The threat-advantage hypothesis that threatening or negative faces can be discriminated preattentively has often been tested in the visual search paradigm with schematic stimuli. The results have been heterogeneous, suggesting that the choice of particular stimuli have profound effects on search efficiency. Because this conclusion is hampered by differences in experimental procedure, I selected examples from past literature and presented replicas of stimulus pairs (schematic positive and negative faces) in a within-participants design. Although there was a (...) consistent advantage for angry-face targets, search efficiency varied between 8 and 35 ms/item, yielding no clear evidence for the threat-advantage hypothesis. Furthermore, search efficiency for negative- and positive-face targets was highly correlated over stimulus pairs, which implies that whatever complicates the search for the negative face of a pair also complicates the search for the positive face. This results pattern argues against the hypothesised preattentive detector. (shrink)

Attentional capture by schematic emotional faces was investigated in two experiments using the flanker task devised by Eriksen and Eriksen (1974). In Experiment 1, participants were presented with a central target (a schematic face that was either positive or negative) flanked by two identical distractors, one on either side (schematic faces that were positive, negative, or neutral). The objective was to identify the central target as quickly as possible. The impact of the flankers depended on (...) their emotional expression. Consistent with a threat advantage hypothesis (negative faces are processed faster and attract more processing resources), responses to positive faces were slower when these were flanked by (response incompatible) negative faces as compared with positive or neutral faces, whereas responses to negative faces were unaffected by the identity of the flankers. Experiment 2 was a standard flanker task with letter stimuli except that the task-neutral flankers were schematic faces that were either positive, negative, or emotionally neutral. In this case, in which faces and emotional expressions were to be ignored, performance seemed entirely unaffected by the faces. This result suggests that attentional capture by emotional faces is contingent on attentional control settings. (shrink)

An extensive literature has been accumulating, in recent years, on face-processing in sheep and on the relevance of faces for social interaction in this species. In spite of this, spontaneous preferences for face or non-face stimuli in lambs have not been reported. In this study we tested the spontaneous preference of 8-day-old lambs (N = 9) for three pairs of stimuli. In each pair, one stimulus was a face-like display, whereas the other presented the same inner features displaced in (...) unnatural positions. One pair of stimuli was obtained from photographic images of ewes’ faces, the other two pairs were schematic face-like stimuli. Lambs could differentiate the two stimuli obtained by photos of conspecifics, looking longer at the non-face stimulus (p < 0.05). We interpret this as a novelty preference, proving that few day-old lambs have already encoded the structural properties that define a face and recognize violations of those general properties. (shrink)

I contend that hope can be of significant value to individuals even as they acknowledge that there is no cure for their affliction. In particular, I argue that it is good for such patients to hope for (i) a meaningful quality of life in their remaining days and (ii) a good death. If this thesis is on target, then there is an important place for clinicians to employ the language of hope with reference to ends other than a cure. I (...) then conclude with a few schematic comments on how the clinical aims discussed here might figure in a broader understanding of hope as a virtue. (shrink)

This study examines whether human gaze lacking the confounding factor of eye whites can be processed unconsciously and explores the critical aspects for such process. Utilizing the continuous flash suppression paradigm, a schematic face—with direct or averted gaze, and with neutral, fearful or happy expressions—was presented to one eye while dynamic masks rendered it invisible to the other eye. Schematic faces were used to avoid unwanted influence from salient eye whites. Participants’ detection time of anything other than (...) the masks was used as an index of unconscious processing time. Faster detection was found for faces with direct gaze than those with averted gaze. However, there was no difference between detection times for different facial expressions and upright-face, inverted-face, and eyes-only conditions . These results confirm that, with schematic faces, gaze can be processed unconsciously regardless of facial expression, and eyes alone are sufficient for such process. (shrink)

It is hypothesised that threatening stimuli are detected better due to their salience or physical properties. However, these stimuli are typically embedded in a rich context, motivating the question whether threat detection is facilitated via learning of contexts in which threat stimuli appear. To address this question, we presented threatening face targets in new or old spatial configurations consisting of schematic faces and found that detection of threatening targets was faster in old configurations. This indicates that individuals are (...) able to learn regularities within visual contexts and use this contextual information to guide detection of threatening targets. Next, we presented threatening and non-threatening face targets embedded in new or old spatial configurations. Detection of threatening targets was facilitated in old configurations, and this effect was reversed for non-threatening targets. Present findings show that detection of threatening targets is driven not only by stimulus properties as theorised traditionally but also by learning of contexts in which threatening stimuli appear. Further, results show that context learning for threatening targets obstructs context learning for non-threatening targets. Overall, in addition to typically emphasised bottom-up factors, our findings highlight the importance of top-down factors such as context and learning in detection of salient, threatening stimuli. (shrink)

Using a classical conditioning technique, this study investigated whether nonconscious associative learning could be indexed by event-related brain activity . There were three phases. In a preconditioning baseline phase, pleasant and unpleasant facial schematics were presented in awareness . A conditioning phase followed, in which stimuli were presented outside awareness , with an unpleasant face linked to an aversive shock and a pleasant face not linked to a shock. The third, postconditioning phase, involved stimulus presentations in awareness . Evidence for (...) acquisition of a conditional response was sought by comparing suprathreshold pre- and postconditioning phases, as well as in the subthreshold conditioning phase itself. For the pre-postconditioning phase analyses, significant ERP component differences differentiating CS+ and CS− were observed for N1, P2, and especially P3. For the conditioning phase, significant differences were observed in the 100–400 ms. post-stimulus region reflecting a CS+ processing negativity. Brain activity does indeed index the acquisition of a conditional response to subthreshold stimuli. Associative learning can occur outside awareness. (shrink)

To show how the case of Mary Shelley’s Victor Frankenstein brings light to the ethical and moral issues raised in Institutional Review Board protocols, we nest an imaginary IRB proposal dated August 1790 by Victor Frankenstein within a discussion of the importance and function of the IRB. Considering the world of science as would have appeared in 1790 when Victor was a student at Ingolstadt, we offer a schematic overview of a fecund moment when advances in comparative anatomy, medical (...) experimentation and theories of life involving animalcules and animal electricity sparked intensive debates about the basic principles of life and the relationship between body and soul. Constructing an IRB application based upon myriad speculations circulating up to 1790, we imagine how Victor would have drawn upon his contemporaries’ scientific work to justify the feasibility of his project, as well as how he might have outlined the ethical implications of his plan to animate life from “dead” tissues. In Mary Shelley’s Frankenstein, Victor failed to consider his creature’s autonomy, vulnerability, and welfare. In this IRB proposal, we show Victor facing those issues of justice and emphasize how the novel can be an important component in courses or workshops on research ethics. Had Victor Frankenstein had to submit an IRB proposal tragedy may have been averted, for he would have been compelled to consider the consequences of his experiment and acknowledge, if not fulfill, his concomitant responsibilities to the creature that he abandoned and left to fend for itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Elizabeth Hanson-Smith AUGUSTINE'S CONFESSIONS: THE CONCRETE REFERENT The chief problem facing critics who would consider the Confessions as both a literary work and a philosophical treatise remains the connection between the first nine books, the autobiography, and the last four, the metaphysical speculations on time, eternity, epistemology, and theology. A persistent desire to justify the work as an aesthetic whole has led critics on a search for thematic and (...) structural unity; they have been more successful in the former endeavor than in the latter. The interpretation of the work's plot as a peregrinatio animae, a pilgrimage of the soul, is now generally accepted as definitive; but attempts to find structural unity within that broad outline have not progressed beyond Marrou's characterization of the work as a "musical composition."1 His analogy to music has not been anchored to any concrete structural features of the Confessions and does not illuminate the connections between its content and its form. I shall attempt to prove that a unified structural model for the development of the soul in the Confessions does indeed exist and is outlined in Augustine's earlier discursive work, the De quantitate animae.2 The seven degrees or steps (gradus) of the soul's ascent to God, as sketched in the De quantitate, are deliberately fleshed out and translated into a mimetic, narrative version in the Confessions. Placing the two works side by side gives us a unique opportunity to examine a typically medieval literary form, the educative journey, in its relationship to its philosophical premises. Such a study reveals the inner formal unity of the literary work and, further, provides us with significant evidence for a re-examination of Augustine's Neo-Platonism, his supposed dualism, and his influence on later works, both literary and philosophical. In the Confessions we see one of the earliest Christian blendings of several models: first, the educative journey, the archetypal pattern familiar from the Odyssey, the Aeneid, and even The Golden Ass of Apuleius. Augustine's version, like later medieval cosmologies, also 176 Elizabeth Hanson-Smith1 77 includes a vision of the cosmic order and its relationship to human order, elements of significance in pagan philosophical works such as the Timaeus and the Dream of Scipio. But Augustine's journey also depends upon the Judeo-Christian conception of history as a series of figurae or types of the Messiah: the protagonist of the Christian educative journey joins thefigurae of the Biblical past. Christ's incarnation as Mansoul and his life on earth are the pattern of universal history from Fall to Apocalypse; Christ's life becomes a figurative pattern for the actions of Everyman.3 The Confessions is one of the earliest Christian works to apply this pattern in a narrative context. Augustine was also preoccupied with the Hexaemeron, the six days of creation and the seventh of rest. He views the exegesis of Genesis as an explanation of all subsequent life; the Ages of Man recapitulate the days of creation, as do the sacraments and the seven steps in the ascent of the soul. Thus, to the figurative pattern of Christ's "pilgrimage" from creating Logos to Incarnate God and finally to judge at the Second Coming, Augustine applies the schematic seven-fold ascent found in the De quantitate: the soul passes through the ascending steps of animation, sense, art, religion, tranquillity, initiation, and contemplation—each of which is figured by or patterned on a stage in Christ's life, as represented by the sacraments, and each of which, further, reflects a segment of universal history. The seven steps are not simply the movement of the individual soul, but the progress of Mansoul on its journey to Apocalypse. The stylistic differences between the two works—one an exposition written as Socratic dialogue, the other a metaphorical personal narrative —will no doubt give rise to differing interpretations; but one may, I think, object to certain details I suggest while still agreeing that the De quantitate provides the structuring model. Let me first define the major areas of difference between the two works. In the De quantitate, each of the levels or steps of the soul takes on a discrete, separate... (shrink)

This paper defends the claim that there is deontic knowledge - knowledge of rightness and wrongness - which can be inferred from aretaic knowledge - knowledge of the possession of virtue-attributes. In doing so, it seeks to address two forceful objections, identified at the outset. The first is that the only way of making the claim appear plausible is by assuming a practice of virtue-ascription which actually makes the reverse inference. The second objection is that there is that "aretaic cognitivism" (...) will face a familiar non-cognitivist challenge - that the cognitivist must choose between an "intuitionism" and a "naturalism", against both of which there are well-known attacks - and that there is no reason to believe that this challenge can be met any more readily than by a direct deontic cognitivism. After a first section in which I outline a certain weak sense of the term "norm" in which our actions are often normatively guided, the defence of aretaic cognitivism begins with a schematic expression of the practical norms which are central to a number of important moral virtues. Guidance by any one of the schematized norms is not sufficient to guarantee the virtuousness of an action, because there may be countervailing applications of competing practical norms. However, aretaic knowledge does not require knowledge that there are no such countervailing considerations - and what it does require can apparently be satisfied. Therefore, I argue, both objections can be met: there are at least some circumstances in which our possession of aretaic knowledge does not depend on the possession of deontic knowledge, and since it does not, there is a way between the horns of the non-cognitivist's dilemma. (shrink)

Limits need to be set on AI’s ability to simulate human feelings. Ensuring that chatbots don’t use emotive language, including emojis, would be a good start. Emojis are particularly manipulative. Humans instinctively respond to shapes that look like faces — even cartoonish or schematic ones — and emojis can induce these reactions.

There is clearly some area of thematic overlap between the subject matter of Edmund Husserl's genetic phenomenology and studies of cognitive development. I aim in this paper to clarify the extent of this overlap. This will, I hope, serve as an indicator about whether genetic phenomenology might be able to shed some light on actual cognitive-development phenomena. To begin with, I differentiate two strands within Husserl's genetic phenomenology, an idealized and a concrete approach. After providing a schematic outline of (...) the former I argue that its application to actual, empirical cases of cognitive development faces serious challenges. I then set out the concrete approach, in two stages. First, I explain the importance of bodily experience on the concrete approach and note some affinities it has with the work of Piaget and embodied approaches to cognitive development. Second, I introduce the notion of affect as the engine of the developmental process on the concrete approach, an idea that, moreover, helps clarify how the concrete approach overcomes the problems facing the idealized approach. Finally, I propose that Vygotsky's notion of the 'zone of proximal development' can serve as a bridge between Husserl's concrete approach and contemporary scaffolded and extended accounts of cognitive development. (shrink)

(1) In contradistinction to mathematics, physics and biology, psychology and psychiatry deal to a large extent with the verbal behaviour of their objects. They are faced with two kinds of sense-problems: those with which the observer has to do in his theory-construction, and those which are characteristic of the verbal behaviour of his subjects.(2) Apart from a schematic and simplified usage, as it occurs in filling-up exercises and other laboratory verbal behaviour, the psychologist has to do with statements the (...) sense of which, on the one hand, is determined by the usage of his subjects and, on the other hand, so far as his records and theory are concerned, by his own language-sense. (shrink)

Damasio and LeDoux are neurobiologists, that is, brain scientists who work in the tradition begun by William James. I will introduce James from time to time for his historical importance and also because of the valuable schematization of the issues which his relatively uncomplicated view of the human organism allows. James considered what he was doing to be psychology, while Damasio and LeDoux regard themselves as biologists. James was also committed to understanding emotion strictly as a function of the nervous (...) system. Brain science still does, though this focus is distressed by the need, faced by any theory of emotion, to deal with feeling. Feeling—or consciousness generally—is something that brain science is still struggling to accommodate. (shrink)

Education and cognition research today generally recognize the tri-dimensional nature of reasoning processes as involving cognitive, social and emotional phenomena. However, there is so far no theoretical framework articulating these three dimensions from a descriptive perspective. This paper aims at presenting a first model of how group emotions work in collective reasoning, and specifies their social and cognitive functions. This model is inspired both from a multidisciplinary literature review and our extensive previous empirical work on an international corpus of videotaped (...) student debates. The cognitive function of emotions is defined in reference to the process of schematization and associated emotional framing. On the other hand, the social function of emotions refers to recognition-oriented behaviors that correspond to engagement into specific types of group talk, implying specific politeness rules or face-preservation systems. We believe that our multi-dimensional and multi-level approach to group reasoning, which mostly employs a linguistic perspective, can be applied to a diversity of contexts. We hope it will serve as a basis for further discussion on the role of emotions in reasoning among the interdisciplinary community of argumentation studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 125.1 (2004) 135-140 [Access article in PDF] Barry B. Powell. Writing and the Origins of Greek Literature. Cambridge: Cambridge University Press, 2002. xvi + 210 pp. 57 black-and-white figs. Cloth, $55. Harvey Yunis, ed. Written Texts and the Rise of Literate Culture in Ancient Greece. Cambridge: Cambridge University Press, 2003. x + 262 pp. Cloth, $55. These two works, published within a year of each (...) other, exist in an uneasy but complementary relationship. Each illustrates the merits and drawbacks of the other's approach, and neither enters into dialogue with the central premises of its opposite number. But, together, they do illustrate the point (or impasse) at which a central question in classical scholarship now stands. Almost a half decade since the ground-breaking studies by Goody and Watt, Havelock, and others, scholars still puzzle over the precise impact that the spread of the alphabet had on Greek society and mentality, and they document Greece's gradual transformation from an oral or song culture to a text-based one. While Barry Powell focuses on the early history of this transformation, and the essays in Harvey Yunis' study cast a broader temporal and thematic net, many of the same preoccupations mark both inquiries. What are the chief areas of difference between oral and literate modes of reception and transmission? How and why do texts come into being? How are they deployed?Powell's work is very much a continuation and refinement of his controversial publication of the early 1990s, Homer and the Origin of the Greek Alphabet(Cambridge, 1991). There, he argued that the Greek alphabet, unique for its capacity to record the sounds of speech, was invented by a single individual, at a single time and place, and for the express purpose of preserving the Iliadand Odyssey. There, too, he emphasized that writing, whatever the notational form it assumed, imperfectly mirrors speech and that the two systems of communication are fundamentally different. His position remains largely unchanged, although now the focus shifts. In this new work, he sets theories concerning the origins of the Homeric songs within the context of the particular nature of alphabetic writing, mounting a critique against those who neglect the "special role that alphabetic writing... played in the preservation, creation, and dissemination of archaic and classical Greek poetry" (188). It is an enterprise that takes him on a circuitous path. In a seemingly rather random concatenation of chapters ("Text," "Orality and Genre," "Myth," to name a few) Powell spends a substantial portion of the work showing how the existing terms used to debate the Homeric question [End Page 135] are riddled with vagaries and contradictions. But while he excellently illustrates how loose is the deployment of these expressions and concepts in existing scholarship, he fails to supply new and more exact terms. The reader is left with a rather dispirited sense that we cannot even talk about such things as "Tradition" or "Literacy" (persuasively shown to be no monolithic concept) without falling into a morass of confusion. A similar spirit of destruction, rather than reconstruction, marks his treatment of M. L. West's The East Face of Helicon(Oxford, 1997). If, for all the evidence that West (and Powell himself) amasses for the deep penetration of Eastern myth and literary forms on the Greek tradition, West's study neglects the special nature of alphabetic writing, then how exactly did the novel system change the material borrowed by the Greeks?More satisfying are later chapters where Powell grounds some of the observations made in these early, often brief and schematic discussions, in actual case studies, demonstrating his admirable knowledge of, and facility in, the decipherment of the writing systems of the Near and Far East. Particularly rich is the contrast that emerges between the multilingual Near East, with the possibility of cultural transmission through texts that multilingualism allows, and the monolingual culture of Greece. Fascinating, too, are the close readings of Egyptian and Chinese texts as part of an illustration of the... (shrink)

The essays in this volume convince me of something which, until now was only a hypothesis of mine. Academic discourse, and perhaps American university discourse in particular, possesses an extraordinary ability to absorb, digest, and neutralize all of the key, radical or dramatic moments of thought, particularly, a fortiori, of contemporary though. Marxism in the United States, though marginalized, remains deafly dominant and exercises a fascination that we have not seen in Europe since the Russian Proletkult of the 1930s. Post-Heideggerian (...) "deconstructivism" though esoteric, is welcomed in the United States as an antidote to analytic philosophy or, rather, as a way to valorize, through contrast, that philosophy. Only one theoretical breakthrough seems consistently to mobilize resistances, rejections and deafness: psychoanalysis—not as the "plague" allowed by Freud to implant itself in America as a "commerce in couches" but rather as that which, with Freud and after him, has led the psychoanalytic decentering of the speaking subject to the very foundations of language. It is this latter direction that I will be exploring here, with no other hope than to awaken the resistances and, perhaps, the attention of a concerned few, after the event .For I have the impression that the "professionalism" discussed throughout the "Politics of Interpretation" conference is never as strong as when professionals denounce it. In fact, the same preanalytic rationality unites them all, "conservatives" and "revolutionaries"—in all cases, jealous guardians of their academic "chairs" whose very existence, I am sure, is thrown into question and put into jeopardy by psychoanalytic discourse. I would therefore schematically summarize what is to follow in this way:1. There are political implications inherent in the act of interpretation itself, whatever meaning that interpretation bestows. What is the meaning, interest, and benefit of the interpretive position itself, a position from which I wish to give meaning to an enigma? To give a political meaning to something is perhaps only the ultimate consequence to he epistemological attitude which consists, simply, of the desire to give meaning. This attitude is not innocent but, rather, is rooted in the speaking subjects' need to reassure himself of his image and his identity faced with an object. Political interpretation is thus the apogee of the obsessive quest for A Meaning.2. The psychoanalytic intervention within Western knowledge has a fundamentally deceptive effect. Psychoanalysis, critical and dissolvent cuts through political illusions, fantasies, and beliefs to the extent that they consist in providing only one meaning, an uncriticizable ultimate Meaning, to human behavior. If such a situation can lead to despair within the polis, we must not forget that it is also a source of lucidity and ethics. The psychoanalytic intervention is, from this point of view, a counterweight, an antidote, to political discourse which, without it, is free to become our modern religion: the final explanation.3. The political interpretations of our century have produced two powerful and totalitarian results: fascism and Stalinism. Parallel to the socioeconomic reasons for these phenomena, there exists as well, another, more intrinsic reason: the simple desire to give a meaning to explain, to provide the answer, to interpret. In that context I will briefly discuss Louis Ferdinand Céline's texts insofar as the ideological interpretations given by him are an example of political delirium in avant-garde writing.Julia Kristeva,professor of linguistics at the University of Paris VII and a regular visiting professor at Columbia University, is the author of Desire in Language: A Semiotic Approach to Literature and Art and About Chinese Women.Margaret Waller, a doctoral candidate in French at Columbia University, is currently translating Kristeva's Revolution du langage poétique. (shrink)

Using a classical conditioning technique, this study investigated whether nonconscious associative learning could be indexed by event-related brain activity . There were three phases. In a preconditioning baseline phase, pleasant and unpleasant facial schematics were presented in awareness . A conditioning phase followed, in which stimuli were presented outside awareness , with an unpleasant face linked to an aversive shock and a pleasant face not linked to a shock. The third, postconditioning phase, involved stimulus presentations in awareness . Evidence for (...) acquisition of a conditional response was sought by comparing suprathreshold pre- and postconditioning phases, as well as in the subthreshold conditioning phase itself. For the pre-postconditioning phase analyses, significant ERP component differences differentiating CS+ and CS− were observed for N1, P2, and especially P3. For the conditioning phase, significant differences were observed in the 100–400 ms. post-stimulus region reflecting a CS+ processing negativity. Brain activity does indeed index the acquisition of a conditional response to subthreshold stimuli. Associative learning can occur outside awareness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.3 (2003) 477-481 [Access article in PDF] Martha C. Nussbaum and Juha Sihvola, eds. The Sleep of Reason: Erotic Experience and Sexual Ethics in Ancient Greece and Rome. Chicago: University of Chicago Press, 2002. viii + 457 pp. Paper, $26. The Sleep of Reason derives from a conference held at the Finnish Institute at Rome in 1997. In their introduction to the volume, the editors, (...) Martha Nussbaum and Juha Sihvola, note that the incommensurability between sexual behavior/desire and reason was a perennial concern to ancient philosophers and that the modern discipline of philosophy has avoided this topic because of skittishness about "emotional topics" (3) and a pronounced tendency to consider ancient philosophy in a decontextualized manner. The editors accordingly have assembled a mixture of papers on ancient philosophy and other aspects of ancient culture to bring philosophical rigor and context to discussions of ancient sexual ethics. With only a third of the papers specifically about philosophy, however, the volume is more "context" than philosophy. Of greater concern, however, is their claim that the book covers both Greece and Rome. With the exception of Cantarella's discussion of Roman marriage law, Konstan's of Catullus, and Goldhill's few pages on Tertullian, substantive discussion of Latin sources is lacking. The book treats classical Greece in some detail and then skips through Greek sources to the Second Sophistic. Indeed, the failure to engage imperial Rome substantively leaves Goldhill's essay damagingly decontextualized. The editors' tendentious sketch of modern scholarship on ancient sexual behavior (7-8), which overlooks important contributions of Eva Keuls and Amy Richlin, is likewise regrettable.In the first paper, "Forgetting Foucault: Acts, Identities, and the History of Sexuality," David Halperin prescribes a proper way to investigate ancient sexual activity. Beginning with a discussion of Michel Foucault's famous statement on the progress from sodomy ("a category of forbidden acts") to the homosexual ("a life form... a species"), Halperin persuasively argues that Foucault's statement has been misunderstood as social history when it is better regarded "as a claim about the internal logic and systematic functioning of two different discursive styles of sexual disqualification" (28). Elsewhere, however, Halperin's disciplining zeal is wearisome. Opposing the terms deviant sexual morphology and deviant sexual subjectivity (the former deviance in gender presentation and the latter identity based on sexual activity), Halperin predictably asserts that the cinaedus possessed a deviant sexual morphology whose non-normative sexual behavior sprang from innate effeminacy. According to ideology recoverable from the sources, this is correct. Consideration of the cinaedus latens (from Firmicus [End Page 477] Maternus; see below), to take an example, brings up a question: what are we to make of this cinaedus if "the kinaidos's betrayal of his masculine gender identity was so spectacular as to brand him a deviant type of person and to inscribe his deviant identity all over his face and body" (34)? Caution is called for here; discourse surely produces less schematic results (see, e.g., Foucault, The History of Sexuality, Vol. 1 [1978], 96, or Judith Butler, GenderTrouble [1990], 28).In "Eros and Ethical Norms: Philosophers Respond to a Cultural Dilemma," Nussbaum surveys different approaches to the uneasy coexistence of sexual desire and education in pederastic relationships: if Eros is about loss of control in the face of desire, will the ero \ menos be cared for properly or merely be the means for desire's satisfaction? Nussbaum compares Socrates' explication of a "generous madness," wherein reverence and gratitude inspire kindly care, to the Stoics' valuation of friendship undertaken with consummate self-control. Nussbaum's work here has considerable value in its explication of the Stoic position and in her conclusion on the usefulness of analysis of ancient philosophic responses to ero \ s in current debates about sexuality (86-87).The next two papers, Maarit Kaimio's "Erotic Experience in the Conjugal Bed: Good Wives in Greek Tragedy" and Stephen Halliwell's "Aristophanic Sex: The Erotics of Shamelessness," take us to the Athenian stage. Starting from the observation that words for "bed"... (shrink)

Nature doesn’t seem reducible to rigid systems and classifications. Although resorting to metaphors may give rise to contradictions, it allows the elaboration of explanatory models which help us to organize thought and to find orientation in the natural world. Giving form through metaphors stands for seeking the way by which mankind looks for both solutions and new configurations to face nature’s enigmas. The creation of morphological and/or evolutionary metaphors framed in a schematic way what Hugo called “man’s groping in (...) the universe of nature”. Circles, arrows, spirals, scales, etc. stood for research directions: for example, scale became metaphor of an “animal universe” that – as it was thought to be in the Eighteenth Century – organized itself in a bottom-up scale. The circle referred to “metamorphosis” , which reminds us of Goethe’s thinking. Metaphors are never an aim in themselves: they always determine a way of thinking as well as choices and research directions. Such a use of the linguistic image deeply influences the very notion of metaphor as figures of speech . If, on the one hand, metaphor shows unknown structures of nature, on the other it rediscovers its own ‘naturalness’. Starting from the deep interconnection between functional and formal tasks in morphological discussion, metaphor turned from “figure” to “figuration”, Gestaltung , and in doing so it revealed a dynamic structure able to make us understand new links and directions in the sense of a metamorphic nature. Far from limiting itself to a historical retrospection, the methodological significance of having recourse to metaphor profoundly informs the most recent questions in the scientific field and notably in life sciences, in the very moment in which it leads and encourages a renewed dialogue between sciences and philosophy. (shrink)

Bourdieu’s thought is disturbing. Provocative. Scandalous even, at least for those who do not easily tolerate the unmitigated truth about the social. Nonetheless his ideas, among the most important and innovative of our time, are here to stay. This thought has taken form in the course of a career and through works on diverse subjects that have constructed a far-reaching analytical model of social life, which the author calls more readily an anthropology rather than a sociology. In their totality, they (...) constitute today an original and powerful proposal to explain human practices. In the face of criticisms commonly leveled at Bourdieu’s thought (notably the charge that it reduces everything to a single schematic model), it is important to identify the spirit of his enterprise. Early on, it is true, his thought drew on a few fundamental concepts—the trilogy habitus, field (champ), practice (pratique)—to which it constantly returned, and followed a clearly defined trajectory. At the same time, however, he continually reformulated, adapted, and refined his analytical model, depending on the operations to which he subjected new objects of inquiry. The regenerative and transformative force of his thought was supported by two convictions. First, that there being nothing more vain than theory for theory’s sake, it is preferable that theoretical production originate in the study of concrete and occasionally very specific cases. Second, that in order to escape stereotypical classifications, boundaries separating disciplines are best transgressed, thereby favoring new constructions of the object of inquiry. (shrink)

A number of those that have advocated for theoretical pluralism in epistemology suggest that naturalistic arguments from cognitive science can support their case. Yet these theorists have traditionally faced two pressing needs. First, they have needed a cognitive science adequate to the task. Second, they have needed a bridge between whatever scientific account of cognition they favor and the normative claims of a pluralistic epistemology. Both of these challenges are addressed below in an argument for theoretical pluralism that brings together (...) two recent prototype-activation approaches to cognition. The paper dovetails Paul Churchland's neuro-computational approach with George Lakoff and Mark Johnson's image schematic approach, and shows how they mutually support each other in an increasingly persuasive naturalistic case for theoretical pluralism in epistemology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.1 (2002) 133-134 [Access article in PDF] Book Review Heidegger's Concept of Truth Daniel O. Dahlstrom. Heidegger's Concept of Truth. New York: Cambridge University Press, 2001. Pp. xxx + 462. Cloth, $59.95. This somewhat trite and overly generic English title, from a Heideggerian perspective, is better specified by the title of the German original, which was perhaps too provocative for an analytical English (...) audience conditioned by Carnap's critique of Heidegger: "The Prejudice of Logic: Investigations into the Theory of Truth of the Early Heidegger." The author's more-than-literal, amplifying and supplementing translation of his own German text of 1994 aims to face up to all the "hard interpretive decisions" (xxii) that Heidegger poses by leaving no German term uninterpreted or untranslated, including even Dasein as "being-here." The translation is thus more illuminating from the start in the sense in which "logic" too narrowly conceived and claimed to be the sole arbiter of truth becomes a "disabling" prejudice (xvi) rather than the "enabling prejudice" that logic normally is for any discourse and thought. Dahlstrom's focus is on the early and so "logical" Heidegger (1912-29), before he decided to lose even logic (better, "onto-theo-logic") in a more original tornadic "whirl" of abyssal questioning in the "turning." Hence, the opening pages point to Heidegger's quest for a more original philosophical (transcendental, phenomenological, ontological, hermeneutical) "logic of philosophy" (Emil Lask's phrase) that "produces" the fundamental concepts or categories for any field of being, including itself. This original productive logic of category formation "transcends" the formal logic of judgment while founding it.It is the transcendental and material logic that Heidegger found in Kant, which is oriented toward the spatio-temporal schematisms of the imagination that emerge from the transcendental aesthetic to mediate the application of the judicative forms of the understanding into befitting categories of reality. But Dahlstrom does not get around to detail this quasi-Kantian account of material logic, or Lask's version of it, which finds its fundamental stratum in the already categorized (i.e., conceptually interpreted) originally unitary object, prior to its distinction into form and matter, subject and predicate, etc. Lask calls this a priori categorized realm of intentionally structured meaning (intelligibility, truth) a "panarchy of the logos," which Heidegger will readily transform into his "hermeneutics of facticity" (double genitive: "life lays itself out, interprets itself") and identify with the prejudicative, prepredicative temporal realm of truth as "disclosedness" and "unconcealment." [End Page 134]But Dahlstrom does find, in Husserl's unpublished logic courses of the early twenties in which "Analyses of Passive Synthesis" are carried out, a "genetic logic" on the level of the "transcendental aesthetic" in the "complicated intentional systems" of the sensing human body situating itself by constituting the time and space of its world prepredicatively and prejudicatively, a "logic" or logos which accordingly "anticipates much of the analysis of being-in-the-world undertaken in Being and Time" (155). And yet Heidegger, who as Husserl's trusted assistant was granted generous access to such unpublished manuscripts, "remained silent" about these clear anticipations. Instead he criticizes Husserl publicly in his own courses, culminating in Being and Time, for neglecting the question of the "being of intentionality" as well as of the "sense" of being as such, which Heidegger finds in "timeliness" (Zeitlichkeit), the originary time of being-here. Yet in arriving at this temporal sense of being, Heidegger "clearly appropriates the horizonal (allegedly preobjective and presubjective) character of time-consciousness elaborated by Husserl." Why, then, "Heidegger's silence"? "These breakthroughs of Husserl's later thinking are not mentioned by Heidegger because he wants to appropriate them in his own way and without the framework out of which they arose. An injustice and a disservice is thus done to Husserl's phenomenology... [which is] the price of the philosophical maturity of its most famous student... [as] his thinking moves to a plane beyond the reach of Husserlian phenomenology and terminology" (169f).This in-depth discussion of Heidegger's relationship with Husserl... (shrink)

This paper examines and criticizes the defence of toleration due to John Rawls in Political Liberalism, and similar strategies mobilized in defence of toleration. It argues that the notion of the burdens of judgement, used by Rawls to defend his doctrine of reasonable pluralism, faces incoherence: schematically, either disagreement succumbs to reason, or vice versa. On similar grounds, reasonable disagreement defences of neutrality fail because of a double-mindedness about the relation between private judgements and public reason. This problem arises, (...) it is argued, from an attempt to make private judgements determinative in the formation of political and legal outcomes, even while subjecting the latter’s justification to norms of public reason. Deference to private judgements in political justification tends to countenance sedition, and this applies also to modern liberal attempts such as Rawls’s to ground toleration in private judgements. (shrink)

This book of tightly woven dialogues engages prominent thinkers in a discussion about the role of culture-broadly construed-in contemporary society and politics. Faced with the conceptual inflation of the notion of 'culture,' which now imposes itself as an indispensable issue in contemporary moral and political debates, these dynamic exchanges seek to rethink culture and critique beyond the schematic models that have often predominated, such as the opposition between "mainstream multiculturalism" and the "clash of civilizations." Prefaced by an introduction relating (...) current cultural debates to the critical theory tradition, this book examines the politics of culture and the spirit of critique from three different vantage points. To begin, Gabriel Rockhill and Alfredo Gomez-Muller provide a stage-setting dialogue, followed by discussions with two major representatives of contemporary critical theory: Seyla Benhabib and Nancy Fraser. Working at the horizons of this tradition, Judith Butler, Immanuel Wallerstein, and Cornel West then provide important critical perspectives on cultural politics. The book's concluding section engages with Michael Sandel and Will Kymlicka, who work out of the Rawlsian tradition yet are uniquely concerned with the issue of culture, broadly understood. The epilogue, an interview with Axel Honneth, returns to the core issue of critical theory in cultural politics. Ranging from recent developments and progressive interventions in critical theory to dialogues that incorporate its insights into larger discussions of social and political philosophy, this book sharpens old critical tools while developing new strategies for rethinking the role of 'culture' in contemporary society. (shrink)

In this paper I piece present an account of Husserl’s approach to the phenomenological reconstruction of consciousness’ immemorial past, a problem, I suggest, that is quite pertinent for defenders of Lockean psychological continuity views of personal identity. To begin, I sketch the background of the problem facing the very project of a genetic phenomenology, within which the reconstructive analysis is situated. While the young Husserl took genetic matters to be irrelevant to the main task of phenomenology, he would later come (...) to see their importance and, indeed, centrality as the precursor and subsoil for the rationality of consciousness. I then argue that there is a close connection between reconstruction and genetic phenomenology, such that reconstruction is a necessary component of the program of genetic phenomenology, and I set out an argument of Husserl’s compelling one to enter into reconstructive territory. With that impetus, I schematically lay out the main contours one finds in Husserl’s practice of reconstructive techniques. We find him taking two distinct approaches, that of the individual viewed egologically (through the abstract lens of a single individual’s consciousness) and as embedded in interpersonal relations. Husserl occasionally calls these the approach “from within” and “from without,” respectively. Ultimately, the two approaches are not only complementary, but require one another. In closing, I argue that these considerations lead to a blurring of lines between the genetic and generative phenomenological registers, which challenges the prevalent view that there is a sharp demarcation of the two. (shrink)

The work of Emmanuel Levinas has been both abundantly recognized and criticized in moral philosophy. This Janus-faced attitude is also present in ecological theories, which find fertile ground in Levinas’ thought without being able to explain its apparent anthropocentrism. Opposing hermeneutical paths tend to focus either on otherness as an absolute alterity, implying a potentially unlimited responsibility for all alterities, or on otherness as a re-foundation of humanism, leading to the conclusion that responsibility is unlimited only among humans. Here I (...) seek to disentangle Levinas from these two extreme interpretations, first by reviewing ecological readings of his philosophy, in both the Francophone and Anglophone spheres, and second by analyzing specific Levinasian terms that might be particularly helpful for a non-anthropocentric or deep ecology. The main results of this investigation are a distinction between the ethics of responsibility and the ethics of vulnerability, an explanation of Levinasian compulsory or methodological humanism, and a schematic model of sensibility as enjoyment/vulnerability capable of supporting deep ecology without the traditional notions of free will, rights, or values. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Humaneness and Justice in the Analects:On Tao Jiang's Origins of Moral-Political Philosophy in Early ChinaHagop Sarkissian (bio)IntroductionOne of the central themes of Tao Jiang's Origins of Moral-Political Philosophy in Early China is the contestation of the values of partialist humaneness and impartialist justice across diverse thinkers and texts throughout the classical period. His departure point is the Analects, which displays a keen awareness of the difficulties in balancing these (...) opposing values. Jiang's analysis of this dynamic is skillful, filled with Sinological detail and philosophical analysis.Here, I hope to add to Jiang's discussion, focusing on two broad points. First, I suggest two different interpretations of Jiang's analysis of ren 仁 as preference for kin in the Analects, and argue that one of these interpretations is more successful than the other. Second, I argue that aligning humaneness with partiality on the one hand, and justice with impartiality on the other, may obscure some of the Analect's views on these topics, even while illuminating others. In particular, I try to argue that justice cannot be understood as consisting of impartiality alone.Humaneness and JusticeJiang provides "thin or baseline definitions" of the key values of humaneness and justice so as to "schematize … competing normative values operative in the moral-political project during the classical period while … leaving room for variations on these broad underlying values among different inherited texts and the thinkers they are attributed to" (p. 35). They are as follows:[H]umaneness is understood in this book as the … natural inclination to be partial toward those who are close to us, especially our family/kin members; justice is defined here as … our exercise of impartial judgment on the merits of persons and states of affairs, especially in lieu of articulated and publicized standards and codes, irrespective of their relations to us. In other words, humaneness is partialist in nature, whereas justice is impartialist. Humaneness is understood in relational terms, whereas justice is non-relational by contrast. More importantly, precisely because of the relational nature of humaneness, [End Page 429] agent and recipient cannot be switched or substituted, whereas in justice agent and recipient are switchable and substitutable.This framework is fruitful, allowing Jiang to draw connections across texts and thinkers, highlighting aspects of the debates that too often remain hidden from view. His detailed analyses of concepts such as xiao (filial piety), jianai (impartial care), fa (objective standards), tian (Heaven), and shu (conscientious perspective taking) show how they relate to these overarching values. The schematization works, and the book repays careful reading.There are also points, however, where the alignment of humaneness with partiality on the one hand, and justice with impartiality on the other, can lead those familiar with these texts to wonder whether the presentation has, as a result, oversimplified some complex issues. I discuss two of these in what follows.Ren and PartialityJiang claims that the concept of ren in the Analects has two components or elements to it. As he puts it,[T]he way ren is articulated by Confucius, it contains both a partialist element favoring one's family and an impartialist element when dealing with others. … To put it in terms of the central terminologies employed in this book, ren in the Analects is a comprehensive category that contains the elements of both humaneness and justice.Jiang 2021, p. 53)Jiang's analysis of ren in terms of impartiality is compelling, so I will focus on the other half of the analysis—specifically, the claim that the concept of ren itself is partialistic (or, more accurately, has a notable partialist element). This claim may surprise some readers. For example, ren has often been contrasted with the partialistic xiao (filial piety) as the more impartial, public-facing virtue in Confucianism. Indeed, this contrast has been the focus of a strenuous and strident debate in Confucian ethics in modern times (see, e.g., Guo 2007; Guo 2004; Liu 2003), and has a pedigree going at least as far back as the Hou Hanshu (Chan 2004). However, such debates span multiple texts and thinkers in the Confucian tradition. We can still ask the more pointed... (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kierkegaard on Faith and LoveDaniel WhistlerSharon Krishek. Kierkegaard on Faith and Love. Modern European Philosophy. Cambridge-New York: Cambridge University Press, 2009. Pp. xiii + 201. Cloth, $90.00.Contemporary scholarship on Kierkegaard is frequently confronted by two problems. First, there is the question of Kierkegaard’s worldliness: does Kierkegaard have anything substantial to say about politics, society, and the ethical dilemmas of intersubjective existence? Second, there remains the perennial problem of (...) the rhetorical singularity of Kierkegaard’s writings: can anything conceptually coherent be salvaged from the panoply of pseudonyms, indirections, and ironies? And, if so, to what extent do such abstractions falsify the richness of a particular text? The virtue of Krishek’s Kierkegaard on Faith and Love is that it answers both these questions in a radical and challenging manner. To the problem of worldliness, Krishek responds by insisting on the presence of a disposition to “full concreteness” or “a full return to the world” in Kierkegaard’s account of love (128). In answer to the problem of rhetorical singularity, Krishek embraces Kierkegaard’s incoherence, so as to affirm Fear and Trembling against Works of Love (or “Kierkegaard versus Kierkegaard,” as she puts it on p. 138).Kierkegaard on Faith and Love is a sustained investigation into the status and structure of love in Kierkegaard’s corpus. It thus takes its place alongside Evans’s Kierkegaard’s Ethics of Love (Oxford, 2004), Ferreira’s Love’s Grateful Striving (Oxford, 2001), Amy Laura Hall’s Kierkegaard and the Treachery of Love (Cambridge, 2002), Ronald L. Hall’s The Human Embrace (Penn State, 2000), and Mooney’s Love and Faith in Kierkegaard (Indiana, 2008) as one more contribution to the recent explosion of literature on the subject. However, Krishek is distinctive in limiting her scope to romantic love alone; she steadfastly reconstructs [End Page 302] a Kierkegaardian phenomenology of romantic attitudes toward the beloved—the proper and improper modes of comportment when in love.The first half of the book is split into three chapters, which together present a hierarchy of these different comportments. The reader passes by inadequate attempts to hold onto the beloved through recollection (chapter 2) and resignation (chapter 3) to arrive at the Kierkegaardian ideal of faithful or “faith-full” love. Modelled on the knight of faith of Fear and Trembling, the faith-full lover accomplishes a double movement in which he resigns himself to the loss of the beloved while simultaneously trusting in her return. Unfortunately, on the way to this ideal, some of the great lovers of Kierkegaard’s writings (Don Juan, the Seducer) are brushed aside in an overly schematic way. This is a shame because they surely have much to teach us about his views on romantic love. Nevertheless, the effect of Krishek’s whistle-stop tour through the aesthetic works is to quickly bring us face to face with Fear and Trembling, in which, she contends, we find a positive model of romantic love. Making the early, pseudonymous Fear and Trembling determinative of Kierkegaard’s conception of love is a bold move, especially in light of the tendency in recent Kierkegaard scholarship to valorize the “rediscovered” religious works. Yet it pays off: Krishek’s choice not only allows a rich and affirmative description of romantic love to emerge; it also sheds light on Fear and Trembling itself, especially the Merman episode.The final three chapters of Kierkegaard on Faith and Love take up the task of justifying this ideal of faith-full love. First, Krishek attempts to show its conceptual plausibility by appealing to non-Kierkegaardian examples: the novel On the Way Home, Kubrik’s Eyes Wide Shut, and Almodóvar’s All About My Mother. Second, she engages at length with existing scholarship, employing the double movement of love abstracted from Fear and Trembling to great effect to overturn the orthodox emphasis on resignation, failure, and asceticism in Kierkegaard’s account of love. Finally, Krishek turns to Works of Love, which is usually regarded as Kierkegaard’s mature and definitive statement of a philosophy of love. She challenges the derogatory attitude Kierkegaard takes therein to romantic or “preferential” love with her more affirmative model drawn from Fear... (shrink)

This article examines the theme of imagination in Ricoeur’s Living Up to Death (2009[2007]). I argue that his meditations on death are centered on the question of the imagination, and that the exorcizing mode of detachment so crucial to Ricoeur’s position amounts to a ‘refiguration’ of what he terms the ‘make-believe’. Drawing on his work in Time and Narrative , I chart the instances of the make-believe attached to death and dying as disclosures of vulnerability attending the stages of Ricoeur’s (...) threefold mimesis. This means that Living Up to Death involves a struggle of the narrative or poetic imagination to refigure the misleading con-figurations of the natural imagination when faced with death. Ricoeur’s interest in ‘schematizing’ the eternal and Essential, as well, marks a specific connection between the labors of the productive imagination and the refigura-tion of death as a transfiguration of the living. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:284 HISTORY OF PHILOSOPHY traversing "the great Arabian Desert," as Paten has so justly described it. Ewing's commentary is too compact to satisfy even a beginner. Paton's monumental two volumes are too de= tailed. The interest of Kemp Smith's classic work in the historical problem of the Critique prevents the student from gaining an over=all view of the long and prolix argument of the Analytic. Wolff's Commentary meets the (...) insufficiencies of these works remarkably well. The author presents a strong case for the view that the Analytic from beginning to end is one closely reasoned argument that reaches its climax only in the Second Analogy where Kant justifies the principle of causality. The lucidity with which he describes this adventure is masterful. In his introduction Wolff frames the questions which Kant undertook to answer. Beginning with Kant's pre=Critical writings, that worked within the problematic set up by Leibniz and Newton, he shows the transformation in viewpoint that Kant underwent by his exposure to Hume. In his section on Kant's method, the author dwells upon the modes of logic employed by Kant in his arguments. He contrasts the synthetic me~hod which Kant usuaIIy adopts in the Analytic with the analytic procedure of the Prolegomena. Wolff's observations here are extremely useful. They serve to explain the mysterious transitions and apparent backtracking of the Analytic, while at the same time they show the paramount importance of the transcendental unity of apperception in Kant's chain of argument. The author then proceeds to a step-by=step analysis of the two deductions. Faced with the problem of explaining the development of Kant's thought through the two editions, he provides schematic outlines of four successive versions of the argument at the end of each section in his discussion. This is certainly one of the most valuable features of Wolff's book. These schemas clearly isolate the premisses and put into logical progression material that is often misplaced in the actual text from what we would expect to be its natural sequence. After short discussions of the Schematism and the First Analogy, the author moves on the Second Analogy (causality), which he treats as the real kernel of the Analytic. Wolff shows that Kant's definition of synthesis is stated in merely general terms in the deductions and needs the Second Analogy for adequate development. Wolff then recasts the four preliminary arguments in a fifth and final schema. Beginning with the unity of apperception and the temporal character of perception as his two premisses, he deduces the existence of a mental synthesis stated in terms equivalent to the principle of causality. In interpreting the five arguments of the Analytic, Wolff employs three chief guidlines. First, Kant develops his doctrine by taking the "epistemological turn," rejecting the attempts of earlier subjectivists to pass beyond their ideas to some kind of metaphysical statement about the reality beyond. Kant seeks the characteristics and bases of the knowledge of objects, rather than the characteristics of the objects in themselves. Secondly, Kant characterizes the knowledge of objects by the modes of necessity and universality. Finally, Kant grounds these characteristics by a dynamic analysis of the cognitive act; the mind, in its functioning, must conform to innate rules that govern the association of mental images. The author's discussion of Kant's notion of "rule" is probably the most illuminatingsection of his whole commen= tary. While the author does not gloss over the difficulties of Kant's text, the reader sometimes feels that Wolff sees logic and neatness in Kant's argument where there is none. This minor defect detracts but little, however, from the immense service which the author has done for the student of the Critique. CHARLESJ. RIECK, 0.P. Aquinas Institute, River Forest, Illinois Young Nietzsche and the Wagnerian Experience. By Frederick R. Love. (Chapel Hill, University of North Carolina Press, 1963.Pp. xi + 103.) Professor Love's little book differs from previous studies of Nietzsche's relation to Wagner by taking into account Nietzsche's compositions, including unpublished items in the BOOK REVIEWS 285 Nietzsche archives in Weimar.1 The author visited the archives, which are now... (shrink)

Guthrie contends that religion can best be understood as systematic anthropomorphism - the attribution of human characteristics to nonhuman things and events. Religion, he says, consists of seeing the world as human like. He offers a fascinating array of examples to show how this strategy pervades secular life and how it characterizes religious experience.

This collection of essays by one of the most prominent and internationally respected philosophers of action theory is concerned with deepening our understanding of the notion of intention. In Bratman's view, when we settle on a plan for action we are committing ourselves to future conduct in ways that help support important forms of coordination and organization both within the life of the agent and interpersonally. These essays enrich that account of commitment involved in intending, and explore its implications for (...) our understanding of temptation and self-control, shared intention and shared cooperative activity, and moral responsibility. The essays offer extensive discussions of related views by, among others, Donald Davidson, Hector-Neri Castañeda, Christine Korsgaard, Harry Frankfurt, and P. F. Strawson. This collection will be a valuable resource for a wide range of philosophers and their students. (shrink)

This book defends an original and pluralist theory of when and why discrimination wrongs people, in particular, through unfair subordination, through the violation of their right to a particular deliberative freedom, or through the denial to them of access to a basic good.