomless Gunk’’, Dean Zimmerman defends the claim that no physical object has a complete decomposition into simples but instead has among its parts a piece of ‘atomless gunk’ His argument for this claim rests in part upon a theory of the impenetrability of physical objects. In that theory, Zimmerman distinguishes ‘[t]he sort of impenetrability that is a part of the concept of’ a physical object from (...) ‘a power to resist the pressure of other objects’. He says that impenetrability is but ‘an essential inability’ of two physical objects to occupy one and the same region of space, an essential inability that is not a power of one physical object to exert repulsive forces on others in its vicinity. I argue that this theory of impenetrability is false and that Zimmerman's argument for the existence of ‘atomless gunk’ fails. (shrink)

The American Indian Movement, founded in 1968 in Minneapolis, burst into that turbulent time with passion, anger, and radical acts of resistance. Spurred by the Civil Rights movement, Native people began to protest the decades--centuries--of corruption, racism, and abuse they had endured. They argued for political, social, and cultural change, and they got attention. The photographs of activist Dick Bancroft, a key documentarian of AIM, provide a stunningly intimate view of this major piece of American history from 1970 (...) to 1981. Veteran journalist Laura Waterman Wittstock, who participated in events in Washington, DC, has interviewed a host of surviving participants to tell the stories behind the images. The words of Russell Means, Dennis Banks, Clyde Bellecourt, Eddie Benton Banai, Pat Bellanger, Elaine Salinas, Winona LaDuke, Bill Means, Ken Tilsen, Larry Leventhal, Jose Barreiro, and others tell the stories: the takeovers of federal buildings and the Winter Dam in Wisconsin, the founding of survival schools in the Twin Cities, the Wounded Knee trials, international conferences for indigenous rights, the Trail of Broken Treaties Caravan and the Longest Walk for Survival, powwows and camps and United Nations actions. This is the inside record of a movement that began to change a nation. Dick Bancroft has been the unofficial photographer for the American Indian Movement since 1970. He has traveled the world to take these photographs. Laura Waterman Wittstock, a writer and media consultant, covered the early years of the American Indian Movement as a journalist. Rigoberta Menchú Tum, recipient of the 1992 Nobel Peace Prize, is an activist for indigenous rights in Guatemala. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Christian Art of Dying: Learning from Jesus by Allen VerheyMandy Rodgers-GatesThe Christian Art of Dying: Learning from Jesus By Allen Verhey GRAND RAPIDS: WILLIAM B. EERDMANS, 2011. 423 PP. $30.00When Allen Verhey, my former adviser, learned that I would be writing this review, he warned me (with characteristic modesty) that I ought to be careful to critique something about his book, or people might become suspicious. It (...) seems fitting now that this piece is being published after his death, which gives me permission to praise the book without reserve.Over the last few decades, the topic of death and dying has garnered renewed interest among Christian ethicists, and Verhey has been at the center of these conversations. Such conversations have brought into focus the reality that death is not merely the cessation of a life lived well (the “true” subject of ethics) but also that “dying well” is a legitimate subject within ethics. Dying offers unique opportunities for practicing virtues and for loving God, self, and neighbor, and care for the dying and grieving represents an important test of the faithfulness of Christian communities.After beginning with his own assessment of death in the modern West—acknowledging the benefits and triumphs of medicine, along with the pitfalls of medicalized death and the failure of the Church to resist medicalization—Verhey moves to the heart of his book: a retrieval of the Ars Moriendi tradition. Verhey engages a fifteenth-century abridged manual on the art of dying that appeared within the wider genre, one accompanied by wood-block prints (whose images appear alongside Verhey’s text). Placing the little book within its historical context, Verhey describes the view of death presented in it, a “commendacion” of death. He then moves on to the Ars Moriendi’s presentation of temptations faced by the dying person (“Moriens”), the virtues required, and questions, instructions, and prayers for the dying. Along the way, Verhey offers some of his own analysis; but he reserves the bulk of his critique and reformulations for the third section of his book, “Toward a contemporary Ars Moriendi.”Verhey’s articulation of a contemporary Ars Moriendi begins with a “commendacion” of life, in contrast to the medieval commendation of death. He demonstrates how the lens of Jesus’s resurrection serves to illuminate a proper Christian view of death: life is a good—though not the ultimate good—and death and suffering per se ought not to be considered good. At the same time, we need not fear death. Death and suffering are not the greatest evils, and [End Page 191] sometimes they must be risked or accepted “for the sake of God’s cause in the world” (215). Taking its cue from the Ars Moriendi tradition of remembering Jesus, the next chapter traces some of the details of the Passion narratives, including the seven final words of Jesus, and comments on these as they pertain to a modern context of dying. This remembering is then brought to bear on a contemporary retelling of the virtues necessary for dying well—again, relying upon and yet transforming the earlier tradition in nuanced ways. Verhey’s final section, on Christian communities’ care for the dying, includes sustained reflection on the practices of those communities and the resources they offer, focusing particularly on prayer. It offers critiques and additions—for example, recognizing the value of increased silence at funerals, “instead of rushing to fill the silence of death with our words” (348).Verhey’s engagement with the Ars Moriendi literature offers a creative and exemplary use of tradition for a contemporary concern. Our age—one that often refuses to face death—is brought into conversation with another era, when people took their dying seriously. At the same time, Verhey is free with his critique of the tradition and the need to reshape it, primarily on theological grounds. The strength of this book, like all his work, lies in its attention to scripture and its theological nuance and depth. At the same time, he knew and understood people, and that knowledge and pastoral concern are evident throughout. Ultimately, he accomplishes what he expresses in the introduction: “I hope... (shrink)

CRISPR, a recently developed gene-editing tool, has become synonymous with rapid biological advancement. While gene editing had been performed in life sciences research for decades, genetic engineering with CRISPR is much more straightforward, faster, and less expensive—and thus, the technology has been rapidly democratized. CRISPR was built on a natural mechanism, the method by which bacteria resist infections from viruses called bacteriophage. Once infected, bacteria may recognize specific genetic sequences of the invading bacteriophage virus and chop its genetic material into (...) pieces. This bacterial immune response, discovered through basic research, has been exploited by scientists to develop a gene-editing tool... (shrink)

The scholarship on Frantz Fanon’s theorization of violence is crowded with interpretations that follow the Arendtian paradigm of violence. These interpretations often discuss whether violence is instrumental or non-instrumental in Fanon’s work. This reading, I believe, is the result of approaching Fanon through Hannah Arendt’s framing of violence, i.e. through a binary paradigm of instrumental versus non-instrumental violence. Even some Fanon scholars who question Arendt’s reading of Fanon, do so by employing a similar binary logic, hence repeating the same either/or (...) paradigm of instrumental versus non-instrumental violence. I aim to challenge such interpretations of Fanon by demonstrating that in the context of anticolonial armed struggle in which Fanon writes, the either/or framework of the instrumental/non-instrumental binary of violence cannot fully capture his perspective. Violence can indeed be conceived as having both constructive and instrumental aspects. My argument is supported by Fanon’s corpus, including his 1960 Accra speech, “Why We Use Violence” in Alienation and Freedom. This piece, I suggest, together with Fanon’s other writings, poses a direct challenge to the Arendtian binary of violence. My analysis resists positioning the difference between Arendt and Fanon through the instrumental/non-instrumental binary. By using Judith Butler’s notion of “frame” I complicate their difference and argue Arendt’s framing of violence prevents her from apprehending Fanon and – more importantly – interpretations of Fanon based on this Arendtian frame of violence inevitably lead to misinterpretations. (shrink)

This article is an introduction to contemporary experimental poetry by women. It considers the reasons for the resistance to such work in this country. It refutes arguments made against it, for example that avant-garde writing is elitist or not related to women's experience. It further suggests why this writing, in particular in its complex engagement with issues of language, subjectivity and gender, should in fact be of great interest to the woman/feminist reader. In particular, it suggests parallels between the (...) concerns of this work and those of feminist poststructuralism. Above all, throughout the piece, it attempts to introduce the ‘provisional pleasures’ of the contemporary avant-garde to the reader, introducing, quoting and providing multiple interpretations of the work of several diverse writers in this tradition. It aims to provide a sense of the linguistic and formal innovations of these writings, alongside a sense of their relevance to questions of female subjectivity and of women's relationship to the dominant discourses of our time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:'I am cringe, but I am free':A Reparative Reading of Assuming the Ecosexual PositionVanesa Raditz (bio) and Jess Martinez (bio)Annie Sprinkle, Beth Stephens, Jennie Klein, and Linda Montano. Assuming the Ecosexual Position: The Earth as Lover. University of Minnesota Press, 2021. ISBN 9781452965796.INTRODUCTIONEcosexual: Eco from the ancient Greek oikos; sexual from Latin, sexuales 1. a person who finds nature romantic, sensual, erotic, or sexy, which can include humans or (...) not. 2. A new sexual identity (self-identified). 3. A person who takes the Earth as their lover. 4. A term used in dating advertisements. 5. An environmental activist strategy. 6. A grassroots movement. 7. A person who has a more expanded concept of what sex and orgasm are beyond mainstream definitions. 8. A person who imagines sex as an ecology that extends beyond the physical body.Assuming the Ecosexual Position: The Earth As Lover (Sprinkle and Stephens 2021, 2)What does it mean to take the Earth as a lover? How does it change our experiences of pleasure in our bodies to give attention to the eroticism of air in our lungs, mud on our skin, or water in our throats? How would it shape our ethical commitments to these elements that we depend upon for life if we were to reconnect with them as pleasurable extensions of our own bodies? These questions are at the heart of the decades-long research-creation performance-art collaboration between Annie Sprinkle and Beth Stephens that has built an international "ecosexual" identity and movement, a tale that they document in their new book, Assuming the Ecosexual Position: The Earth as Lover. Part travelog, part relationship memoir, part how-to guide, Assuming the Ecosexual Position chronicles [End Page 105] the emergence and evolution of their ecosex concept and community through a playful recounting of over a decade of productions: performative weddings to the earth, moon, lakes, rocks and beyond; theatrical two-women sexecology performances that culminate in explicit sex in piles of earth; ecosex walking tours; workshops; public sex clinics; documentary films; and so much more.Woven throughout are philosophical reflections on the entanglements between bodies, land, sex, eroticism, and love, many of which emerge from ecofeminist thought, pollinated with the post-porn, sex-positive, queer feminism of the 80s and 90s. In introducing their philosophical inspirations, they name Greta Gaard's classic piece on queering ecofeminism (18) which stimulated a body of work describing the ways that patriarchal systems of power simultaneously oppress women, the erotic, and nature (1997). Drawing upon Sprinkle's background in porn and post-porn modernist theater, Stephens' background as a queer artist with a doctorate in Performance Studies, their mutual interest in sex education, and their love for the redwoods of Santa Cruz, the pair crafted ecosexuality as a particular lens for expanding queer ecofeminist inquiry into the power of sexual liberation for ecological liberation, which they do through the creative methodologies of performance. The performance art practice that they develop has significant inspiration from the Fluxus art movement, which resisted the authority of museums to define the meaning or value of art, and encouraged the active practice and production of art throughout life.Among the inspirations they list in the introduction to Assuming the Ecosexual Position, Donna Haraway and Kim TallBear stand out. Donna Haraway's presence is felt throughout the book—as a colleague of Stephens at UC Santa Cruz, as a friend at their Wedding to the Earth, as a collaborator in the documentary Water Makes Us Wet, and ultimately, as a posthuman philosopher (Haraway 2000) who has inspired Stephens and Sprinkle to "see ecosex as a conceptual art practice and a way of thinking beyond individual identity, and even beyond human beings, to envision a larger system—an ecology of relationships" (8). The authors also express the influence of their evolving relationship with Kim TallBear, with whom Beth studied while pursuing her PhD, and who has encouraged the pair to leverage this posthuman and new materialist consciousness towards decolonial politics (TallBear 2015). They cite one of TallBear's blog posts on ecosexuality, where she encourages ecosexuals to use a critical eye towards "New Age" appropriation of Native American ceremonies... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hispanic Philosophy in the Age of Discovery ed. by Kevin WhiteIván JaksicKevin White, editor. Hispanic Philosophy in the Age of Discovery. Washington, DC: Catholic University of America Press, 1997. Pp. xv + 326. Cloth, $59.95.The quincentennial of what has been termed the “encounter” between Europeans and Indians in the New World in the late fifteenth century furnished the occasion for much denunciation of the evils inflicted by greedy (...) intruders on the indigenous population and their environment. Many a conference was convened to reflect on such [End Page 463] events from the perspective of what appeared to be a consensus on the ultimately negative effects of European discovery, conquest, and colonization. In this context, it is quite remarkable that a conference on Hispanic philosophy in the age of discovery should have been convened to examine the philosophical figures and treatises of the era. As it turns out, this volume represents probably one of the most enduring outcomes of the myriad activities of 1992. This is a volume that ranges widely into the philosophical world of the period, brings to light the richness and significance of philosophers and their work, and provides a coherent and consistently well-researched set of essays.The volume consists of fifteen essays divided into five parts. Part I consists of one essay by Jorge J. E. Gracia which offers a wide panorama of Hispanic philosophy from 1500 to 1650, as well as a lucid interpretation of the historical reasons why Hispanic philosophy seems to have reached a dead end in the context of modern European philosophy, and suffered the neglect of intervening centuries. Part II consists of one essay by Mauricio Beuchot on discussions concerning the conquest of Mexico; two essays by John Doyle and Marcelo Sánchez-Sorondo on the work of Francisco de Vitoria; and two essays on the celebrated dispute between Juan Ginés de Sepúlveda and Bartolomé de las Casas in 1550–51, the first by Eduardo Andújar and the second by Rafael Alvira and Alfredo Cruz. Part III includes essays by William Wallace on Domingo de Soto and Galileo’s science; Juan Antonio Widow on the economic thought of the Spanish Scholastics; Jean de Groot on the mysticism of Teresa de Avila; Yves Floucat on St. John of the Cross, and Mirko Skarica on the problem of future contingents. Part IV includes three essays by Norman Wells, Stephen Menn, and Carlos G. Noreña on the works of Francisco Suárez, probably the best-known Spanish thinker of the period. The volume closes with Part V, which has a long essay by John Deely on John Poinsot’s doctrine of signs.A volume of this scope and nature is bound to contain some overlap and repetition, as is the case with the pieces concerning the Las Casas-Sepúlveda debate. And yet these essays read well because the authors seriously undermine the conventional treatment of Sepúlveda as the hawkish defender of Indian slavery, and place him in the context of a larger Renaissance view of non-European peoples. Las Casas, in the view of the authors, had a great deal more in common with his opponent than the historiography has thus far suggested. In other sections of the volume, the variety of approaches and subjects on the part of the contributors challenges the reader to constantly shift grounds. Part III, for instance, takes us from the disquisitions on the velocity of falling bodies to the moral aspects of economic thought, and to the meaning of mystical theology. Fortunately, the competence of the researchers makes all individual pieces worthwhile even if this particular reviewer would have been somewhat more stringent with the space allotted to make a point.Contributors to this book leave no doubt as to the importance of their subjects, and yet they resist the temptation of exaggerating the extent of the influence of many of the Spanish authors on other European thinkers. Indeed, the essay by Norman Wells shows that while one must consider the linkages between Suárez and Descartes, there is [End Page 464] no reason to believe that the latter made Suárez’s position on the moderni... (shrink)

Philosophers and psychologists often assume that mirror reflections are optical illusions. According to many authors, what we see in a mirror appears to be behind it. I discuss two strategies to resist this piece of dogma. As I will show, the conviction that mirror reflections are illusions is rooted in a confused conception of the relations between location, direction, and visibility. This conception is unacceptable to those who take seriously the way in which mirrors contribute to our experience of (...) the world. My argument may be read as an advertisement of the neglected field of philosophical catoptrics, the philosophical study of the optical properties of mirrors. It enables us to recast familiar issues in the philosophy of perception. (shrink)

The first version of this piece was written for the opening panel of the 2017 Conference of the Association for Feminist Ethics and Social Theory in Florida. The panel, “Decolonial Feminism: Theories and Praxis,” offered the opportunity for Black and Latinx feminist philosophers and decolonial scholars to consider their arrival to decolonial feminisms, their various points of emergence, and the utility of decolonial politics for liberation movements and organizing. I was prepared to discuss some genealogies of US Latina decolonial (...) feminisms with a focus on the relationship of decolonial feminisms to other feminist articulations—for example, a consideration of the relation and divergence between decolonial and postcolonial feminism. I was particularly interested in examining some of the “decolonizing constellations of resistance and love” created by Black, Indigenous, Latinx feminisms. I wanted to track the intergenerational labor of relationality as a part of women of color politics and to discuss how these politics unseat coloniality in its variant iterations. (shrink)

Spinoza's writing style has been judged, by various commentators, alternatively as excessively dry or lavishly rich, depending on the precise text that these scholars had in mind when making such judgments. This chapter offers an overview of a selected list of Scholastic debates intersecting the CM. It highlights how Spinoza consciously intervenes in them, showing a certain awareness of the intricacies of Scholastic discourse. Spinoza opens the CM with a discussion of the term “being,” claiming that “being is badly divided (...) into real being and being of reason”. The chapter focuses on how Spinoza can be interpreted as responding to the canonical thought of Francisco Suárez, since the Leiden Scholastics interacted especially with the Escuela de Salamanca. One of Spinoza's main piéces de résistance is the doctrine of the inseparability between the will and intellect of God. Spinoza has a much stronger thesis regarding the “external” identity of God's intellect, power, and will. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

This book traces the trajectory of John J. McDermott's philosophical career through a selection of his essays. Many were originally occasional pieces and address specific issues in American thought and culture. Together they constitute a mosaic of McDermott's philosophy, showing its roots in an American conception of experience. Though he draws heavily on the thought of William James and the pragmatists, McDermott has his own unique perspective on philosophy and American life. He presents this to the reader in exquisitely crafted (...) prose. Drawing inspiration from American history, from existentialist themes, and from personal experiences, he offers a dramatic consideration of our culture's failures and successes. McDermott crosses disciplinary boundaries to draw on whatever works to help make sense of the issues with which he is dealing--issues rooted in medical practice, political events, pedagogical habits, and the worlds of the arts. His work thus resists simple categorization. It is precisely this that makes his vibrant prose appealing to so many both inside and outside the world of American philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Culture of LiteracySusan B. BrillThe Culture of Literacy, by Wlad Godzich; 317 pp. Cambridge: Harvard University Press, 1994, $49.95 cloth, $18.95 paper.This is a collection of essays that spans the range of Wlad Godzich’s work in the 1980s, including several pieces on Paul de Man and a number of others that served as introductions to works by Jauss, Maravall, Nerlich, and Certeau. Even though most of the (...) essays in this volume have already seen the light of publication (only one is new), grouping them together in one volume recasts them into an interdiscursive realm. Rather than being narrowed by their initial venues of publication, they are arranged around the subject of The Culture of Literacy, eliciting new and different questions.In the introduction, Godzich emphasizes that literacy programs in American universities, which developed out of the “New Vocationalism” of the seventies and eighties, “evince a profound distrust of interpretation and other critical functions in relation to language, and proclaim mastery and competence as their goals” (p. 14). Within this framework, theory has raised the voice of difference, challenging the established organization of knowledge as displayed in the academic disciplines and sub-disciplines. Writing programs are one example of the extent to which theory’s original hope of destabilizing [End Page 385] hierarchies of power through greater accessibility to university education has been co-opted and transformed into the commodity of the New Vocationalist literacy programs.This discussion poses the larger problem of the entire collection. Godzich perceives an “epochal shift” in concepts and practices of literacy not only in regards to writing programs but in the struggles over theory, in the reception of de Man, and in the challenge offered by emergent literatures whose voices raise new questions about the literary and critical presuppositions within which all university scholars function.Reprinted alongside such essays as “In-Quest of Modernity,” “The Further Possibility of Knowledge,” “The Changing Face of History,” and “After the Storyteller,” Godzich’s earlier essays on de Man are recontextualized beyond the debates concerning de Man’s wartime writings. The question whether it is possible to consider de Man’s later work divorced from his earlier writings is elided. I almost wish that Godzich had simply brought together his already published essays without the inclusion of the one new piece, “Paul de Man and the Perils of Intelligence,” which largely serves as Godzich’s defense of de Man and of Godzich’s own earlier writings on him. A footnote appended to one of the other articles would have been sufficient. Most readers would place Godzich’s articles on de Man in the context of the years when they were written—prior to the public knowledge of de Man’s collaborationist work. But when Godzich writes, “I doubt whether de Man was personally antisemitic—certainly nothing in his postwar life suggests it—but he certainly was culturally antisemitic during the war and probably before as well” (p. 136), he mires his subsequent essays even more deeply in the very difficulties he attempts to set aside. Even if de Man were antisemitic throughout his life, that in no way invalidates his criticism. We might read de Man differently, but we would read him nevertheless. Godzich’s discussions of Blindness and Insight and The Resistance to Theory demonstrate de Man’s contribution to the poststructural “overturning of modernity” and to our linguistic reconceptualizing of our notions of the self and the social. De Man becomes the pivotal focus that frees the reader from the seductive narratives of written history, official or state-sanctioned culture (specifically Spanish literary history), storytelling authority, disciplinary specialization, and the New Vocationalism. As Godzich says, “de Man’s remapping has liberated praxis from the hold that theory has had over it” (p. 169).There is courage in this collection—the courage to republish that which in a new context takes on a significance other than what the original articles bespoke. In this way, The Culture of Literacy itself exemplifies the “further possibility of knowledge” that Godzich’s essays celebrate and describe.Susan B. BrillBradley UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)