This chapter contains sections titled: The Elusiveness of Fulfillment and Complete Resignation Nietzsche's “New Happiness” Notes References Further Reading.

At the beginning of the nineteenth century, the elusiveness of fulfillment was a source of much perplexity. You believe that the possession of something that you desire will bring you fulfillment, but the acquisition of it leaves you dissatisfied. Arthur Schopenhauer said that this is because the objects of desire lack any intrinsic value. By contrast, Nietzsche argued that our experience of boredom reflects our desire to engage in a challenging form of activity.

Arthur Schopenhauer is predominantly considered a kind of arch-pessimist and founder of the movement classified as "modern philosophical pessimism," due to his innovative claim to maintain, in a systematic way and on “objective reasons”, that non-being is better than being. However, two other groups of scholars follow different directions. One of them does not deny Schopenhauer's pessimism but attributes it especially to subjective reasons, such as his melancholic behavior. The other group does not even consider Schopenhauer as a pessimist, but, (...) on the contrary, as an optimist, an indication that we lack clear and explicit criteria for understanding what Schopenhauerian pessimism would be. I argue that there is, indeed, a pessimistic "logic" objectively articulated within Schopenhauer's philosophy, and that therefore we must examine Schopenhauerian pessimism according to the philosophical reasons that make up his argumentative plan. To support this hypothesis, my first objective is to outline such a plan, following an informal model of the argumentative analysis. This approach also guides a more reflective critical assessment of his pessimistic "logic". Thus, the second objective is to introduce some parameters for further evaluation of the argumentative reach of Schopenhauerian pessimism. (shrink)

It is rare that we have Arthur Schopenhauer and Thomas Hobbes in the same publication, and when this occurs, it is usually aimed at exploring their dissenting political views. However, this study is based on the belief that both philosophers have significant similarities in their theories about the creation of the individual as a human being. Schopenhauer and Hobbes have, in their constructions, the pessimistic view of human nature and, furthermore, there are prominent similarities in the construction of the human (...) machinery, similarities that at times appear to merge. The goals that Hobbes and Schopenhauer had when they wrote their works were different, however, what we show in this study is that pessimism is a prolific path for philosophical theory. (shrink)

Robustness concepts are often invoked to manage two obstacles confronting models of ecological systems: complexity and uncertainty. The intuitive idea is that any result derived from many idealized but credible models is thereby made more reliable or is better confirmed. An appropriate basis for this inference has proven elusive. Here, several representations of robustness analysis are vetted, paying particular attention to complex models of ecosystems and the global climate. The claim that robustness is itself confirmatory because robustness analysis employs a (...) Bayesian variety-of-evidence argument is criticized, but recent overwhelming pessimism about robustness may have a silver lining. (shrink)

This article discusses the influence that Schopenhauer’s thought had on Mihai Eminescu’s work with reference to the idea of “pessimism.” It also considers Schopenhauer’s influence on Romanian philosophy and literature at the end of the nineteenth century. We shall examine Eminescu’s alleged “Schopenhauerian pessimism,” considering firstly “pessimism” as a part of Eminescu’s “myth.” Secondly, we shall cover the critical reception of Eminescu’s “Schopenhauerian pessimism,” discussing the existing literary and philosophical scholarship. Finding that there are issues for debate regarding (...) Schopenhauer’s alleged influence upon Eminescu, we argue that Eminescu’s “Schopenhauerian pessimism” may be a “legend.” The article examines the connection between Eminescu and one of Schopenhauer’s most influential followers, Eduard von Hartmann. (shrink)

Nietzsche’s relationship with Wagner has long been a source of controversy and has given rise to a number of important studies, including this major breakthrough in Nietzsche scholarship, first published in 1982. In this work Hollinrake contends that the nature and extent of the anti-Wagnerian pastiche and polemic in _Thus Spake Zarathustra_ is arguably the most important factor in the association between the two. Thus Wagner, as the purveyor of a particular brand of Schopenhauerian pessimism, is here revealed as (...) one of the principle sources – and targets – of _Zarathustra_. Whilst addressed primarily to students of German Literature, this book will also be of interest to musicians, philosophers and students of the history of culture and ideas. (shrink)

The present essay looks to add to the body of literature that seeks to clarify the nature of vengeance and evaluate it morally. However, unlike previous philosophical investigations of vengeance, my essay examines it not from the standpoint of impersonal justice but from the perspective of the one who seeks it, to determine whether it is good for the would-be avenger. The values I measure it by are fulfillment and self-knowledge. The paper has two major parts. In the first, (...) I argue that vengefulness is motivated by two ends: allaying a sense of vulnerability and preserving a positive self-conception. The emotional benefits of a vengeful disposition, I claim, come at the expense of self-knowledge. They are therefore unstable and prone to give way when vengefulness is translated into action. In the second part, I try to substantiate this claim by examining two criticisms of vengeance: that its pursuit can diminish the avenger by consuming him and that it is self-defeating. Framing vengefulness within broader psychoanalytic accounts of the repetition compulsion and projection, I endorse versions of both criticisms that tie vengeance’s failure to provide fulfillment to some of the ways in which it occludes self-knowledge. (shrink)

In the Germany of the 1860s and 1870s, the problem of the value of life was urgently debated, as a consequence of the two culture-defining systems of thought that had risen to prominence in those decades—Schopenhauerian Weltschmerz and the theory of evolution—and the degree to which they could be reconciled. On one hand, the struggle for existence affirmed the pessimistic inference as to the suffering and meaninglessness of the cosmos; on the other, it appeared to promise moral and material (...) improvement in human affairs. This article reconstructs the historical connections between the emergence of pessimism and Darwinism, most clearly represented by the work of Eduard von Hartmann, and it argues that Nietzsche’s programmatic statements on life, culture, and pessimism, from the Untimely Meditations on, are best understood in light of this context and his engagement with Hartmann’s writings. (shrink)

Is it true that the suffering associated with chronic illness can be controlled in all but a few intractable cases? The bio-ethical literature gives the impression that suffering is primarily pain and that a competent physician should be able to control suffering. This perception jibes neither with my forty years of clinical experience nor with suffering as depicted in novels. Using Kenaz' novel,The Way to the Cats as a starting point, I argue that, with regard to suffering and illness, fiction (...) is closer to reality than professional literature, and suffering is far more than pain. I content that the control of suffering is a modern myth. This argument applies equally well to the control of non-insulin dependent diabetes. Patient selection, duration of follow-up, remembering what we want to remember, bias, self-fulfilled prophecy, and asking the wrong questions are offered as partial explanation for the gap between perception and reality. The complexity of suffering and the elusiveness of its control should be honestly recognized. (shrink)

Invasion biology is a relatively young discipline which is important, interesting and currently in turmoil. Biological invaders can threaten native ecosystems and global biodiversity; they can incur massive economic costs and even introduce diseases. Invasion biologists generally agree that being able to predict when and where an invasion will occur is essential for progress in their field. However, successful predictions of this type remain elusive. This has caused a rift, as some researchers are pessimistic and believe that invasion biology has (...) no future, whereas others are more optimistic and believe that the key to successful prediction is the creation of a general, unified theoretical framework which encompasses all invasion events. Although I agree that there is a future for invasion biology, extensive synthesis is not the way to better predictions. I argue that the causes of invasion phenomena are exceedingly complex and heterogeneous, hence it is impossible to make generalizations over particular events without sacrificing causal detail. However, this causal detail is just what is needed for the specific predictions which the scientists wish to produce. Instead, I show that a limited type of synthesis is a more useful tool for generating successful predictions. An important implication of my view is that it points to a more pluralistic approach to invasion biology, where generalization and prediction are treated as important yet distinct research goals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS The Glory of the Lord: A Theological Aesthetics. Vol. VI: Theology: The Old Covenant. By HANS Uns VoN BALTHASAR. Trans. Brian McNeil, C.R.V. and Erasmo Leiva-Merikakis. Ed. John Riches. San Francisco: Ignatius Press, 1991. Pp. 443. In this penultimate-volume of The Glory of the Lord, von Balthasar sets forth a " biblical aesthetics " in which the manner of the emergence of the Glory of God in (...) the world of man is spelled out. He proceeds by examining the bewildering variety of the manifestations of God's Glory in the Old Testament, but always as unified in their historical convergence upon Jesus, the Christ, the final and definitive presence in history of the divine Glory in whom Word and Image, Messiah and Servant, Son of Man and Son of God, are at one. This manner of proceeding is little consonant with contemporary Catholic exegesis, which prefers to regard the Old Testament as a free-standing hook, and is rather fastidious about reading it as " literally " the prologue and the Sitz im Leben of the New. For such exegetes, the literal and the historical senses are entirely distinct, because of their methodological enlistment in the historical pessimism of the Enlightenment. Balthasar, of course, is not of their camp. Balthasar's mastery of Old Testament exegesis is on a par with the effortless command of the Western philosophical, theological, and literary tradition which he has displayed in the earlier volumes of this work. While he relies heavily upon von Rad, a glance at the index shows that his knowledge of Old Testament scholarship is based upon a wide reading, upon which he levies throughout the book with practiced ease. The exegetical method implicit in his analysis is the one employed by scholars such as de Lubac, Guillet, and Ligier; its classic Augustinian understanding of the free unity of history, and of the consequently free meaning of Old Testament and the New as fulfilled in the Kingdom of God, needs no apology. The currently common supposition that the " literal " sense of Scripture is that which an Enlightened positivism will permit needs only to be recognized to be rejected. In the opening pages of the Introduction Balthasar sets the theme which will dominate the book: the rationally irresolvable dialectical 139 140 BOOK REVIEWS tension between God and all that is not God, a tension inherent in the revelation of the Glory of God. In keeping with the emphasis of his earlier volumes, Balthasar is insistent upon the radical gratuity of the revelation of the Glory of God. The revelatory manifestation of God as God, who is beyond all perception, all knowing, all communication, and yet is communicated, perceived the more surely where the more veiled, and definitively revealed on the Cross. The revelation of God's Glory is of God as the Absolutely Other, as formless, and so as in tension with all form which would mediate the revelation. This communication, this mediation, is utterly ex nihilo; it relies upon no capacity in man, upon no natural process of spiritual development, and is unrelated to, because absolutely transcendent to, all human projects. Impossible to prepare for, the manifestation is constantly new, arising out of no prior possibility in man or his world, and responding to nothing in him which might make the revelation capable of anticipation. The paradox of God's self communication of his formless Glory is then beyond all utterance, and yet is uttered, given form: the final Form is, of course, the Christ. This is the basic datum, the ground upon which all theology rests, and is pure grace, a gift beyond all expectation, incapable of being imagined. All the preparatory Old Testament images finally fail. The paradox, the self communication of God who is beyond all utterance, yet is uttered, has its resolution only in the Form, the personal unity, of Christ. The revelation always at once transcends and assimilates the concrete historical forms by which it is mediated. The pagan materials are transformed by their historical deployment in the revelatione.g., the pagan myths of creation, of divine wars and marriages, the pagan wisdom-and in their deployment, they converge, hut not within the Old... (shrink)

Julian Young presents Richard Wagner as an important philosopher of art and life, first as a utopian anarchist-communist and then as a Schopenhauerian pessimist. Understanding Wagner’s philosophy is crucial to understanding his operas, as it is to understanding Nietzsche, Schopenhauer, and Heidegger.

“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)

It is the purpose of this dissertation to show that Bakhtin, unlike other representatives of contemporary Continental thought, writes in the presence of utopia. A discussion of the significance of utopia in Bakhtin's later works is also an occasion for a rethinking of the essence of utopia. This dissertation aims to show that the principle that informs the divergence between Hegel and Bakhtin is none other than their respective views of utopia, and that utopia is not a kind of unrealistic (...) thinking, not an ideology remote from praxis, and not only an anticipatory illumination of Ernst Bloch, but a fleeting moment of fulfillment, a familiar yet elusive fragment of actuality, an instant when what is is consonant with what ought to be. ;A privation of the background presence of emancipatory utopia, characteristic of Hegel's writings, turns his notion of history as a history of the subjectivity into a history that is blunt and external to its subject, the subjectivity. The heavy thingness of history as it is seen by Hegel is put under scrutiny by Bakhtin's sense of history as inescapably lyrical and never completely outside of the evolving and experiencing self. ;The dissertation juxtaposes Hegel's discourse on possibility, given in the Encyclopedea Logic, and a view of the possible that is derived from Bakhtin's later works, such as Discourse in the Novel and Problems of Dostoevsky's Poetics. Hegel's melancholy resignation in regard to the possible is juxtaposed to Bakhtin's utopian sense of language as potentially preserving and expressing all of the latent possibilities of the life of consciousness and its historical reality. The dissertation also advances a hypothesis that utopia is an inherent necessity of the life not only of language, but of consciousness as a whole. ;The dissertation targets through its investigation of Bakhtin's works the precarious birth of identity. However, it also concerns itself with the phenomenology of the latter identity's necessary self-undoing, its shattering for the sake of our coming closer to truth as that which cannot be possessed, which does not have solid boundaries, and appears to us in a definite form due only to our human finitude. The thesis juxtaposes Hegel's utopia of determinate knowledge with Bakhtin's utopia of language and knowledge as indefinite, Hegel's sense of history as determinate and monologic with Bakhtin's utopian sense of heteroglossia as averse to determinate boundaries. The conclusion advanced here is that dialogue embodied by heteroglossia, the dialogue continually illuminated by the rugged edge of the indefinite, and not the shining heights of Absolute Knowledge, is the point of arrival of the great Hegelian dialectic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:498 BOOK REVIEWS generations of theologians across denominational lines. Both Placher and Hunsinger at the end of their essays choose quotations from within Frei's own writings to give a synoptic portrait of the man and his work. Placher chooses a remark about Niebuhr's sense of vocation as a theologian (20), and Hunsinger one about knowledge of that seemingly elusive reality, a person's identity (257). However one might come away (...) from this challenging collection of essays, further confused or more enlightened, more in agreement or disagreement, I think every reader will recognize the coincidence of intellectual perspicuity and generosity with passionate faith. Regis College, Toronto School of Theology Toronto, Ontario, Canada GEORGE P. SCHNER, S.J. Reasoned Faith. Edited by ELEONORE STUMP. Ithaca, N.Y.: Cornell University Press, 1993. Pp. x + 364. As the editor remarks in her "Introduction," it is not so long ago that the analytical philosophy of religion consisted very largely of discussions of the meaningfulness of religious language, and of arguments about the existence of God. Nowadays it is more adventurous, ranging over such topics as creation, providence, and God's responsibility for sin. According to Robert Merrihew Adams, the statement "truth is subjectivity," though one of the most famous, is also one of the most misunderstood in Kierkegaard's writings. He argues that, taken in context within the Concluding Unscientifu: Postscript, the statement is by no means incompatible with the objective truth of religious belief. From the point of view of the Postscript, a member of an idolatrous community who prays to her God with "the entire passion of the infinite" has more of the truth than one who prays in a false spirit from within Christendom; but this implies that the latter does have some truth. Whatever the deficiencies in her faith, she is clearly admitted to be in possession of the true concept of God objectively speaking (223 ). Adams maintains, quite rightly in the reviewer's opinion, that the Postscript is excessively pessimistic about the integration of the ideals of subjectivity and objectivity, of passionate commitment on the one side and rational assessment of evidence on the other, in religious faith (21). A useful distinction is made by Scott MacDonald between "occurrent" and "dispositional" belief; this seems to resolve some of the more puzzling paradoxes about the relation of the more cognitive and propositional side of faith to other aspects which may be thought essential to it. The demons alluded to by St. James (2:19) might believe dispositionally that their highest fulfillment BOOK REVIEWS 499 was to be found in obeying the divine will, and so performing acts of charity and service to other creatures. But to avoid the inconvenience of acting in such a way, they could think of God occurrently as just a powerful being who makes burdensome demands (55). For MacDonald, the cognitive component of faith has only two elements, belief that certain propositions are true, and belief that the kind of response of the will which is also essential to faith may be grounded on these (56). "We can make sense of Christian faith if we think of it simply as belief that Christianity is true plus an appropriate volitional response to that truth" (69). Against mainline Christian accounts like those of Augustine and Aquinas, he sees no good reason to suppose that one cannot have faith in propositions for which one has conclusive proof, but only in those for which one's justification is relatively weak. He provides interesting grounds for contradiction of a view which has been expounded by both Robert Adams and John Hick, that only such uncertainty can ground the trust which is essential to the relationship which human beings ought to have to God (59). "My ability to love and trust my wife, to commit myself without reservation to her well-being and to the goals and purposes we have chosen as definitive of our common life seem in no way dependent on my being uncertain about what she is like or what she will do" (60). On the question of how faith ought to be related to the demands of reason, Robert Audi remarks that, up to the middle 1970s... (shrink)

After a first part, which is critical of a philosophical vision and which leads from the search for a provisional morality to a morality provisional by nature, this work analyzes the problem of moral and social values in an attempt to arrive at a social morality shared by all. A series of premises is discovered, and they are inalienable - such as work, the person, responsibility, pluralism, the ethics of conflict, the right to truth, a sense of limits, faith in (...) society, citizenship, brotherhood, and their corollaries: freedom, dignity, equality, justice, solidarity, and others, as well - which are the cornerstones of a social life in which all people can fulfil their own, most legitimate aspirations. These social values, in a climate of growing security, make the development of intelligence and growth of culture possible. These aspirations are what characterize human nature. The book concludes with a very brief itinerary for an historical analysis, a draft to enable further research, with the intention of bringing out the fact that despite some recurring pessimistic views, the pathway of humanity is accompanied by a constant effort to improve, even though at times it is strewn with frustrations and dangerous phases of political abnormality. (shrink)

The development of nuclear energy technologies in the second half of the 20th century came with great hopes of rebuilding nations recovering from the devasta-tion of the Second World War or recently released from colonial rule. In coun-tries like France, India, the USA, Canada, Russia, and the United Kingdom, nuclear energy became the symbol of development towards a modern and technologically advanced future. However, after more than six decades of experi-ence with nuclear energy production, and in the aftermath of the (...) Fukushima nuclear disaster, it is safe to say that nuclear energy production is not without its problems.Some of these problems have their origins in the very materiality of the technolo-gies involved. For example, not only does the use of highly radioactive materials give rise to risks for the current generation (e.g., in the potential for disaster when reactors melt down) but high-level radioactive waste from nuclear energy production presents a serious intergenerational problem for which an acceptable final solution or its implementation remains elusive. Moreover, nuclear energy technologies have specific social and political consequences. For example, they have been said to be authoritarian technologies (Winner, 1980), requiring cen-tralized authority, secrecy, and technocratic decision-making. While some of these problems could have been foreseen before nuclear energy technologies were introduced, others only arose after these technologies were already integrated into the social and infrastructural fabric of our lives. Addition-ally, new technologies (e.g., Generation III, III+ and IV reactors) are still being developed, bringing with them new and uncertain hazards and risks. Ignorance and uncertainty about the possible deleterious effects of introducing a new technology are inevitable, especially if the technology is complex, large time-scales are involved, or risks depend on social or political factors unforeseen in the design stage. However, this should not deter us from developing and intro-ducing new technologies. Rather, it should motivate us to organize these ‘exper-iments’ with new technologies in society in such a way that we can learn about their possible hazards and risks as effectively and responsibly as possible (van de Poel, 2011, 2015). In this way, it is possible to minimize risks and avoid unwant-ed moral, social or political developments. However, organizing such experi-ments responsibly also means that one could come to the conclusion that continuing an experiment is no longer responsible or desirable. Should we be prepared for such a scenario, and if so, how could we do that? One possible strategy to tackle this issue is that the technology and its introduction should be reversible. The aim of this thesis is to further explore this strategy by answering the following main research question (RQ) and accompanying subquestions (SQ):RQ: What are the implications of reversibility for the responsible develop-ment and implementation of nuclear energy technologies?SQ1: Under what conditions can nuclear energy technologies be considered reversible?SQ2: Why should nuclear energy technologies be reversible?SQ3: If so, how could the reversibility of nuclear energy technologies be achieved?After the introductory chapter 1, the chapters that form the main body of this dissertation each provide a distinct contribution to answering the three subques-tions and, by extension, the main research question. Guided by three historical case studies of nuclear energy technology development (i.e., India, France and the USA), chapter 2 answers the first subquestion by formulating the two condi-tions under which it can be considered reversible, i.e., 1) the ability to stop the further development and deployment of a that technology in society, and 2) the ability to undo the undesirable outcomes (material, institutional or symbolic) of the development and deployment of the technology. Chapter 3 subsequently tackles the second subquestion by establishing the general desirability of technological reversibility by virtue of its relation to responsibility in Emmanuel Levinas’ ethical phenomenology. It argues that technology development is a legitimate response to responsibility but inevitably falls short of the responsibility that inspires it, incessantly calling for technological and political change in the process. Having thus argued that nuclear energy technologies should ideally be reversible, chap-ters 4 and 5 work towards specific strategies to achieve technological reversibil-ity. Chapter 4 first investigates the processes that make it difficult to stop the further development and implementation of a nuclear energy technology in society, thus provid-ing input on how to fulfill the first condition for the reversibility of nuclear energy technologies. To do so, it presents a phenomenological perspective on technology and its adoption based on the work of Alfred Schutz. It also explores different ways in which technology adoption drives the processes of path depend-ence towards technological lock-in. Chapter 5 examines the history of geological disposal of high-level radioactive waste in the USA. It identifies a number of concrete policy pitfalls that could lead to lock-in and that should consequently be avoided. It also presents a number of general design strategies that could facilitate the undoing of undesirable consequences of a technology, thus providing input on how to fulfill the second condition for the reversibility of nuclear energy technol-ogies.Chapter 6 summarizes the central findings of the thesis and explains how these help to answer the research questions. On top of this, it reflects on a number of complications connected to reversibility considerations. Based on this, it is concluded that the question of irreversibility and reversibility is context- and technology-specific and a matter of degree. The chapter concludes with a reflec-tion on generalizations and limitations of the results. Finally, chapter 7 discusses the implications of this dissertation’s results for responsibly experimenting with nuclear energy technologies in society. (shrink)

The role of religion in ethical decision-making, both for individual managers and at an organisational level, remains elusive due to contrasting findings in extant literature. This is exacerbated by a dearth of studies focusing on specific religious mechanisms that can foster ethical decision-making, particularly with respect to organisational corporate socially responsible (CSR) behaviour and in backgrounds different from Christianity. This exploratory study investigates the mechanisms in Islam that can influence individual/micro- and organisational/meso-level ethical decision-making, and hence CSR outcomes. It draws (...) on in-depth, qualitative data from 63 domestic organisations in Saudi Arabia, the United Arab Emirates and Oman. The findings reveal a complex macro-normative religious environment, founded on specific factors that shape ethics and decision-making. Internalised by organisational leaders, these factors translate into organisational CSR behaviour as the organisation becomes a place for fulfilling individual religious responsibilities and even creates CSR products shaped around religious principles. The study contributes to the literature on ethical decision-making, organisational behaviour and Islamic CSR and offers recommendations for policymakers and practitioners on integrating religion within the organisation. (shrink)

The third and fourth parts sketch aspects and difficulties of such a philosophy. Part III is concerned with the overcoming of the metaphysical negativity inherent in the conception of phenomena as appearances. Nietzsche's use of the Dionysian "mask" in his later thought is examined with respect to precisely such an overcoming. The affirmative relation of mask and masked and the problem of philosophical unmasking as affirmation arise as elements unique to the latest phase of Nietzsche's thought and are discussed in (...) analyses of several of the Dionysus Dithyrambs as well as texts from Beyond Good and Evil and Twilight of the Idols. Part IV explores the philosophical affirmation contained within the exhibition of the mask as mask through unmasking. ;The appendices contain extended discussions of particular textual problems as well as translations of selected fragments--hitherto untranslated or only partially translated--from Nietzsche's notebooks in the last productive decade of his life. ;The following study is an attempt to arrive at an understanding of Nietzsche's thought in terms that are internal to that thought itself. The concept of "affirmation" was chosen as an appropriate one because of its central place in Nietzsche's description of his own thought in opposition to the nihilistic movement of previous philosophy. ;The first part of the dissertation is a detailed discussion of Schopenhauer's philosophy, a philosophy which culminates in the question of the "affirmation or negation of the will to life." In our exposition we are able to see not merely the connection of Schopenhauerian pessimism and philosophical nihilism, as understood by Nietzsche, but, as significantly, the way in which the philosophical tradition is positively present in this philosophy. The constructive nature of knowledge, the negative source of activity, the "identity" of art all lead to the final truth of the "nothing." The relation of Schopenhauer's apparently willful and arbitrary conceptions to the history of philosophy is emphasized throughout this first part which, despite this historical interest, attempts to arrive at an immanent understanding of this philosophy. ;The second part concerns itself with the Birth of Tragedy, but is as much an elaboration, extension and application of certain aspects of this book to other elements of Nietzsche's thought as it is an analysis of the book. The Birth of Tragedy's ambiguous connection with Schopenhauer is first discussed, particularly as concerns the central theme of "tragic affirmation" as affirmation of the totality. The ontological obscurities of the divine pair Apollo-Dionysus are discussed, and the "spirit of music" that generates tragedy, the Dionysian spirit of affirmation, is contrasted with the Platonic daimon of Eros. The problem of Dionysos mousikos as Dionysos philosophos emerges in this part. (shrink)

Both Kant and Sidgwick recognize a deep tension between moral and prudential reasons. On the basis of what we can observe, both agree that fulfilling one’s moral obligation is not always prudentially optimal. And, both agree, if acting morally must sometimes come at the cost of one’s own happiness, then we should be skeptical about the possibility of having a completely rationalized — that is, a completely systematic and coherent — account of practical reason. Both suggest that, the empirical world (...) being thus, the only way that practical reason can be rendered coherent is if we assume the existence of God, as the being who will ensure that acting morally is always conducive to one’s happiness, through a system of divine rewards and punishments. -/- Ancient eudaimonism might seem to offer a solution to the dualism of practical reason, and without any theological assumptions. Eudaimonism holds that there is indeed a single ultimate rational aim that can accommodate all of our ethical concerns, namely, the pursuit of an agent’s own happiness. Kant and Sidgwick, however, are pessimistic about the possibility of eudaimonist theories successfully reconciling both ethical and moral concerns under a single system of practical reason. -/- In this paper, I review the challenges that Kant and Sidgwick pose to eudaimonism, and argue that there are resources within ancient theories — and with Aristotle in particular — to potentially resolve at least some of their concerns. Much turns on how exactly we understand ancient eudaimonist theories, and I argue here that this question is far from settled. (shrink)

The roots of the ideal of authenticity in modern Western thought are numerous and complex. In this article, I explore their development in relation to Rousseau’s paradoxical conclusion that complete satisfaction is an aspiration that not only cannot be fulfilled but whose actual realization will make a person miserable. I argue that there is an unresolved tension between the notion of humans as creatures who by nature strive to eliminate suffering to achieve static serenity and the idea that their natural (...) goal in society is to constantly change and enrich themselves. The purpose of this article is not to construct another pessimistic interpretation according to which our most profound desire – happiness – cannot be achieved, but rather, by understanding natural inequality as a historical phenomenon, to shed light on Rousseau’s idea that happiness should be rejected because it contradicts the new foundation of morality: the realization of people’s uniqueness. (shrink)

Most philosophers do not read Kant’s philosophy of religion as providing a foundation for Christianity, or even as in line with it. Recently, however, a number of so-called “affirmative Kantians” have argued that Kant’s philosophy of religion explicitly aims at recovering the spirit of Christianity. In this article I scrutinize this claim with regard to Kant’s conceptualization of “grace” as a supplement to his moral theory. Contrary to these “affirmative Kantians,” I argue that Kant’s account of grace stems from Kant’s (...) moral pessimism, not from any sense of the shortcomings of human beings in fulfilling their duties or the religious need for supernatural cooperation. Kant’s concept of grace tries to moderate this pessimism by providing what is needed for the possibility of moral progress. But simply by the way in which Kant regards grace as a rational concept needed for his moral theory, it seems to me that his philosophy of religion runs counter to certain central convictions of Christianity. (shrink)

The concept of death is of special importance in Schopenhauer''s metaphysics of appearance and Will. Death for Schopenhauer is the aim and purpose of life, that toward which life is directed, and the denial of the individual will to life. Despite his profound pessimism, Schopenhauer vehemently rejects suicide as an unworthy affirmation of the will to life by those who seek to escape rather than seek nondiscursive knowledge of Will in suffering. The only manner of self-destruction Schopenhauer finds philosophically acceptable (...) is the ascetic saint''s death by starvation. Here the individual will to life is so completely mastered as to refuse even the most basic desire for nourishment, and thereby passes into nonexistence in complete renunciation of the individual will. Schopenhauer''s attitude toward suicide nevertheless embodies an inconsistency. If, as Schopenhauer believes, the aim of life is death, and death is an unreal aspect of the world as appearance, then there appears to be no justification why the philosopher should not rush headlong into it - not to affirm the will to life in an abject effort to avoid suffering, but in order to fulfill life''s purpose by ending it for distinctly philosophical reasons immediately upon arriving at an understanding of the appearance-reality distinction. (shrink)

The development of reasoning skills is often regarded as a central goal of ethics and philosophy classes in school education. In light of recent studies from the field of moral psychology, however, it could be objected that the promotion of such skills might fail to meet another important objective, namely the moral education of students. In this paper, I will argue against such pessimism by suggesting that the fostering of reasoning skills can still contribute to the aims of moral education. (...) To do so, I will engage with the concept of moral education, point out different ways in which reasoning skills play an essential role in it, and support these considerations by appealing to further empirical studies. My conclusion will be that the promotion of ethical reasoning skills fulfils two important aims of moral education: First, it enables students to critically reflect on their ethical beliefs. Second, it allows them to explore ethical questions in a joint conversation with others. Lastly, I will refer to education in the field of sustainable development in order to exemplify the importance of these abilities. (shrink)

If Beckett’s study of Proust has belatedly received the criticisms its author no doubt anticipated, another influential study published a little over thirty years later has, like its predecessor, elicited, among others, the critical response that the author of the Recherche finds himself recruited to the self-serving project of the critic. Gilles Deleuze’s Proust is cast not as the pessimistic Schopenhauerian which Beckett makes of him, but rather, as a force of affirmation in the quasi-Nietzschean register of the ‘powers (...) of the false’. Deleuze would studiously augment his 1964 study with two additions in an effort to improve it. The consequence of this is to render its textual genesis a testament to one of the themes, and for Deleuze the theme of the Recherche, namely, apprenticeship. Moreover, the ‘pedagogy’ to which Proust’s novel subjects the philosopher becomes itself an example of the ‘untimely’ operations of art upon what Deleuze calls the upright or dogmatic image of thought. (shrink)

This new reading of Jean-Jacques Rousseau challenges traditional views of the eighteenth-century political philosopher's attitudes toward women and his perceived pessimism about human experience. Mira Morgenstern finds in Rousseau an appreciation of the complexities and multidimensionality of life that allowed him to criticize various easy dualisms promoted by his fellow liberal thinkers and point to the crucial mediating role that women fulfill between the private and public spheres. Morgenstern sees Rousseau as an important contributor to the feminist thoughts and concerns (...) that animate so much of our public and private discourse today. While Rousseau is commonly seen as a patriarchal misogynist, Morgenstern finds evidence in his writing that belies much of this claim. Rousseau was very much a man of his time, but he also believed that women were the key to transmitting his ideals of personal and political authenticity, thereby transforming his theory from ephemeral ideas into practical reality. A careful evaluation of Rousseau's writings on women reveals his highly complex sense of reality, especially his awareness that the solutions to life's complex problems are often temporary and must be renegotiated over time. Rousseau is more persistent than most in highlighting the weaknesses and pitfalls of liberal political thought, whose fundamental characteristic is its categorization of life on the basis of dualistic categories: public and private, outside and inside, male and female. Ultimately, what makes Rousseau worth reading today, argues Morgenstern, is his ability to illuminate critical weaknesses in the dualisms of liberal political theory and his pointing out, if only by implication, alternative ways of reaching the full measure of our individual and communal humanity. In honoring the traditional liberal emphasis on individual liberty and self-development, Rousseau’s meditations on the proper aim of political life are especially helpful to those today who seek ways to expand liberalism's promise of freedom and authenticity, while not losing sight of the common threads of meaning and community that continue to bind us together. (shrink)

In this essay I look at The Birth of Tragedy in order to explore two related issues. First, beginning with Nietzsche’s own later critical look back at the book, I argue that in lamenting both the influence of Schopenhauer, and the inclusion of an extended discussion of contemporary German culture, Nietzsche underplayed the interdependence of these elements and his analysis of tragedy and its significance in the book. Second, I argue that to understand Nietzsche's Schopenhauerian concept of tragedy we (...) may begin from the perspective of the term's common usage, attending to phenomena often labelled tragic, and glimpsing what holds sway just beneath their surfaces. Ultimately, although Nietzsche's expressed understanding of tragedy in these early years drew heavily on Schopenhauerian pessimism, it nevertheless exceeded that influence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Schopenhauer's Pessimism and the Unconditioned Good MARK MIGOTTI SCHOPENHAUERTOOK PESSIMISMtO be a profound doctrine that had long been accepted by the majority of humanity, albeit usually in the allegorical form given to it by one or another religious creed. Accordingly, he credited himself, not with the discovery of pessimism, but with the provision of a satisfactory philosophical exposition and defense of its claims. It was, he contended, only within (...) the context of his philosophy, animated by the "single thought" that "the world is the self-knowledge of the will,"' that the ultimate significance of pessimism and the arguments demonstrating its inescapability can be brought to light. If, nevertheless, he sometimes appears to protest too much, to defend pessimism as if it were a striking and novel affair, he would have attributed this to the fact that he was, unfortunately, writing in the midst of one of the most naively optimistic cultures known to world history. 2 The philosophical reception of Schopenhauer's pessimism since the publication of The World as Will and Representation in 1818 would, one suspects, have been taken by him as further evidence of modern Western philosophy's optimistic somnambulance. For while other, comparably fundamental aspects of his thought--for example, his theories of action, of the self, and his criticisms of Kant--have received a welcome amount of fruitful, critical attention, his I would like to thank John Atwell, David Schmidtz, Susan Haack, Rudolf Makkreel and, especially,two anonymous referees, for prompting me to make substantial improvements to an earlier draft of this paper. ' Arthur Schopenhauer, Der handschrifllicher Nachlass 1, ed. Arthur Hiibscher (Frankfurt-amMain : Kramer, 1967),462; Manuscript Remains 1, trans. E. F.J. Payne(NewYork: Berg Publishing, 1988), 512. 'See, for example, Arthur Schopenhauer, D/e Welt als Wille und VorsteUung II. In Arthur Schopenhauer. Ziircher Ausgabe, ed. Arthur Hiibscher et. al. (Zurich: DiogenesVerlag, 1977),w 4:721, 732-33; The World as Will and Representation II, trans. E. F. J. Payne(New York: Dover Press, 1969),615, 625-26. Future references to this work willbe made within the text, by the abbreviation WW followed by section number, German edition volume and page number and English translation page number. [643] 644 JOURNAL OF THE HISTORY OF PHILOSOPHY 33:4 OCTOBER ~995 pessimism has not. Amongst enthusiastic followers it has sometimes been swallowed more or less whole, but from more independent-minded readers it has generally met with disdainful mockery or well-intentioned neglect.3 The aim of this paper is to help rectify' this imbalance. In the first of its four sections, I present an account of Schopenhauerian pessimism that can claim a good measure of textual support, and the essential features of which are found often enough in the secondary literature to warrant calling it the mainstream interpretation.4 In section 2 I show that, as critics have charged, the arguments for pessimism on this interpretation suffer from a pair of fatal ambiguities, and in section 3 I sketch an alternative argument for pessimism, one not so obviously open to the sort of knock-down refutation to which the first argument succumbs. In the paper's final section l explore further the philosophical consequences of this alternative argument for pessimism. 3Gyorg'yLukacs, "Schopenhauer," chapter ~,section 4 of The Destruction of Reason, trans. Peter Palmer (London: Merlin Press, 1979), 19~-243, isthe locusclassicusof an attitude of superior scorn. Bryan Magee, The Philosophy of Schopenhauer (Oxford: "the Clarendon Press, 1983), z3-14, D. W. Hamlyn, Schopentmuer (London: Routledge, z98o), *43, Michael Fox, "Schopenhauer on Death, Suicide, and Renunciation." in Schopenhauer: His Philosophical Achievement, ed. Michael Fox (Totowa, NJ: Barnes and Noble Books, 198o), ]47-7o, and David Cartwrigh*, "Schopenhauer on Suffering, Death, Guilt, and the Consolation of Metaphysics,"in Schopenhauer: New Essays in Hotwr ofHis 2ooth Birthday, ed. Eric yon der Luft (Lewiston,NY: Edwin Mellen Press, t988), 66, all incline to the viewthat it was temperament, not argument, that drove Schopenhauer to pessimism, while Patrick Gardiner, Schopenhatwr (London: Penguin Books, ]963), does not discuss pessimism by name. Not even Nietzsche, the deepest and most astute of Schopenhauer'scritics,can resistbarbs of the following sort: "Schopenhauer, although a pessimist, in ]act played the flute... (shrink)

Abstract:Historicist criticism makes more sense as an aesthetic stance than as a discipline for producing knowledge. I examine Galen Strawson's essay "Against Narrativity" and Ian McEwan's novel Saturday to account for historicism's distinct aesthetic. Strawson distinguishes between Diachronic and Episodic orientations toward time, and both writers work to validate the Episodic perspective against the claim that Diachronicity is psychologically and ethically normative. Because historicist criticism privileges singular epiphanic encounters with the past that would transcend or preclude narrativization, historicists appear as (...) unhappy Diachronics, seeking an Episodic fulfillment that their prior commitment to totalizing narratives of power renders elusive. (shrink)

I present a qualified new defense of antinatalism. It is intended to empower potential parents who worry about their possible children’s life quality in a world threatened by environmental degradation, climate change, and the like. The main elements of the defense are an understanding of antinatalism’s historical nature and contemporary varieties, a positional theory of value based on Epicurean hedonism and Schopenhauerian pessimism, and a sensitive guide for reproductive decision-making in the light of different views on life’s value and (...) risk-taking. My conclusion, main message, to the concerned would-be parents is threefold. If they believe that life’s ordinary frustrations can make it not worth living, they should not have children. If they believe that a noticeably low life quality makes it not worth living and that such life quality can be reasonably expected, they should not have children, either. If they believe that a noticeably low life quality is not reasonably to be expected or that the risk is worth taking, they can, in the light of their own values and beliefs, have children. The conclusion is supported by a combination of the extant arguments for reproductive abstinence, namely the arguments from consent, moral asymmetry, life quality, and risk. (shrink)

ABSTRACT Several elements of the philosophical pessimism of Arthur Schopenhauer are used to explicate the critique of consumerism advanced by the 2003 film Lost in Translation. The negativity of fulfillment and the suffering involved in desire as primed by consumerism, as well as the ideological function of the phenomena of celebrity, are examined in the process.

As is well known, one of the central “existential” goals of Nietzsche’s philosophy was to combat the No-saying attitude to life,1 which he took to be an expression of what he variably called physiological exhaustion, decadence, or sickness.2 This No-saying—which he contrasted with his ideal of life affirmation 3—he supposed to lie at the core of various philosophical and religious views such as Christianity, Buddhism, and Schopenhauerian Pessimism. All, in one way or another, shared in his view that element (...) of the ascetic ideal that preaches that “life: it’s no good” or is a “wrong road”.Not less known is Nietzsche’s characteristic way of dealing with such value judgments... (shrink)

Nietzsche writes that the 'real task' of The Birth of Tragedy is to 'solve the puzzle of Wagner's relation to Greek tragedy'. The 'puzzle', I suggest, is the intermingling in his art and writings of earlier socialist optimism with later Schopenhauerian pessimism. According to the former the function of the 'rebirth of Greek tragedy' in the 'collective artwork' is to 'collect', and so create, community. According to the second the function of the artwork is to intimate a realm 'beyond' (...) this world of pain and death. The audacity of The Birth is that it attempts to show that Wagner can have his cake and eat it: the 'Dionysian', musical, element provides a 'metaphysical comfort', while the 'Apollonian', verbal, element draws a 'veil of oblivion' over the metaphysical, thereby allowing the artwork to solidify community. Contrary to the standard Anglophone view, this perspective on The Birth shows that Nietzsche's intimate association with Wagner during the period of its creation lies at the heart of its philosophical content. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Liberalism without Illusions: Renewing an American Christian Tradition by Christopher H. Evans, and: Robust Liberalism: H. Richard Niebuhr and the Ethics of American Public Life by Timothy A. Beach-VerheyJames M. BrandtLiberalism without Illusions: Renewing an American Christian Tradition Christopher H. Evans Waco, TX: Baylor University Press, 2010. 207pp. $24.95Robust Liberalism: H. Richard Niebuhr and the Ethics of American Public Life Timothy A. Beach-Verhey Waco, TX: Baylor University Press, (...) 2011. 238pp. $49.95Christopher Evans’s Liberalism without Illusions and Timothy Beach-Verhey’s Robust Liberalism have much in common, although they do not mean the same thing when they refer to “liberalism.” Evans traces the trajectory of liberal Christianity or “liberal theology” from its beginnings in the early nineteenth century to the present and suggests how it might renew itself. Beach-Verhey considers the political tradition of liberal democracy and how the radical monotheism of H. Richard Niebuhr can help form a “robust liberalism.” Both books attend to the present situation of public life in the United States and assert the need for theology that points emphatically to the God who is in and beyond history.Evans admits that liberal theology is difficult to define and that it includes significant diversity. One reason for its elusiveness is the “remarkable elasticity” (7) it has shown over time. Theological liberalism “supports critical engagement with both Christian traditions and contemporary intellectual resources” (6). In a way different from traditional theology, it “has been characterized by an affirmation of personal and collective experience, systemic social analysis and open theological inquiry” (6).At its best, liberal theology, appealing to Jesus’s ministry and especially his teaching of the reign of God, inspired people to believe they could make a difference in the here and now. And liberal theology did this without an uncritical endorsement of Western “progress.” In its heyday, liberal theology’s leaders were pulpiteers who spoke to both personal and social issues and commanded significant and loyal followings.From the pinnacle of its ecclesial and cultural significance in the mid-twentieth century, liberal theology has fallen to a low place. Evans argues that [End Page 190] this has happened because liberal theology has lost its congregational base and become isolated in academia and among denominational leaders. Liberal theology has been unable to sustain its vigor at a popular level. Meanwhile, after its seeming defeat in the 1930s, fundamentalism recast itself as evangelicalism, organized at the grassroots level, and developed popular theologies that resonated with large numbers of people. Much of evangelicalism has been held together by dispensationalism and its attention to the end times. Liberals deemed dispensationalism unworthy of response, but Evans argues that liberals’ failure to engage dispensationalism seriously is to their detriment. While liberals were right to reject dispensationalism’s literalism and pessimism, Evans recognizes that its appeal has been the way it holds biblical texts together with concrete historical events, and that it is a logical development of traditional Protestant insistence on the authority of scripture.Evans’s prescription for the rejuvenation of liberal Christianity includes a posture of exile, knowing that the larger culture will not care much about what liberals say or do. Liberals need to regain a connection with scripture and tradition, offer a compelling alternative to the conservative vision, and get in touch with the deepest yearnings and anxieties of people in the pew (and those not in the pew).Liberal theology has made significant contributions to church and society, not least its call for transformation of structures of oppression. Evans counsels that liberals today need to speak to social issues but avoid being too closely identified with them. He appeals to Reinhold Niebuhr’s claim that the pursuit of justice is important, but it is not what constitutes Christian identity. Liberal Christianity’s enduring legacy is its faith that God is at work in the world. Evans affirms that liberals must continue to function as the church and attend to the deepest truths of the tradition, not least this active hope in the living God.Evans’s book provides a broad overview of the liberal tradition and charts well its historical passage, its strengths, and its failings... (shrink)

Despite his opposition to Schopenhauerian pessimism, Nietzsche repeatedly characterises himself as a pessimist of sorts. Here I attempt to take this assertion seriously and offer an interpretation of in what sense Nietzsche can be called a pessimist. I suggest that Nietzsche’s pessimism has to do not with life in general, but with life in its common form: such life is bad because it is characterised by meaningless suffering, and lacks aesthetic value. Against the Christian tradition, Nietzsche denies that there (...) is a value inherent to life itself, and thinks instead, that value must be achieved, but rarely is. This form of pessimism is rooted in Nietzsche’s engagement with the ancient Greeks, and bears important affinities to the thought of Burckhardt on Greek pessimism. (shrink)

Although Arendt is usually read as a theorist of participatory democracy, her writings on judgment also offer a way of thinking about the role of citizens who do not actively participate, citizens who are more spectators than actors. The difficulties and ambiguities in her account of judgment especially, the elusiveness of standards of judgment arise from her effort to insure that individuals take full responsibility for their judgments.

Rachlin provides an impressive integrative view of altruism and selfishness that helps us correct older views. He presents a highly general theory, even though he is aware of context-dependence of key notions, including altruism. The context-dependence should extend much farther than Rachlin allows it to go. We had better replace theoretical notions of altruism and selfishness by common sense.

In this paper, I challenge Laudan's recent attempt to ground the distinctiveness of science in its consensus formation patterns. I argue that Laudan's model is more appropriate to a forensics tournament than to an activity with the complex organizational structure of science. After reviewing several more realistic models of consensus formation, I conclude that there is no reason to think that any strong sense of consensus of belief is ever present in science, though there have been periods such as the (...) eighteenth century, when various beliefs could find expression in a common scientific language of Newtonian mechanics. (shrink)

Despite his opposition to Schopenhauerian pessimism, Nietzsche repeatedly characterizes himself as a pessimist of sorts. Here I attempt to take this assertion seriously and offer an interpretation of in what sense Nietzsche can be called a pessimist. I suggest that Nietzsche’s pessimism has to do not with life in general, but with life in its common form: such life is bad because it is characterized by meaningless suffering, and lacks aesthetic value. Against the Christian tradition, Nietzsche denies that there (...) is a value inherent to life itself, and thinks instead, that value must be achieved, but rarely is. This form of pessimism is rooted in Nietzsche’s engagement with the ancient Greeks, and bears important affinities to the thought of Burckhardt on Greek pessimism. (shrink)

After the Event Horizon Telescope Collaboration released in April 2019 the first empirical images of a black hole, an astrophysical object previously thought “unseeable,” much of the public discourse has approached these images as straightforward visual depictions of a black hole. This article challenges this view by showing that the first images of a black hole went beyond merely making an invisible cosmic object visible and that the images published in April 2019 were just the first in a series of (...) black hole images the researchers continue producing. Drawing primarily on Sybille Krämer’s concept of the cartographic impulse, the article demonstrates that the Event Horizon Telescope images are, first and foremost, epistemic tools. These epistemic tools enable researchers to actively explore various physical aspects and dynamic properties of a black hole’s immediate environment and test theoretical predictions about it, thus making this elusive environment empirically knowable. To demonstrate this, the article analyses the mapping operations that combined automated algorithmic procedures with expert human judgment and through which these images were produced, read, and interpreted. It also examines how the different Event Horizon Telescope images relate to one another, which particular epistemic functions they fulfil in the research context, under which conditions, and with which limitations, thus tracing how these images facilitate the production of new scientific knowledge about black holes. (shrink)

This article extends recent efforts to investigate Nietzsche through the lens of Bernard Williams and Williams through the lens of Nietzsche by focusing on their respective conceptions of, and attitudes toward, pessimism. Specifically, the article investigates whether Williams should be regarded as endorsing or manifesting tragic or Dionysian forms of pessimism, which Nietzsche valorizes under the term “pessimism of strength,” or whether he is better associated with the Schopenhauerian or romantic pessimism, or even the Socratic optimism, that Nietzsche rejects. (...) The answer is held to turn on the interpretation of Williams's obscure notion of “confidence.”. (shrink)

Makins1 formulates a deference principle which states that patients’ attitudes towards the health outcomes associated with different treatment options should drive decision-making and not physicians’ attitudes towards these health outcomes. Although this deference principle is widely agreed on, it is less obvious which role patients’ risk attitudes should play. Makins takes patients’ attitudes towards health outcomes to be sufficiently analogous to patients’ risk attitudes in order to extend his deference principle. His extended deference principle states that patients’ attitudes towards the (...) health outcomes and risks associated with different treatment options should drive decision-making and not physicians’ attitudes towards these health outcomes and risks. This extension is not only taken to be ethically preferable, but also practically realisable as one can reliably trace patients’ (risk) attitudes. Problematic situations arise when patients exhibit risk attitudes they do not reflexively endorse. For instance, patients might systematically make more risky choices than they think they should make. In response to these kinds of situations, Makins proposes to revise his deference …. (shrink)

Stanley Rosen ranks among the two or three most serious philosophers of the last several decades. For more than forty years, Rosen has broken significantly new philosophical ground with his careful considerations of the problem of nihilism and the limits of analysis to his profound treatments of Platonic, Hegelian, Nietzschean, and Heideggerian philosophy. Now, still at the peak of his powers, he philosophizes about the origin and spread of twentieth-century philosophy’s general tendency “to take one’s bearings by, or to place (...) central emphasis on, the correct conceptual treatment of ordinary, everyday, pretheoretical experience”. (shrink)

This book is a collection of poems, papers, talks, and lectures from Justin O'Brien throughout his life.