Večina slikovnih koncepcij boleha za tem, da začenjajo previsoko, namreč na ravni slikovnih del in slikovnih medijev. Zaradi tega pri doživljanju slike nismo pozorni na razpoke in brezna. Ta očitek zadeva tako filozofske teorije slike kot tudi umetnostno teorijo, umetnostno zgodovino in muzejsko prakso, ki se ne zna več čuditi temu, da obstaja nekaj takega kot slike. Naslednji razmisleki se vrtijo okoli geneze slike, ki omogoča vdor v zaprtost nekega v lepi ali nič več lepi videz ujetega estetskega sveta, tako (...) da se sprostijo tako pred- kot tudi post-estetski motivi umetnosti. Umetnost terja genealogijo, ki bo enakovredna Nietzschejevi genealogiji morale ali Husserlovi genealogiji logike.The majority of pictorial conceptions are troubled by starting from too high a level, namely from the level of fine-art works and fine-art media. This is why we are likely to fail to notice crevices and chasms. This reproach is directed both at philosophical theories of the painting and at art theory, art history and museum practice, which is no longer able to express wonder at the sheer existence of the painting. The following reflections tackle the issue of the genesis of the painting, which enables us to penetrate into the closed sphere of the aesthetic world as caught in the beautiful, or no longer beautiful, appearance, and thereby sets free pre- as well as post-aesthetical motives of art. Art demands a genealogy on an equal stand with Nietzsche’s genealogy of morality or Husserl’s genealogy of logic. (shrink)

The Lost Mirror traces cultural patterns in which the interpretation of learning and education was developed against the backdrop of Hebrew thought. The appreciation of learning is deeply rooted in the Hebrew way of thinking. Learning is understood as an open and history-conscious engagement of man with culture. The consciousness of history is shaped by the motif of the unavailability of the "other" and the difference to this "other". This "other" is traditionally remembered as "God", but may also be (...) reflected in the motifs of the other person or the other society. The lost Mirror reminds us of a deficit, which is that in our everyday thinking and everyday action, we usually hide, forget and partly suppress the meaning and presence of the unavailable other. The book approaches this thinking through portraits of people such as Hannah Arendt, Leo Baeck, Walter Benjamin, Agnes Heller, Emanuel Levinas and others. (shrink)

The Sea as Mirror traces the pressing and repressed material and symbolic presence of the Mediterranean Sea and the Atlantic Ocean from Plato to Heidegger. To do so, Wu Yi employs the maritime as a lens to understand the drive of philosophy as both a response to and moment within the impetus of Western colonization. Yi examines how philosophy has again and again constructed itself as a genre in opposition to the movement of deterritorialization and fluidity of mimesis. She (...) does so via the method (meta, “after” + hodos, “way, journey”) of a series of essayings (in the original sense of trial, measure, attempt) across a geopolitical topography of discourses. These include philosophical texts drawn from a constellation of historical topoi at the critical moments of their encounter with the maritime: Plato and Euripedes’s work from fifth-century Athens; Augustus and Plautus’s writings from republican and early imperial Rome; Shakespeare’s creations from Elizabethan England; Kant and Rousseau’s texts from enlightenment continental Europe; and the thinking of Husserl and Heidegger from interwar Germany of the twentieth century. For each historical topos, Yi juxtaposes different representations of and responses to the maritime through the reading of a philosophical text vis-à-vis the reading of a literary text. In so doing, she lays bare the deep political and moral ambiguity attributed to the ocean in Western philosophical and literary imaginaries. (shrink)

People in the ancient world thought of vision as both an ethical tool and a tactile sense, akin to touch. Gazing upon someone—or oneself—was treated as a path to philosophical self-knowledge, but the question of tactility introduced an erotic element as well. In _The Mirror of the Self_, Shadi Bartsch asserts that these links among vision, sexuality, and self-knowledge are key to the classical understanding of the self. Weaving together literary theory, philosophy, and social history, Bartsch traces this complex (...) notion of self from Plato’s Greece to Seneca’s Rome. She starts by showing how ancient authors envisioned the mirror as both a tool for ethical self-improvement and, paradoxically, a sign of erotic self-indulgence. Her reading of the _Phaedrus_, for example, demonstrates that the mirroring gaze in Plato, because of its sexual possibilities, could not be adopted by Roman philosophers and their students. Bartsch goes on to examine the Roman treatment of the ethical and sexual gaze, and she traces how self-knowledge, the philosopher’s body, and the performance of virtue all played a role in shaping the Roman understanding of the nature of selfhood. Culminating in a profoundly original reading of _Medea_, _The Mirror of the Self_ illustrates how Seneca, in his Stoic quest for self-knowledge, embodies the Roman view, marking a new point in human thought about self-perception. Bartsch leads readers on a journey that unveils divided selves, moral hypocrisy, and lustful Stoics—and offers fresh insights about seminal works. At once sexy and philosophical, _The Mirror of the Self_ will be required reading for classicists, philosophers, and anthropologists alike. (shrink)

We used optical neuroimaging to explore the extent of functional overlap between working memory (WM) networks involved in language and Early Stone Age toolmaking behaviors. Oldowan tool production activates two verbal WM areas, but the functions of these areas are indistinguishable from general auditory WM, suggesting that the first hominin toolmakers relied on early precursors of verbal WM to make simple flake tools. Early Acheulian toolmaking elicits activity in a region bordering on Broca’s area that is involved in both visual (...) and verbal WM tasks. The sensorimotor and mirror neurons in this area, along with enhancement of general WM capabilities around 1.8 million years ago, may have provided the scaffolding upon which a WM network dedicated to processing exclusively linguistic information could evolve. In the road map going forward, neuro-archaeologists should investigate the trajectory of WM over the course of human evolution to better understand its contribution to language origins. (shrink)

Liana Badr's The Eye of the Mirror explores the historical trauma of the 1975–6 siege of the Palestinian refugee camp Tal el–Zaatar in Beirut and the massacre of thousands of its inhabitants by Christian militias. Analogous to Holocaust writing, Badr's fictionalized history, grounded in actual survivor testimonies, enacts a complex politics of cultural memory, but does so from a specifically female perspective. Collapsing the personal and political, private and public, inside and outside through figured violations of bodies and psyches, (...) Badr repositions women at the centre of the Palestinians’ struggle for and story of survival. Badr's novel traces the annihilation of the possibility of address, accompanied by self–loss and the ability to witness, and the laborious recreation of address. Claiming authority on the basis of the emotional, visceral truth of suffering, she seeks to break the endless cycle of an oppressive and impotent masculine history, constructing an alternative history which at least attempts to address the voice of cultural, national, and gender difference. (shrink)

This article analyzes inscriptions cast on bronze mirrors of the Han dynasty to trace how the material property of brightness became emphatically aestheticized through an expressive rhetoric of radiance and brilliance, illumination and reflection. It argues that specular brightness as a defining feature of Han mirrors was exploited by artisans to attract potential buyers. In contrast to erudite philosophers who exclusively used the logograph ming 明 to modify the literary mirror in classical texts, artisans promoted their products by featuring (...) terms such as guang 光, zhao 昭, hui 輝, yao 耀, qing 清, and jiao 皎 in rhythmic proses of various lengths. Examining how artisans advertised their high-tin bronzes as embodiments of solar and lunar light, the study shows that specular brilliance was linked to a range of cosmetic, moral, and religious powers, from illuminating the individual and the physical world to revealing the invisible world, whether of human emotions or demons. The article further argues that the inscribed verses, while often formulaic and clichéd, were neither mere decorations nor generic blessings. In fact, they meaningfully structured and communicated a particular aesthetic appreciation shared by both Han artisans and users. This well-developed semantic fascination with specular brightness thus marks these metal discs as a distinctive genre of the decorative arts in early imperial China. (shrink)

The bioclimatic architecture is still fascinating to all of us. The lack of energy that the world is facing nowadays is forcing architects and engineers to implement smart solutions benefiting at the maximum from nature itself without considering the primary sources of energy that the world is actually using. Bioclimatic design has the roots in history, despite the fact that little attention has been paid to it throughout history. It is important to understand how natural systems operates, creating closed or (...) semi-closed systems that mirror the ecological systems on Earth. The components of bioclimatic design deal mostly with: climate type and requirements; adaptive thermal comfort; vernacular and contextual solutions; tools and assessment methods; microclimate; sun path; wind; rain; passive and active systems and responsive forms. The aim of the bioclimatic design is to improve the natural environment through the utilization of clean energy and renewable energy system; to reduce the need for energy for heating purposes; and to reduce the energy for cooling proposes, air conditioning and lighting. Furthermore, bioclimatic design involves changes in regulation, improves the house comfort, and also improves urban quality of life. Bioclimatic buildings also include the use of building elements such as walls, windows, roofs, and floors, in order to collect, store, and distribute solar thermal energy and to prevent overheating. The aim is to manage the energy flows providing comfortable conditions during the entire year and the entire day. Minimization of thermal losses and utilization of climatic conditions (climate; microclimate, sunrise) are other important issues to consider. According to many studies, the best orientation for a building in order to maximize the heat gain during winter is east–west and the primary façade should face south. Sustainability is mostly an outcome, rather than a goal or a process. The aim of all designers is to reduce the ecological footprints and to improve the quality of life. The energy sustainability and the use of natural resources must be an integral part of a sustainable development. Nowadays, there are softwares that are developed in order to carry out environmental assessment tools and standards, in order to draw conclusions about internal thermal comfort; uncomfortable times in the building during the entire year; the need for shading devices and their dimensions; energy use, energy cost, etc. Simulations are essential in the design process. Examples chosen as case studies participate to have a better insight into the overall approach of the bioclimatic design. Applying the principles of bioclimatic design remains still a challenge in redefining the perfect bioclimatic house. (shrink)

To Bill Johnsen, mimetic theorist and innovative editor.Have you not observed that imitations, if continued from youth far into life, settle down into habits and second nature in the body, the speech and the thought?Yes, we have observed the powers of mimesis. And if we reload Socrates's untimely observation for our contemporary, hypermimetic times, we cannot help but wonder yet again: What is the relation between violence, imitation, and the unconscious in a world increasingly dominated by virtual representations of violence, (...) which, we are beginning to realize, may have contagious rather than cathartic effects? In Part One of this twofold argument, I traced a genealogy of the "cathartic hypothesis" via exemplary... (shrink)

Coleridge's relation to his German contemporaries constitutes the toughest problem in assessing his standing as a thinker. For the last half-century this relationship has been described, ultimately, as parasitic. As a result, Coleridge's contribution to religious thought has been seen primarily in terms of his poetic genius. This book revives and deepens the evaluation of Coleridge as a philosophical theologian in his own right. Coleridge had a critical and creative relation to, and kinship with, German Idealism. Moreover, the principal impulse (...) behind his engagement with that philosophy is traced to the more immediate context of English Unitarian-Trinitarian controversy of the eighteenth and nineteenth centuries. The book re-establishes Coleridge as a philosopher of religion and as a vital source for contemporary theological reflection. (shrink)

In order to clarify Nishida’s notion of topos, I trace its forma­tion, starting with the notion of “pure experience,” of which he says: “To experience is to know the thing as it is.” By taking the act of “to know” as the thread that connects the ideas of pure experience and topos, I examine his early writings leading up to 1929, going beyond 1926, when Nishida’s essay “Basho” was published. Over against the commonly held “objectified” view of the topos as (...) a “location” or “field” in which the individual exists, a radically ontological reading of this notion emerges, requiring us to shift the vantage point from which we approach it. I conclude that Nishida introduced into his philosophi­cal system a locative dimension as an ontological feature, and we, con­scious beings, exist in this world “topologically”. The topos refers to the very logico-ontological mode of our being.In order to clarify what knowledge is, we need to begin with [the investigation of] reflective consciousness, rather than starting out with intellectual judgment. Consciousness pertaining to judgment cannot include the one [who judges] within it. It is an incomplete awareness that looks at the self externally. The explanation of how we know begins with the critical reflection of self-consciousness itself. Therein, we obtain the standpoint of genuine epistemology.Our real knowledge starts out with “I exist.” That “I exist” means that the topos is directly in the topos, and this is the standpoint of both inner perception and actual experience. (shrink)

This book traces the idea of the unconscious as it emerges in French and European literature. It discusses the functioning of the normal unconscious mind and provides examples of the abnormal unconscious in poems and literature. Psychiatric cases as they are understood today are illustrated as mirrored in literature describing the functioning of the disturbed mind.

Natural language processing (NLP) has undergone significant changes in its methods, reflecting advances in computing technology and cognitive research. This article reviews the key stages of the evolution of natural language processing methods. The article touches on the topic of the first NLP systems developed, provides justification for the reasons for the complexity of some processed texts and the possible depth of analysis. In addition, it describes not only NLP methods before and after the GPT revolution, but also current trends (...) and prospects in the field of natural language processing. The article allows us to trace how the idea of natural language text has changed during the development of computer analysis methods, as well as to understand what text is in the mirror of natural language processing, what is really the subject of natural language processing research and what cannot be seen through the eyes of a simple researcher who does not use NLP methods. (shrink)

This essay traces the evocations of the Chinese practice of foot-binding in Western political thought. I examine the changing deployments of the image: as a contrast to European freedom or as a mirror reflecting its own limitations. The bound feet not merely illustrate a lack of freedom through an image of disabled mobility. They also situate freedom within global and gendered frameworks. Via a reading of the image and its contexts, we see that European freedom-as-movement emerged on the backdrop (...) of two imperial contrasts: images of nomadism, which are only marginally considered in this paper, and an assumed stagnation, that presumably prevailed in the East. Yet surprisingly, the image was often evoked to say something about Europe itself, rather than about its “others.” Therefore, it also reveals the corporeal dimensions of a concept of freedom that has underlaid a long liberal tradition. The crushed and squeezed feet of girls in China thus marked both a gendered and an imperial divide between those who can move freely, and therefore rule, and those who cannot rule because of their lack of mobility; yet at the same time, it undid this division by allowing the East and its stationariness to permeate Europe through a multiply foreign body: feminized, racially alien, and geographically distanced. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * * Australia, Summer, 2012. …. essential humanity exists, and runs its course, within a system whose first principle is the preservation of balance. And arching over it all, is the logos of The Dreaming. How shall we state this when we fully understand it I do not know, but I should think we are more likely to ennoble it than not. Equilibrium ennobled is abidingness.” 1 On return to birthplace I write. Caught between jetlag and surprise, a relentless sun cracks my skin. Upright words fall under cockatoo roars. The attempt to settle, to be attentive, is shaken. Some kind of Dreaming surrounds and elements intrude without consent. Homeless at home. Exhausted, I fight sleep’s hard currents. Their victory would confuse the body clock, so the in-between wins. Half-there — half-awake — here in this place — I am driftwood. Driftwood: wood floating in or washed ashore by a body of water. A severed limb set adrift from the birthing body. Tossed from home it’s cast into processes of wind, water, sand, bacteria, decay and movement. Driftwood is orphaned members at the mercy and agency of weather, currents, submersion, and being thrown into dry world. Driftwood — singular plural. White man got no dreaming. Him go ‘nother way. White man, him go different Him got road belong himself. 2 photo: Bronwyn Lay The old man comes from the northern rivers. A while ago, he could no longer pay attention to wage slavery, so retreated north to be with dead redgum that lay abandoned in dry riverbeds. Derived from driftwood peoples tossed here by the sea, he followed the fragile river veins of his birth. He walked along water bodies and through country’s lungs. Some kind of displaced ancestral song compelled his leathered hands to pick up centuries old driftwood from flood plains. It emerged from under muddy creeks, was flung up by salt soaked coves, pushed underground by cracks in the claypan and lay embedded in mud and salinized soil. Smoothed and grooved in equal measure, the branches were marked by an organic alphabet that preceded him. As he held the wood, he touched decomposing circles that started with a blast and never ceased writing into abandoned flesh. When the ute was full the old man returned home having been away with the stuff that ‘growed him up’. His shed filled with red sawdust and the sound of tools at labour. His hands sculptured driftwood. History carved into itinerant skin. I sit opposite the old man. His body no longer holds the repetition of carpentry. He can no longer gift driftwood its detail. Outside redgum bits lie scattered around the fence line and beside the dam. He crouches over an unreliable computer researching the massacres of indigenous peoples that occurred along the same river veins that ‘growed him up’ long ago. Staring into the remnants of frontier resistance that he and I inherit, his eyes nurture fire. He discovers severed limbs and the slicing of tribes. In the ashes of sentences he sifts the lies that smoulder into our histories. In the 30’s the anthropologist Stanner said that due to certain factors — lack of change and isolation — the ideal and real come very close together in indigenous Dreaming. They are a people who were able to defeat history. 3 “If the Ideal and the Real drift too far away from one another (as they did at the end of the middle ages and seem increasingly to do this century) men face some difficult options. They have to change their way of life, or their philosophy, or both, or live unhappily somewhere in-between.” 4 Stanner says Indigenous Dreaming is blackfella thinking. 5 Dreamtime is not ethereal, not utopic, or otherworldly. It’s fused with the real and it’s not mine. I might never understand, but it’s the substance of my home. This here place ‘growed me up’. Is driftwood the unhappy in-between? Is it a radical itinerant written upon by currents? Where are we? The settler restless? photo: Alison Pouliot I return to the bush late one night, tired from high talk in city cafes, to find the old man at his computer. He’s either researching his white farming ancestors, or tracing unrecorded massacres of blackfellas. I laugh, “You know Dad, if you were indigenous you might go out by the dam and sing up your ancestors rather than try find them on a screen.” He peers over his glasses. His stare delivers an ancestral scold. He’s white man. Of course he archives. This is our way. One may see that, like all men, he is a metaphysician in being able to transcend himself. With the metaphysician goes a mood and spirit, which I can only call a mood or spirit of assent, neither despair nor resignation, optimism not pessimism, quietism nor indifference. The mood, and the outlook beneath it, make him hopelessly out of place in a world in which the renaissance has triumphed only to be perverted, and in which the products of secular humanism, rationalism and science challenge their own hopes, indeed their beginnings.” 6 The clinamen sometimes comes abstract — the rarefied swerve of possibility. But in the place we gather &mdash where this text has landed — in the heart of settler colony denial — the clinamen reminds of familiar violence and goes maximum. The earth’s swerve. Topography’s tip. Physics gone violent. Here, drift is initiated by the tear of flesh, scurvy voyages, frontier blood and the deracination from belonging. Here, war precedes drift. We all got tossed. Here. Pay attention. The country has its own gaze. ‘Lest we forget’. The seasonal turn on aborescent substances starts with a fall, an upwards rupture, a drop, a cut, a storm, a violence, a loss, forced migration, refugees, agricultural imperialism, settler wheat and poisoned rations. Pay attention to aftermath debris. Don’t drift too far from the real. History hasn’t settled into the water. It still tosses limbs back and forth. Surrounded by the backdrop of Dreaming country the old man archives and dreams. Both ways of settling into the real. But lest we forget, time, in this place, has no textual tick — tock. Our bodies know this, even though we persist with shipwreck illusions. It’s difficult being here. Here. Pay inattention. I walk through eucalyptus, over dried out clay pans and under kookaburras. It’s been two years in-between. This time country speaks strong underfoot. Forget books, forget texts, forget other lands and times, beginning and end. Be here. All falls raw. Leaves drop and refuse to compost. Bark untethers quick. Light denudes worlds. The heated horizon melts monoliths. It’s enough to make Cartesians shiver. Awake. Refuse the temptation to run. Have enough courage to drift into here. Love with a gum tree. Stand with her whole and dissolving. She moves light between our limbs, tossing them to wind. She — the original romance — is the dream that dares touch flesh and reaches over nightmares with elemental desire. I gaze and lose me. There’s no distance. The land that ‘growed me up’ speaks with symbiotic breath. There’s no division, no separation, no other. The gum is plastic arborescence. You be my body for me, always were. …..but I wake to driftwood histories and recall slaughters. Drifted, wicked fellow citizen — the other is someone else’s blind sleep. Betrayal maintains the other as mine. Archives reveal this place doesn’t belong to me. Body articulates that it became here. Gumtree cares not………her arms take me in anyway. “Like all men he is a philosopher in being able to use his power of abstract reason. His genius, his metier, and in some sense — his fate is that because of endowment and circumstance this power has channelled itself mainly into one activity, making sense out of social relations among men living together.” 7 The old man excavates seven generations of settler ancestors. They’re an ordinary lot with written-upon skin. He records genocides that occurred alongside his peoples fertility. Bodies rise from riverbeds like sovereign sacrifices. It hurts. It disrupts. He labours at the past with gestures that might go unnoticed in a country suffocated by rich amnesia. Inside walls, he seems attentive to historical details. Outside he seems inattentive to time, lost to us and embedded in a family of active matter — the bush. His driftwood skin appears around my eyes - grooves of experience, the rush of cruel sun, the push of blind winds, and the love of everything. The sovereign’s reluctant children are thrown here by, with and through blood, but country gets in and sculpts us here. photo: Chris Corrigan “But his abstractions do not put him at war with himself.” 8 The kangaroo family appears at dusk. When the sun is soft I follow the old man into the back paddock. Children skip behind us. In-between generations, I step into the old man’s driftwood leanings. My feet find traces of his understanding – the archivist that reads trees. Here, on home dirt, inattention and attention collapse as we wander into where we are. The roo family gaze at us. Through the grass the old man’s wooden finger articulates kin’s details. He points to the head male, the mother holding a joey in pouch and the young warriors side by side. My children, quieter than ever, meet the laser - eyed silence of another family. In half-light Dad, me, and the kids mirror the kangaroo constellation and stand gentle together. At the bushblock’s limit we encounter ancestral desires. White peoples are subject to driftwood histories. We’re severed limbs attempting to fuse here now, with what was, only to discover our skin becomes racked and embedded with the weather. Into the shelter and fissures of this difficult and ambiguous inheritance, I fall into dream light until balance saturates. Light breaks when the kangaroos move. They bounce someplace else without effort or impact. We turn and tread through the dark towards home. It’s time to sleep. Driftwood skin covers the country. Dreaming is still. photo: Bronwyn Lay NOTES W.E.H. Stanner, The Dreaming and Other Essays , (Melbourne: Black Inc. Agenda, 2009), 72. Ibid., 56. Stanner is recalling one intelligent old man who said to him, “with a cadence almost as though he had been speaking in verse.” Ibid., 60. Ibid., 69. Ibid., 58. Ibid., 67. Ibid., 68. Ibid., 59.  . (shrink)

Doors play a complex role in architecture. The very word, at least in Italian and French, illuminates the marking of the deliberate interruption of the act of foundation during the ceremony of the wall's enceinte tracing. The word porta indicates the action of portare. During the tracing of the furrow into the ground, the blade is lifted out of the ground in order to mark the place of the future entrance to the city. Another significant role is the (...) marking of the “exit” from this world and it is loaded with intense significance in funereal architecture. But if we look at the semantic “Mirror, mirror on the wall,” it will be easy to discover the other, complementary, and necessary role of the porta. The reading of Aristophanes' Lysistrata shows the explicit “hidden” metaphor of the door, which has been very well christened as the “Origin of the World” in the famous Courbet painting. (shrink)

Since the publication of his first book in 1953, Yves Bonnefoy has become one of the most important French poets of the postwar years. At last, we have the long-awaited English translation of Yves Bonnefoy’s celebrated work, _L’Arrière-pays_, which takes us to the heart of his creative process and to the very core of his poetic spirit. In his poem, “The Convex Mirror,” Bonnefoy writes: “Look at them down there, at that crossroads, / They seem to hesitate, then go (...) on.” The idea of the crossroads haunts Bonnefoy’s work, as he is troubled by the idea that the path not taken may lead to the _arrière-pays_, a place of greater plenitude, and of more authentic being—an “elsewhere in the absolute.” Seized by this fear that what he terms “presence” exists always somewhere else, a little further on, Bonnefoy here sets out on a labyrinthine quest to find traces of this “original place,” which he locates not only in objects of knowledge and experience as diverse as the deserts of Asia, a hill fort in India, a church in Armenia, the painting of Piero della Francesca but also, crucially, in the undivided intensity of his experiences as a child. Written with a visionary grace, _The Arrière-pays_ is a spiritual testament to art, philosophy, and poetry. Enriched by a new preface by the poet, this volume also includes three recent essays in which he returns to his original account of an ethical and aesthetic haunting, one that recounts the struggle between our instinct to idealize—what he deems our eternal Platonism—and the equally strong need to combat this and to be reconciled with our nature as finite beings, made of flesh and blood, in the world of the here and now. (shrink)

Since our earliest hominid ancestors, humans have found nature beautiful, feeling a sense of the numinous in its presence. However, evolutionary biology has been unsuccessful in providing a satisfactory explanation for this phenomenon in terms of natural selection pressures. Firstly, the article takes a walk down anthropological memory lane, tracing the origins of why humans find nature beautiful, giving rise to religious and non-religious sensations. Secondly, the article explores why traditional natural selection mechanisms do not support a bio-aesthetic model (...) that attempts to reduce beauty to physiological utilitarian value. Thirdly, the article offers an alternative explanation relying on the ecotheology of Jonathan Edwards, framing the love of a communicative God who creates nature’s ‘secondary beauty’ to mirror God’s own ‘primary beauty’. As humans encounter beauty in nature, they are receiving the outpouring of grace to support human thriving by the divine action of the Holy Spirit. Finally, the article offers a Christological ecospirituality drawing on the life and teachings of Jesus of Nazareth, who loved nature and its innate wisdom. Through his spiritual practices of prayer and teaching, whether at the seaside, in gardens or on the mountainside, he offers a renewed human love affair with nature and a deep contemplation of its beauty that revives the soul. A recovered love of nature, and our birthright interconnection with all creatures, open a new conversation in the present climate catastrophe that holds hope for the flourishing of humans, all its creatures and our ecological home. Contribution: This article offers a hopeful conversation in the current climate catastrophe that implores humans to recover their ancient love of, and interdependence with, the beauty of the natural world. This is viewed as communication of God’s grace in a Christology of Nature towards the flourishing of humans, the earth and all its creatures. (shrink)

This article examines the notorious mid-nineteenth-century American trial of Amelia Norman, who was acquitted - very much against the weight of the evidence - of attempting to kill the man who seduced her. In particular, we explore the role in the trial and its aftermath of the affective energies and cultural expectations set in motion by best-selling American sentimental novels like Hannah Foster's "The Coquette" and Susanna Rowson's "Charlotte Temple." In Norman's case, once newspapers, defense lawyers, and reformers such as (...) Lydia Maria Child recast the defendant as a sentimental heroine, the trial became about seduction, not attempted murder. The sentimental emplotment of Norman's life marshaled a powerful set of emotional responses and moral judgments on her behalf. For example, Norman claimed insanity. And since sentimental heroines are supposed to go mad when they are seduced and abandoned, the jury was prepared to interpret her symptoms according to her lawyers' very strategy for establishing her innocence. Ultimately, however, Norman embodied the plight of the sentimental heroine at the same time that she contested her fictional counterpart's fate. In this way, her trial spectacularized the disparity which the sentimental novel conjures up and displaces but never resolves. Going further, the common law theory of coverture, which severely limited the legal personhood of married women, has received a great deal of scholarly attention. Cases like Norman's remind us that unmarried women were also subject to draconian constraints on their legal personhood. The tort of seduction is a key example. Legal historians trace the development of the seduction tort from its common-law origins, when men's property interest in women's bodies formed the basis of the cause of action, to 1851, when Field Code authors (including Norman's lawyer, David Graham) persuaded several states to grant seduced women standing to bring their own cause of action. Consequently, courts were forced to reckon with the seduced woman as a moral agent capable of consenting to sex. As trials like Norman's demonstrate, sentimental novels helped lay the groundwork for this shift in the law by elucidating a subjectivity for the seduced woman. Yet the doctrinal implications of Norman's precedent-setting trial had a second, more ambiguous strain. Other women facing similar charges used the same legal strategy to gain acquittals in a substantial number of cases. Indeed, Norman's sentimental strategy proved so powerful that men on trial for killing their wives' seducers appropriated it to bring their own stories before juries and to reinforce male sexual norms through the so-called honor defense. In the end, then, Norman's trial fostered legal reform, but it also suggested - as Lydia Maria Child's fictionalization of the case in "Rosenglory" recognized - that only sustained and multifaceted efforts to change cultural as well as legal norms could improve the sexual status of women. In addition to its legal, literary, and historical insights that it provides, we also intend this article to contribute to debates on the nature of scholarship in law and literature. Scholars such as Wai Chee Dimock have argued for a focus on the historical and historically shifting relations between law and literature - a view we endorse. Where we differ from Dimock is in our diversion of attention away from abstract ideas of law laid out by treatise writers and philosophers in favor of law experienced and manipulated by individuals. So, too, we are interested less in representations of concepts such as justice in legal and literary texts than we are in the ways in which literature (broadly conceived) can create provisional and fragile opportunities for concrete instantiations of justice and even generate legal change (for good or ill). We would argue that to the extent legal change motivates rather than simply mirrors cultural change, it needs literature to be effective. This project, then, responds to Gregg Crane's call for attention to the complex and slippery historical interactions of law and literature that shape and are shaped by an ever changing cultural idiom of justice. The extended story of Amelia Norman, in short, not only constitutes a case study in the inescapable interaction between the overlapping and interdependent discourses of law and literature, but also reveals the literary and legal consequences of that interaction. (shrink)

Culture, Not Politics We live in a politicized time. Culture wars and increasingly partisan conflicts have reduced public discourse to shouting matches between ideologues. But rather than merely bemoaning the vulgarity and sloganeering of this era, says acclaimed author and editor Gregory Wolfe, we should seek to enrich the language of civil discourse. And the best way to do that, Wolfe believes, is to draw nourishment from the deepest sources of culture: art and religious faith. Wolfe has been called “one (...) of the most incisive and persuasive voices of our generation,” and this penetrating and wide-ranging book makes a powerful case for the importance of beauty and imagination to cultural renewal. He begins by tracing his own journey from a young culture warrior bent on attacking the modern world to a career devoted to nurturing the creation of culture through contemporary literature and art that renew the Western tradition. Along the way, Wolfe finds in Renaissance Christian humanists like Erasmus and Thomas More—and their belief that imagination and the arts are needed to offset the danger of ideological abstractions— a “distant mirror” in which to see our own times. Beauty Will Save the World offers a revealing introduction to the artists and thinkers who are the Christian humanists of the modern era, from well-known figures like Evelyn Waugh and Wendell Berry to lesser-known authors like Shusaku Endo, Andrew Lytle, and Geoffrey Hill. A section on visual artists Mary McCleary, Fred Folsom, and Makoto Fujimura (accompanied by reproductions of their works) demonstrates that there are artists who can reimagine the Western tradition in strikingly contemporary terms. Finally, Wolfe pays tribute to the conservative thinkers who served as his mentors: Russell Kirk, Gerhart Niemeyer, Marion Montgomery, and Malcolm Muggeridge— all of whom rejected rigid ideology and embraced culture and tradition. At a time when our public discourse has come to be dominated by warring factions with little regard for truth, Wolfe's affirmation of beauty as a redemptive force is both refreshing and encouraging. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

My intellectual journey to philosophy was paved by Plato’s Allegory of the Cave, which intrigued me as a high school student. Once on the path, however, I was frustrated by the inherent barriers to women’s participation both as originators and practitioners of philosophies. Excursions into Daoism and ancient goddess culture offered welcome alternatives. Gradually I realized the problem posed by the delusion of hierarchical dualism—whether male/female, mind/body, reason/emotion, human law and order/natural chaos, or Apollonian/Dionysian—that permeates the “Western Canon.” My PhD (...) dissertation set forth the denigrated perspective and values that had long been perceived as “feminine,” arguing that they were not gender-based but merely the road less traveled and seldom appreciated. More recently I have found validation for this alternative in neuroscience. Ongoing exploration of the bilateral brain has traced two attentional networks that mirror dualism in task-driven and stimulus-driven functions, both of which are required for optimal performance. This wholesome hybrid brain has been promoted by many world philosophies, and is perhaps most fully expressed in Buddhist nondualism. My goal is to promote these philosophies, beginning with a Minor in Global Philosophies, to secure the diversity, equity, and inclusion required to successfully address the many crises we face in the world today. (shrink)

For over one hundred and fifty years G.W.F. Hegel’s ghost has haunted theoretical understanding and practice. His opponents first, and later his defenders, have equally defined their programs against and with his. In this way Hegel’s political thought has both situated and displaced modern political theorizing. This book takes the reception of Hegel’s political thought as a lens through which contemporary methodological and ideological prerogatives are exposed. It traces the nineteenth century origins of the positivist revolt against Hegel’s legacy forward (...) to political science’s turn away from philosophical tradition in the twentieth century. The book critically reviews the subsequent revisionist trend that has eliminated his metaphysics from contemporary considerations of his political thought. It then moves to re-evaluate their relation and defend their inseparability in his major work on politics: the_ Philosophy of Right_. Against this background, the book concludes with an argument for the inherent metaphysical dimension of political theorizing itself. Goodfield takes Hegel’s reception, representation, as well as rejection in Anglo-American scholarship as a mirror in which its metaphysical presuppositions of the political are exceptionally well reflected. It is through such reflection, he argues, that we may begin to come to terms with them. This book will be of great interest to students, scholars, and readers of political theory and philosophy, Hegel, metaphysics and the philosophy of the social sciences. (shrink)

continent. 1.1 (2011): 60-67. At the beginning of Martin Heidegger’s lecture “Time and Being,” presented to the University of Freiburg in 1962, he cautions against, it would seem, the requirement that philosophy make sense, or be necessarily responsible (Stambaugh, 1972). At that time Heidegger's project focused on thinking as thinking and in order to elucidate his ideas he drew comparisons between his project and two paintings by Paul Klee as well with a poem by Georg Trakl. In front of Klee's (...) Saints from the Window and Death of Fire —though we wouldn’t absolutely understand what we were seeing—he writes, “we should want to stand…a long while.” In a similar manner, of Trakl’s poem “Septet of Death”—although it is likely we are unsure in what we hear—Heidegger states that, “we should want to hear…[it] often.” Heidegger further states that in appreciating these, “we “should abandon any claim that [they] be immediately intelligible” (1). So also we must we approach, Heidegger continues, the realm of theoretical physics, in which the difficult work of Werner Heisenberg, be listened to “without protest” and without “any claim that he be immediately understood.” These works, like his own project, merit the time they take to be originally (mis)understood. But this is not necessarily true for philosophy, Heidegger advises, because, “That thinking is supposed to offer ‘worldly wisdom’ and perhaps even a ‘way to a blessed life’” (1). Philosophy is in the unique position of being both abstract (what do we talk about when we talk?) and at the same moment, useful. There are demands that it make sense, that it be, grounded, immediate, and most importantly, rational. Heidegger draws these comparisons between the works of Klee and Trakl and Heisenberg not to claim that philosophy is totally irresponsible. He does not claim that the poet, the painter, nor the physicist have acted irresponsibly. Rather, he would say, they are rising to the highest levels of intelligibility, though it is perhaps an intelligibility that is commonly unavailable to us. In Trakl’s case, as we shall see, mastery is the end result of difficult words. Instead, Heidegger seems be making pleas: for a period of uninterrupted unintelligibility (pure unintelligibility); and that there is a time (that time is now) when, “thinking is…placed in a position which demands of it reflections that are far removed from any useful, practical wisdom” (1-2). Heidegger argues that philosophy requires a period of time in which, instead of focusing on the practical—or even on the worldly—the discipline draw its “determination” instead from the place of painting and poetry and physics. In doing so, “we should have to abandon any claims to immediate intelligibility” (2). But Heidegger doesn’t offer this as a way out. We still have to turn up, we “still have to listen, because we must think what is inevitable, but preliminary” (2). The point for Heidegger, is not to listen to a series of propositions, but instead to “follow the movement of showing” (2). I. … Maybe we're here only to say: house, bridge, well, gate, jug, olive tree, window— at most: pillar, tower … but to say them, remember, oh, to say them in a way that the things themselves never dreamed of existing so intensely.… Rainer Maria Rilke, “The Ninth Elegy” There is little more fundamental, preliminary, in the world than language. We use language, in the form of speech, constantly, whether we are saying anything or not. “Man speaks,” Heidegger writes, and goes on to describe in his essay “Language” (2001) the constant speaking that we do. “We are always speaking, even when we do not utter a single word aloud, but merely listen or read, and even when we are not particularly speaking or listening but are attending to some work or taking a rest” (187). Speaking is expression, an utterance of something internal. It is a recognition of a world. It is a way of communicating thought and it is an activity that we all do, inevitably. Speaking separates the human from the animal world, and despite advances in primatology that seek to give ‘voice’ to primates and other non-human animals, it can safely be said that our form of communication—what we call speech and know as language—is the most advanced, the most complicated. We use it to present and represent the world around us; through actual utterances (vocalization) or through the written word or through ‘unvoiced thoughts’ and dreams. We use language, but more specifically speech—naming—to transmit moods, thoughts, desires, aversions, and feelings. These expressions, mere utterances, nearly always find a source in words, whether spoken or not. Heidegger writes that this common view of language means “that only speech enables man to be the living being he is as man. It is as the one who speaks that man is—man” (187). Speaking then—utterance—surrounds us constantly, whether in the form of careful thought—in the form of an academic paper, say—or in the half mutterings and forgotten thoughts of a nearly remembered dream. Like scaffolding, the apparatus of speech sustains and explains the world, making, in a sense, the world rational, making it apparent. When we speak, we describe, and in doing so, name the world. We use words, through this process of naming, to interpret and sustain the world we see, and the world we imagine. Like Rilke’s naming of jug, and bridge, and window, and stream, we describe—and inscribe upon—the world through an activity of naming. Are we here, perhaps, to name? Is it possible not to name? Is it possible to regard and to view and to look around without naming what we see? Is it possible to feel—to experience—world without giving utterance to that feeling, that process? Sadness, grief, joy, ecstasy, hunger, thirst. Desk, light, room, pen, book, world. White, black, tomorrow, today. Each of these words is a name given to a thing I see in front of me, or a concept that I imagine (in the case of tomorrow or world). What arises in my mind has already existed. If I imagine it, it is named. The word for ‘tomorrow’ and ‘desk’ and ‘light’ precedes me, and precedes my concept of it. The idea of it is already pre-informed, and I must, in a certain sense, bend my ideas to it. When I imagine a table, I imagine my own table (or I imagine an idea of table) but that imagining must follow certain general rules; while, perhaps, it might not always require four legs and a horizontal surface, it must, at least not be, say, a pool of water, or a pile of excrement. It must have some tableness to it to be a table. It must, with Heidegger, table. Otherwise, speech is reduced to gibberish. For Heidegger however, the discussion of language points to something deeper than its “scientific and analytic” study as a communicative device. Indeed, Heidegger seeks to understand language not in reference to man or woman, not as an utterance of humanity, but in reference to itself. In doing so he abandons the conversation—that is, he casts away the traditional arguments surrounding philosophy of language; that it is a means of expression; that it is a human activity; and that it is somehow a representation of something that is—in order to seek to understand language as language, on its own terms. Heidegger is not a philosopher of language, but a philosopher of world, of being. Despite these “correct ideas” holding sway “over the whole field of the varied scientific perspectives on language…they ignore completely the oldest natural cast of language” (191). What is this “oldest natural cast of language? It is the act of language itself. Language is language and language speaks. “Most often,” Heidegger writes, “and too often, we encounter what is spoken only as the residue of a speaking long past” (195). Speech, as we normally encounter it, is like Echo herself calling out to Narcissus, doomed to repeat what has already been said, a mere remnant of what was once language, a trace left behind in the gathering silence of becoming. In both the essay “Language” and in his three lecture course “The Nature of Language” (1982), Heidegger attempts to unpack the seeming tautology of language as language. In each, he focuses on poetry as a way out, or into, a true discussion of the oldest natural cast of language. Poetry is pure speech. In poetry, language is brought to language and language speaks ( Die Sprach spricht ). In the act of poetry, the act of pure speech, the poet names (on the surface not different from how I name this table, this computer) but in the poet naming, the naming does not “hand out titles,” “apply terms,” but rather the naming is a call, a calling forth of entities that bring them into their own, allow them to take their place purely, without compromise. This calling, Heidegger (2001) states, “here calls into a nearness. But even so the call does not wrest what it calls away from the remoteness, in which it is kept by the calling there. The calling calls into itself and therefor always here and there—here into presence, there into absence” (196). II. Window with falling snow is arrayed, Long tolls the vesper bell, The house is provided well, The table is for many laid. Wandering ones, more than a few, Come to the door on darksome courses. Golden blooms the tree of graces Drawing up the earth’s cool dew. Wanderer quietly steps within; Pain has turned the threshold to stone. There lie, in limpid brightness shown, Upon the table bread and wine. Georg Trakl “A Winter Evening” Heidegger is often given short shrift as an abysmally difficult writer, as one that makes no sense and is needlessly difficult. In doing this though, we forget sometimes his eloquence, his simple beauty in writing. Of the above opening stanza, “Window with falling snow is arrayed/ Long tolls the vesper bell.” he writes (2001), This speaking names the snow that soundlessly strikes the window late in the waning day, while the vesper bell rings. In such a snowfall, everything lasts longer. Therefore the vesper bell, which daily rings for a strictly fixed time, tolls long. The speaking names the winter evening time (197). The speaking names the winter evening time. It is almost impossible to comment on that one line by Heidegger. It is as though it must exist on its own completely, without elucidation—as though in front of it we must stand as we do in front of a painting by Klee, that is, we must abandon any claim . Silent and devoted. The speaking of the poem here is not clearly different from common speech ( rede ) yet there is, via Heidegger, an invitation to experience that auracular quality of light and stillness that a gentle, dusk tinged snowfall gives; words evoking a quality so clear, so poignant that, in a sense, Heidegger’s work, at this moment, has been done. But what does this naming accomplish? What does the call call? Remember, it is not the poet that calls, but the naming which calls. The poet has only brought the words forward; it is now the words— snow, vesper bell, window— that take new life in the pure language of the poem. Entities are called forth into presence, like the speaking that names the winter evening time. Not to be present amongst us now, however; naming ‘table’ in the poem does not place it in front of us in this room. Rather, the naming places entities into a gathering which is also a sheltering. The naming brings them to be. In an act of appropriation, things come to be purely as their own, unimpeded by a predetermined expectation. They are called to themselves into an arrival. In Being and Time (1962), Heidegger famously describes the movement between present-at-hand and ready-to-hand in his analysis of the hammer, and of equipment in general. This analysis is already known, if not always clear, to most readers of Heidegger. Briefly, a hammer is ordinarily zuhanden or ready-to-hand; it is part of the background of the world, equipment used and never thought about, like this desk, this sheet of paper, this room. Our interaction with it is temporary and it is historically different for each entity and each relation. We need a hammer, we use a hammer. If all goes according to plan, the hammer remains ready-to-hand; it remains, in a sense, undisclosed and certainly unobtrusive. Our world is undisturbed by the hammer. Only when the hammer or the car or the computer is broken (or sometimes unused or unrecognized or missing) does it intrude into our world, become conspicuous as an object present-at-hand, or vorhanden . In this case, we reach for the hammer, it is broken and we suddenly notice it’s being, broken though it is. The thing which was always ready to hand—handy—is suddenly abstract, something to be examined, if only in its absence or disfunction. This can be exhibited for all entities, and it is important to note that in this analysis the zuhanden / vorhanden split is not restricted to a specific form of constructed material; zuhanden does not refer to the car, and vorhanden the sunset. No entity is ever exclusively ready-to-hand or present-at-hand; they are instead, interpenetrated with each others mode of being, one informing the other in a way that both brings things forth into the world—discloses is the word Heidegger chooses—and at the same time conceals them. As one mode is coming to be so another mode is withdrawing. This flux and movement between modes is precisely what brings the world forward, and what makes it manifest. It exists beyond where we tread and before man took dubious control of the world. We go to find a book or turn on the computer and it is missing or broken and we become aware of the object, as though for the first time. We walk to the water to glimpse the sunset and miss it, or it is less than stellar; in the sunset’s grayness, we become aware of it’s being sunset. The thing is disclosed in its withdrawal. Echoing Heraclitus, we can say that as something is coming to be, it is already becoming something other. Of similar importance to the fact that things are never all of one, or all of the other, they are also never alone. The hammer is never a single object, but is in relation always to the whole. Heidegger (1962) states, Equipment—in accordance with its equipmentality—always is in terms of its belonging to other equipment: ink-stand, pen, ink, paper, blotting pad, table, lamp, furniture, windows, doors, room. These ‘Things’ never show themselves proximally as they are for themselves…What we encounter as closest to us…is the room; and we encounter it not as something ‘between four walls’ in a geometrical, spatial sense, but as equipment for residing…it is in this that any ‘individual’ item of equipment shows itself. Before its does so, a totality of equipment has already been discovered (97). Equipment resides—dwells—in its relations, in its proximal being to other beings. Within the structure of totality, a series of relations is always occurring. The hammer is on the workbench in the carpenter’s hand in the workshop in the village under the sky and under the sun. It doesn’t stop there. Equipment surrounds us and the focus is not on what it does, or what one does with it—the carpenter with the hammer, the writer with laptop—but with the fact that it is. Equipment occurs in relation and is always occurring around us overhead, underfoot, by the stream and in the city. There is a constant exchange of relations happening, and as this occurs, so the world occurs, so the world both discloses and withdraws, into and out of itself. In a very real sense, language is also equipment. It is the thing that we use most often without thought, it is ready-to-hand (except when it’s not.) As we re- cognize the world around us, as we offer names for things and make lists, we are using language much like we might use a hammer, that is, bluntly. Most of the time it is invisible and we draw on it without wondering how we are going to say something. When language does intrude, it does so in an awkward moment, that moment when we can’t remember the right word, when we forget a phrase. At that second, it “speaks itself as language,” it reveals itself as malfunctioning equipment, and we “undergo” an experience with language, in Heidegger’s famous formulation. Language is not a tool anymore that we use to bludgeon an object, but something instead that we submit to, that we experience. In “The Nature of Language,” Heidegger (1982) writes, But when does language speak to us as language? Curiously enough, when we cannot find the right word for something that concerns us, carries us away, oppresses or encourages us. Then we leave unspoken what we have in mind and, without rightly giving it a thought, undergo moments in which language itself has distantly and fleetingly touched us with its essential being (59). The poet’s words become themselves, become appropriate, only when they no longer function in the prosaic world; they instead intrude as they come to be. Language itself brings itself to language. Names, like the entities they indicate, are always becoming something else. As noted above, language, through the poet, has brought forth entities from words previously “known.” I thought that I knew snow, but through Trakl’s re- presentation of the word, language calls forth a new image of snow, indeed calls forth snow itself. The vesper bell tolls longer, the table is for many laid. In bringing forth things , language has brought the world to presence. In everyday naming, word occludes world, preventing, in its everydayness, its coming forth, its disclosing. But what is this world that word has been brought forth into? In the same way that language speaks, world worlds. World, left alone, un-interfered with, comes into itself. It worlds. Again, this sounds like a tautology, but it is essential to Heidegger’s thought (and in my mind is more of a “god killer” than Nietzsche.) One of the most overlooked (and under-appreciated) aspects of Heidegger is his later examination and enthusiasm for the “fourfold,” or the system through which things come to be, through which things thing in a world worlding. The fourfold is the interaction of earth and sky, mortals and gods. Things come to be in the interstices and gathering of the fourfold. The fourfold provides both a place of being, and a sheltering, a place to dwell. Heidegger writes that “the things that were named, thus called, gather to themselves sky and earth, mortals and divinities. The four are united primally in being toward one another, a fourfold.” The poet has called, through the act of pure naming, things to come forth. In the purity of the fourfold—that is, when that is all that there is, when there are no other distractions, definitions, things—entities themselves can come to be. It is important to note that Heidegger is not saying that there are four formal things in the world, autonomous entities unto themselves. He is not evoking a pre-Socratic formula as to what makes up the world; instead, the four mirror each other constantly. (Heidegger calls this the ‘mirror-play.’) They interpenetrate in the same way that the modes of being of things interpenetrate themselves. There is no discrete exclusivity in being or the fourfold. What makes up things is not a precise recipe of the four main components; what makes up things is the action of the fourfold coming together, the movement of the fourfold which is a becoming. Heidegger (2001) writes that “this gathering, assembling, letting stay is the thinging of things.” And he later adds that “thinging, things are things. Thinging, they gesture—gestate—world” (197). Language brings the world to be. It works not again as a recipe added to things, but instead it is a bridge, or more precisely, a relation. Language relates world to thing, brings world to thing. In a sense, it does not say anything; rather it allows, or calls in its movement. Heidegger (2001) writes that, The intimacy of world and thing is not a fusion. Intimacy obtains only where the intimate—world and thing—divides itself cleanly and remains separated. In the midst of the two, in the between of world and thing, in their inter, division prevails: a dif-ference (199). It is in this inter that language prevails. Language is difference, it is the differential aspect between world and thing that brings world to thing. In the final stanza of Trakl’s poem “The Winter Evening,” Trakl evokes this difference in the second line when he writes, “Pain has turned the threshold to stone.” Christopher Fynsk, in his essay “Noise at the Threshold,” draws attention to this point when he writes “it is the figure of the threshold that is language itself, inasmuch as language is defined as the articulation of difference by which difference comes about” (25). Language, as used in the pure language of the poem, draws together world and thing, bridging relation between entity and world. The calling of language calls world to thing, world to being. Heidegger (2001) describes this difference as unique; “of itself, it holds apart the middle in and through which world and things are at one with each other” (200). III. Neither reading nor writing, nor speaking—and yet it is by those paths that we escape what has been said already, and knowledge, and reciprocity, and enter the unknown space, the space of distress where what is given is perhaps not received by anyone (99). Maurice Blanchot The Writing of Disaster So far, we have allowed Heidegger to put forward what language does, how it functions as a relation and how it operates as a threshold, as a bridge. What interests me is what happens beyond language, beyond the relation. What happens to the thing without the naming, without the poet, or even without the everyday chatter—Fynsk calls this ‘noise’—intruding on being? If language allows things to become by bringing thing to world, what happens when we remove this bringing, this threshold turned to pain? In “The Nature of Language,” Heidegger examines the work of the poet Stefan George, specifically “The Word”: Wonder or dream from distant land I carried to my county’s strand And waited till the twilight norn Had found the name within her bourn— Then I could grasp it close and strong It blooms and shines now the front along… Once I returned from happy sail, I had a prize so rich and frail, She sought for long and tidings told: “No like of these depths unfold.” And straight it vanished from my hand, The treasure never graced my land… So I renounced and sadly see: Where word breaks off no thing may be. That final line, “Where word breaks off no thing may be” is evoked on nearly every page of Heidegger’s essay. It is the line to which he returns over and over and bears repeating. Where word breaks off no thing may be. Where naming ends, no thing. We can interpret this in two ways (at least.) Where word—naming—breaks off, then there is nothing . Or, as I choose to read it, where word breaks off no thing may be. In this I see a hint forward, a marker left behind by Heidegger. What could this look like? What does no thing look like? Like a zen koan ( there is no mirror ) it is as thrilling and horrifying as contemplating what preceded the Big Bang. Because language as naming wasn’t always here; we weren’t always here. One or maybe two aspects of the fourfold (depending on your view of gods) were not always here, and there is no guarantee that we will always be around. What then? Heidegger (1982) describes the landscape that the poet finds, “It names the realm into which the renunciation must enter: it names the call to enter into that relation between thing and word which has now been experienced” (65). The poet, in renouncing, allows for the “may be” of “where word breaks off no thing may be.” This “may be” becomes “a kind of imperative, a command which the poet follows, to keep it from then on.” No thing is lacking. Where word breaks off, there may be, a totality, a completion. If we place the emphasis on may be , we make it affirmative, make it positive. One allows it. No thing is where the word, that is the name, is lacking. If we remove then (if we can remove) the word, the name, than that is where no thing is, that is where no thing may blossom, enrich, belong, become. What is no thing? Heidegger writes that “thing is anything that in any way is.” And just after this he writes that the “world alone gives being to the thing.” But what happens if there is no word? Word, in this formulation can be seen as an enframing, a challenging of language. By naming, by drawing a perimeter around an object, we hold it, by its definition (that is a brick) to an ordered future. If we borrow from Heidegger’s essay “The Question Concerning Technology” (1993) the idea of this standing-reserve of an ordered future, we see that “everywhere everything is ordered to stand by, to be immediately on hand, indeed to stand there just so that it may be on call for a further ordering” (322). What happens if there is no naming of the thing? Silence perhaps. Stillness. We can name—and do name—that which we know. We equate knowledge with knowing the name of something. A brick is a brick, a hammer is a hammer, the universe is the universe. By naming a thing, we create, and draw its parameters, the parameters of the thing, not as thing thinging in the fourfold, but as blunt object apparent. In the four dimensions relatively available to us, we observe (and name) that the brick takes up possibly six by four by two inches and is, in the sense that it currently occupies this time slot. It fulfills its destiny, its being, its brickness, it bricks . But what happens when we remove the name for this brick. We no longer know what to call this no-thing (if indeed we can even arrive at the point of uncalled calling.) In fact the it (this brick) is no longer a thing in the sense that by not naming—by removing the name—it still occupies the same dimension but is indiscernible from the world. It simply is , un-reliant, un- needed by me. By removing the subject (me) from it (the brick) do I not then also remove the object—or at least the duality objectifying it? Why is this important? Why does this matter? I have not really removed anything. I have not changed any thing , per se . The brick still occupies the same space in geographic and temporal dimensions. I have literally not even touched the brick sitting on my desk. But what I have done is removed the name, removed the word (the bridge, according to Heidegger) and in this (again, if this is even possible) there is something vertiginously liberating, not only for me (and my way of thinking) but also for the brick itself. Like the poet who calls the thing forward, by refusing to name, by avoiding any thing that demands me to name it, I release the thing into the fourfold. I am no longer challenging the thing to be there for me ; I do not en frame it through language. Rather I, in an act of extreme responsibility, am refusing the challenge. By refusing the name (refusing to name) one allows, (or no one allows no thing) the brick to be all things , to manifest its manifold being, to incorporate all things into its thinging . It becomes, quite literally, every thing . Because, in its infinite manifestness, it incorporates everything; the mud that gave it its current being, the water that formed the mud, the sun, the stars, the universe and it also allows it to become mud again, to become landfill, to become again, water and sun and stars and universe in an endless, infinite cycle of coming to be some thing (else). Perhaps this is what Heidegger is suggesting when he talks about the stillness at the end of his essay, “Language” (2001): The dif-ference stills particularly in two ways: it stills the things in thinging and the world in worlding. Thus stilled, thing and world never escape from the dif-ference. Rather, they rescue it in the stilling, where the dif-ference is itself the stillness (206). It is in this stillness that I can imagine a gellasenheit (here I mean both “releasement in the Heideggarean sense, as well as Meister Eckhart’s use of the term meaning “letting the world go and giving oneself to God”) of thing and world, a releasing into the stillness and silence of no thing beyond where word breaks off. It is here where I may no longer be, and yet no thing is, but may be. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionWhen I first came across Dieter Hattrup's analysis of the De reductione I noted that the professor from Paderborn was trying, step by step, to trace the authorship back to friars influenced by Roger Bacon – a reductio ad Baconem, if you will. Hattrup's argument that Roger Bacon was indirectly involved in the composition of the De reductione evoked the fleeting memory of a pop culture game created by (...) American college students in the 1990s called the "Six Degrees of Kevin Bacon," whereby the characters in any given film must be linked to a film with the Hollywood actor, Kevin Bacon, by comparing no more than six films. To mention the esteemed theologian in such a fleeting cultural context is not meant to trivialize his argument in any way; rather, the intent is to underscore, admittedly tongue in cheek, the intricacies of his argument against Bonaventurian authorship of the De reductione as outlined in the monograph Ekstatik der Geschichte: Die Entwicklung der christologischen Erkenntnistheorie Bonaventuras and the journal article, "Bonaventura zwischen Mystik und Mystifikation: Wer ist der Autor von De reductione?" While Hattrup hesitates to claim Bacon as the author of De reductione, he does develop a systematic study that eventually leads, step by step, association by association, back to Roger Bacon. This essay examines and disputes Hattrup's claim by analyzing the historical context of his argument, the chronology and sources in question, the theme of the fourfold light and scripture, and the relationship between the sciences and theology. The numerous questions raised will underscore the fragility of his argument. Subsequent essays will treat the contemporary theological implications as well as the literary-theological genre and academic occasion of Bonaventure's De reductione.Historical ContextBefore we examine Hattrup's argument against Bonaventure as the author of the De reductione, let us first evoke the historical situation he suggests as the possible origin of the text. In 1267, Bonaventure warns his Minorite confreres of the dangers inherent in the sciences in the Collations on the Ten Commandments, and then, once again in 1268 in the Collations on Gifts of the Holy Spirit. The brothers in Bacon's circle are concerned because they contend that the sciences must be cultivated and consequently compose the De reductione. Their intent is to demonstrate how the sciences are integral to theology, such that even natural philosophy contains the wisdom of God. Hattrup sees this text stemming from Bacon's circle as a conscious attempt to subvert Bonaventure's understanding of the relationship between faith and reason in favor of the sciences by utilizing some of the General Minister's own language as mirrored in the Journey of the Soul into God and Francis of Assisi's experience of God in the natural world. The resulting text of the De reductione, according to Hattrup, is an intentional mystification of Bonaventure's own mystical or ecstatic methodology.Hattrup suggests that the De reductione came to Bonaventure's attention in 1270, but he is preoccupied with affairs in the early 1270s and only returns later to address the dangers he recognizes in the De reductione in another collation series in May of 1273, the Collations on the Six Days, or Hexaëmeron. The General Minister warns of those who entered religious life as friends of the sciences, the "hospites scientiae." They must place limits on their efforts in these fields of inquiry and not promote them as essential to theological reflection, as posited by the De reductione, if they wish to remain faithful to the ascetical-mystical vision of the Minorite Order. Unable to finish the Hexaëmeron due to ecclesial obligations, Bonaventure died unexpectedly in July of 1274 at the Council of Lyon. The text of the De reductione, found among Bonaventure's other writings, was dutifully copied and included among the Seraphic Doctor's literary corpus since at first glance this kurze Denkschrift appears to be from the deceased General Minister.Hattrup readily admits that.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSelected work, 2004–2017Goldschmied and Chiari Click for larger view View full resolutionIMAGE: Goldschmied & Chiari NYMPHEAS #37, 2011 Lambda print, 120 cm (diam.) Click for larger view View full resolutionIMAGE: Goldschmied & Chiari UNTITLED VIEW, 2017 Digital print on glass and glass mirror, 115 × 70 cm[End Page 49] Click for larger view View full resolutionGoldschmied & Chiari DUMP QUEEN #1 (triptych panels B and C), 2008 Diasec (...) print, 180 × 180 cm each[End Page 50] Click for larger view View full resolution[End Page 51] Click for larger view View full resolution[End Page 52] Click for larger view View full resolutionGoldschmied & Chiari GENEALOGY OF DAMNATIO MEMORIAE 1965–1981, 2009 Two carved living trees, 450 cm (height)Installation view (left); detail (right) Collection of MACRO (Museo d'Arte Contemporanea di Roma) Photo: Altrospazio[End Page 53] Click for larger view View full resolutionGoldschmied & Chiari NYMPHEAS #12, 2007 Lambda print, 125 × 333 cm Collection of Michele and Philippe Levy[End Page 55] Click for larger view View full resolutionIMAGE: Goldschmied & Chiari WELCOME, 2004 Sheetrock, plaster, cement, paint, 10 × 1.5 × 2.35 mt Collection Ugolini Photo: Gabriele Basilico[End Page 57]Sara Goldschmied and Eleonora Chiari are an artist duo from Italy, working with varied media: photography, video, performance, and installation. They work and live in Milan.Girls Just wanna have fun: Goldschmied & Chiari's Irreverent HumorHumor is not a trait for women, even less so for women artists in the Italian art world, where women's creativity has historically focused either on intimacy or on abstraction. In order to be taken into consideration by a male-dominated art scene, women artists working in the Italian peninsula have, since the '70s, consistently been obliged to be extremely serious about their work and its content. This trait can be traced all the way to the present with few exceptions, making Goldschmied & Chiari's (Sara Goldschmied and Eleonora Chiari) artistic practice exceptional in its constant employment of a peculiar, irreverent form of humor that functions as subliminal social critique.Humor used as a strategy to reconsider historical events in a post-ideological form of feminism develops in their work in witty installations that articulate a lucid critique of contemporary society and its relationship to history. Radically distancing themselves from the stereotype of authoritative and earnest feminism, Goldschmied & Chiari turn laughter into a metaphor for transformation. Their images trigger subtle political disruptions, allowing them to delve into the complex history of post-Cold War narratives, offering the public a new understanding of the relationships between the symbolic and the social.My first encounter with Goldschmied & Chiari's work (goldiechiari at the time) dates back to 2002 when I was working on a large survey show of emerging Italian art, exIT: Nuove geografie della creatività italiana, curated by Francesco Bonami. I was surprised by their work Senza titolo #17 that portrayed in a full-color photograph two girls dressed as if they were in boarding school, in plaid skirts and colored stockings, with long braids, sitting on the floor helping an elderly "grandmother" knitting in her armchair by making a hank of yarn. Looking closer, one sees that the girls were actually adolescents trapped in a parody that the artists further highlighted by installing in front of the photo what looked like a gigantic ball of yarn but was actually a sphere made of 1,500 cm of barbed wire (Sfera, 2002). The "tableau vivant" quality of the image made it both funny and critical, as visitors could relate as much to the stereotyped enactment of women's domestic roles as to the artists' rebellious desire. Instead of relegating their creativity to the domestic sphere, these "mischievous little girls" had wound a menacing barbed-wire ball that evoked Italy's recent past of social unrest and urban guerrillas. The assumption of ironic activist alter egos in one way referenced feminist practices of the '70s, yet at the same time seemed to mock the violence associated with protest and its success. [End Page 116]This type of atmosphere linked to city barricades and acts of protest is the inspiration for a large... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Gorgon’s Severed Head: Studies of Alcestis, Electra and PhoenissaeJustina GregoryC. A. E. Luschnig. The Gorgon’s Severed Head: Studies of Alcestis, Electra and Phoenissae Leiden, New York, and Cologne: E. J. Brill, 1995. xvi 1 255 pp. Cloth; Gld. 121, $78 (US). (Mnemosyne Supplement 153)Luschnig offers three self-contained essays, framed by an introduction and an epilogue. She derives her title from the circumstance that each of the plays (...) chosen for study contains a reference (in the case of Electra, two references) to the Gorgon’s head. Although she suggests (xiv) that the tragedies represent “different stages of Euripides’ career, one from each volume of the OCT,” she is not proposing to trace development, whether formal or thematic, from play to play. Her concern is with a constant: the plays’ mirroring of the redemptive power of art. On Luschnig’s account tragedy is fundamentally self- referential, urgently and repeatedly directing attention to “the human spirit at its most creative, creating a life and a story” (xv).The approach is not unfamiliar. Zeitlin (Ramus 1980) has described Orestes as the most extreme example of a theatrical self-consciousness that permeates all of Euripides, while Goldhill in Reading Greek Tragedy (1986) and Segal in Euripides and the Poetics of Sorrow (1993) have explored metatheatricality in Electra and Alcestis respectively—two of the very plays chosen for discussion by Luschnig. Where Luschnig differs from Zeitlin is in viewing Euripidean self-reflexivity not as a symptom of the genre’s moribund condition, but as a way to “examine the traditional stories and to test them and to keep them alive” (243). She differs from Goldhill and Segal, who concentrate on the poet’s manipulations of mythical tradition and generic practice, in emphasizing how the characters within each play replicate the creative process as they vary well-established stories, conjure up imaginary scenarios, and try on roles, costumes and masks. For Luschnig, “not only the author and audience, but the characters are taking part in the debate with the tradition” (132). She maintains that this debate is pursued with especial vigor by female characters, whose social and theatrical roles tend to be more circumscribed.Luschnig begins her chapter on Alcestis by reviewing the generic problems presented by the play and then embarks on a scene-by-scene commentary which focuses on the “aesthetic choices” made by the principals. There are occasional lapses over details; at Alc. 1148, for example, Heracles does not tell Admetus “to treat strangers better,” as Luschnig translates (241), but to continue to treat strangers well in the future. Nevertheless her distinctive perspective on the action leads to some intriguing conclusions. Alcestis, she asserts, is not a helpless victim but a determined woman who selects her own role and “play[s it] to the hilt” (33). As for Admetus, he starts “as a shell” (74) but grows in self-awareness in the course of the play. He searches throughout for “other, grander story patterns” (72); thus he briefly contemplates, only to reject, the possibility of playing Orpheus to Alcestis’ Eurydice. That role is reserved for Heracles, who succeeds in rescuing Alcestis from Hades. But Admetus, Luschnig asserts, [End Page 126] has laid the groundwork for Heracles’ intervention; when he proposes to commission a statue of Alcestis, and even when he equivocates to Heracles over whether she is alive or dead, he is doing his part to keep his wife alive in memory and story. Admetus thus emerges as a more decent and sympathetic character than is generally held to be the case.The chapter on Electra appeared previously in article form, and it struck me as the most polished of the three. Organized thematically rather than by scene, it focuses initially on Electra’s water jug as emblematic of Electra’s separation at once from her natal home and from her normal role in myth. The homely jug is contrasted to the “fine ware” (89) employed in the other Electra plays: the libation vessels that characterize the members of the chorus at the opening of Aeschylus’ Choephoroe, and the libation vessel and funerary urn that figure prominently in Sophocles’ Electra. The rest of the chapter... (shrink)

Bonaventure in his Itinerarium mentis in Deum traces the mystical journey of the spiritual wayfarer from the state of man posterior to the Fall of Adam and Eveto union with the Trinity as a partaker of the inter-Trinitarian love life. This journey takes the form of an ascent characterized by a Procline and Augustinian influenced ontology. I argue that the first two levels of the three-tiered ascent are understood ontologically as feminine and masculine principles, or evaluative metaphors, and mirror (...) the coinciding of the opposites of Good and Being in Bonaventure’s Trinitarian theology. Furthermore, the process of the ascent is operative by means of yearning, or desire, acting as a unitive force in the ascent. The ascent of the Itinerarium is best realized in the person of Francis of Assisi upon whose very corpus is the ascent impressed according to the signs of the crucified Christ, the stigmata. (shrink)

Another version of this theory, which is based on both naturalistic and psychological premisses, states that the specific characteristic of the self consists in reflected appraisals. According to this view, the adult's appraisal of the child is reflected in, and is eventually the source of, its self-appraisal. In other words, self-consciousness is engendered by the social-cultural environment. It is worthwhile to note that the term "reflected appraisals" is ambiguous, and intentionally employed as such, for "to reflect" means both "to (...) class='Hi'>mirror" and "to be self-conscious." This version of the genetic approach is also open to question, for it fails to explain how culture, i.e., personal interrelationships, or more precisely the relations between the child and the adult environment, miraculously intervenes in the course of the organism, creating in it a new dimension, that of the Ego. For this intervention is not a simple one. In order to enable the creation of consciousness as a reflected appraisal, the Ego must first acknowledge the existence and bearing of the adult environment, the estimation of which is valuable, worthy of being reflected in, and the consequent source of a newly created self. Is the child aware of the estimation of those estimating it? Is this awareness itself derived from the adult environment and its appraisal? If not, there can be no appraisal of the environment in the absence of an evaluative activity on the part of the child. It follows that only on the basis of evaluating the adult environment can the child identify himself with its appraisal of him. In other words, the genesis of consciousness cannot possibly be traced to external appraisals, for awareness and consequent reflection of appraisal presupposes consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Lynn Huffer's Mad For Foucault:An Analysis of Historical Eros?Laura HengeholdMad for Foucault is a remarkably beautiful book balanced on the edges between the personal, the impersonal, and the public and reflected through Foucault's own struggles to establish those divides. Huffer's goal in Mad for Foucault is to draw scholarly attention to the emotional and ethical content of Foucault's writing, as well as to assess the risks of queer theory's (...) dependence on dialectics and psychoanalytic theory. Reading History of Sexuality I in light of History of Madness, she argues, renders the ethical aspects of Foucault's early project clear and reveals the continuity with his later work on ethics, putting the central concerns of queer theory in a different light. But this continuity is only visible through attention to the lyrical force resulting from tensions between these edges, which also separate genders and epochs, as if Las Meninas were to draw the viewer's gaze toward a fractured mirror rather than a sovereign one.The elements of History of Sexuality I that have been most important for the queer theorists Huffer engages are Foucault's attempt to date the shifts from a perception of sinful acts to a perception of homosexual personality types, and his warning that reifying such personality types as "identities" in hopes of liberation from heterosexist oppression continues to support the social mechanisms that identify personal truth with sexuality. Some (associated with Judith Butler) have tried to develop an account of agency that owes less to the exclusions of traditional moral and psychological theories but risks establishing its own hierarchies of psychic "health." Others (Lee Edelman is exemplary) [End Page 226] have also argued that the affects associated with these acts and identities, and possibly the ethical attitudes arising from these affects, are historical effects that must be bracketed in the name of resisting biopower (Huffer 2010, 94-95).Both groups, Huffer argues, have merely performed a dialectical reversal within the order of sexualities inherited from the nineteenth century, without appreciating Foucault's effort to cast the very terms of that order into question—above all, in History of Madness (Huffer 2010, 113-16). What is more disturbing, both sides have enlisted psychoanalysis on their behalf, although Foucault remained skeptical of psychoanalysis. In History of Madness (2006a), Foucault's skepticism was justified in the name of the affective attachments of queer life and his deeply felt fascination for the traces of a sexual hybridity almost erased from European history. For Huffer, the real question posed by both History of Sexuality I and History of Madness is not, as queer theorists might believe, "why sexuality became a moral issue" (and how might it cease to be one) but who was buried when the nineteenth-century medicalization of sexuality replaced erotic experience with explanations of sexual abnormalities (2010, 229). She reads Foucault's work as a meditation on the ethical tragedy presented by the scattered ashes of even "infamous men."Although there are many themes I could address, I will let my comments be guided by Huffer's reading of the explicit and implicit critique of psychoanalysis found in Foucault's work, and its relation to Foucault's ambivalent Kantianism (2010, 127-33, 134). This critique comes from several directions. First, throughout all his works, including Archeology of Knowledge, Foucault criticizes interpretive approaches to the historical record and to human speech. Practices such as "commentary" reduce the variety of events that can be perceived in the historical field and turn some into the content or meaning of others, which are thereby privileged metaphysically as "more real." Second, Foucault criticizes power relations forcing some to confess and to interpret the products of their own confession in terms of the meanings religious or medical authorities insist on finding there. From the seventeenth century through the present, such authorities have identified work and family-oriented behavior as "reasonable" and have forced those whose behavior does not fit those terms to understand themselves as deviations from that norm (Huffer 2010, 105, 107-108).Third, according to Huffer, Foucault subjects belief in the psyche as scientific object and focus of work on the self to historical analysis... (shrink)

Matilda Mroz argues that cinema provides an ideal opportunity to engage with ideas of temporal flow and change. Temporality, however, remains an underexplored area of film analysis, which frequently discusses images as though they were still rather than moving. This book traces the operation of duration in cinema, and argues that temporality should be a central concern of film scholarship. In close readings of Michelangelo Antonioni’s L’Avventura, Andrei Tarkovsky’s Mirror, and the ten short films that make up Krzysztof Kielowski’s (...) Decalogue series, Mroz highlights how film analysis must consider both particular moments in cinema which are critically significant, and the way in which such moments interrelate in temporal flux. She explores the concepts of duration and rhythm, resonance and uncertainty, affect, sense and texture, to bring a fresh perspective to film analysis and criticism. Essential reading for students and scholars in Film Studies, this engaging study will also be a valuable resource for critical theorists. (shrink)

A Hegelian reading of good and bad luck -- In Shakespearean drama (phen. of spirit, King Lear, Othello, Hamlet, a Midsummer night's dream) -- Tearing the fabric: Hegel's Antigone, Shakespeare's Coriolanus, and kinship-state conflict (phen. of spirit c. 6, Judith Butler's Antigone, Coriolanus) -- Aufhebung and anti-aufhebung: geist and ghosts in Hamlet (phen. of spirit, Hamlet) -- The problem of genius in King Lear: Hegel on the feeling soul and the tragedy of wonder (anthropology and psychology in the encyclopaedia, Philosophy (...) of mind, King Lear) -- Richard II's mirror and the alienation of the Universal Will (of the I that is a We) (Richard II, phen. of spirit c. 5) -- Falstaff and the politics of wit: negative infinite judgment in a culture of alienation (Henry IV parts I & II, phen. of spirit c. 6, philosophy of right) -- Henry V's unchangeableness: his rejection of wit and his posture of virtue reinterpreted in the light of Hegel's theory of virtue (philosophy of right, Henry V) -- Hegel's theory of crime and evil: (re)tracing the rights of the sovereign self (aesthetics, phen. of spirit, phil. of right, Richard II through to Henry V) -- Richard III, Hamlet, Macbeth and Henry V: conscience, hypocrisy, self-deceit and the tragedy of ethical life (phil. of right, Richard III, Hamlet, Macbeth, Henry V) -- Negation of the negative infinite judgment versus sublation of it: punishment vs. pardon (phil. of right, phen. of spirit c. 6 and Henry VIII) -- Universal wit : the absolute theater of identity (phen. of spirit c. 6 and 8, Pericles, the Tempest) -- Absolute infections and their cure (phen. of spirit c. 6, the Winter's tale). (shrink)

ABSTRACT The Protestant Reformation in the sixteenth century fuelled heated debates about the nature and perception of spirits appearing to people. According to Protestant theology, apparitions of spirits were not souls of the dead but either diabolical illusions, natural phenomena, or ‘mere fantasies’ of a deluded mind. Swiss church minister Louis Lavater (1527–1586) emphasized that particularly melancholic people were prone to devilish deceits and thus inclined to imagine ghosts and other spirits. This paper traces the close connection between early modern (...) concepts of melancholy, imagination, and discourses on ghosts in then-normative perspectives before contrasting theological ideals and legal arguments raised in a 1681 Basel trial featuring an allegedly melancholic woman implicated in necromancy. This paper argues that scholarly discussions about imagination and melancholy regarding ghosts in Post-Reformation Switzerland were less concerned with ontological questions about the reality of ghostly phenomena than with possible sinful interactions with ghost, which in turn mirrored ideas about diabolical temptation. (shrink)

John Griffi n’s classic on racism, Black Like Me (1960), provides an interesting text with which to investigate the development of a dialogical self. Griffi n becomes a black man for only a short period of time, but during that time he develops a black social identity and sense of personal identity, that contrasts radically with his former white identity. When he looks into a mirror on several occasions he engages in a dialogue with himself, as both a black (...) and a white person. At fi rst these two identities are so different that there is no “sympathy” between them. But through his experience, he eventually overcomes the dichotomy of two opposing selves, and acquires a personal identity, neither white nor black, but just human. In this article, I trace the development of these dialogical selves and the emergence of this new human identity. Key words: identity, racism, self, black, white.. (shrink)

What motives underlie the ways humans interact socially? Are these the same for all societies? Are these part of our nature, or influenced by our environments?Over the last decade, research in experimental economics has emphatically falsified the textbook representation of Homo economicus. Literally hundreds of experiments suggest that people care not only about their own material payoffs, but also about such things as fairness, equity and reciprocity. However, this research left fundamental questions unanswered: Are such social preferences stable components of (...) human nature; or, are they modulated by economic, social and cultural environments? Until now, experimental research could not address this question because virtually all subjects had been university students, and while there are cultural differences among student populations throughout the world, these differences are small compared to the full range of human social and cultural environments. A vast amount of ethnographic and historical research suggests that people's motives are influenced by economic, social, and cultural environments, yet such methods can only yield circumstantial evidence about human motives. Combining ethnographic and experimental approaches to fill this gap, this book breaks new ground in reporting the results of a large cross-cultural study aimed at determining the sources of social preferences that underlie the diversity of human sociality. The same experiments which provided evidence for social preferences among university students were performed in fifteen small-scale societies exhibiting a wide variety of social, economic and cultural conditions by experienced field researchers who had also done long-term ethnographic field work in these societies. The findings of these experiments demonstrated that no society in which experimental behaviour is consistent with the canonical model of self-interest. Indeed, results showed that the variation in behaviour is far greater than previously thought, and that the differences between societies in market integration and the importance of cooperation explain a substantial portion of this variation, which individual-level economic and demographic variables could not. Finally, the extent to which experimental play mirrors patterns of interaction found in everyday life is traced.The book starts with a succinct but substantive introduction to the use of game theory as an analytical tool and its use in the social sciences for the rigorous testing of hypotheses about fundamental aspects of social behaviour outside artificially constructed laboratories. The results of the fifteen case studies are summarized in a suggestive chapter about the scope of the project. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Remarks at Harvard University Memorial Service for Benjamin I. SchwartzYu-sheng LinAmong the eminent intellectual historians in the world after World War II, Ben Schwartz was one of the most subtle and profound. He was deeply rooted in—but not confined by—the humanist tradition of Montaigne and Pascal, and this provided him with insights into the wretchedness as well as the grandeur of the human condition and with a conscious Socratic (...) moral and intellectual drive toward self-examination as a prerequisite for any inquiry into human affairs. Indeed, the distinctivecharacter of Ben's scholarship lay in his integration of morality and intellect. These humanistic resources in combination with his outstanding intellectual endowment enabled Ben to reach great heights of scholarly endeavor.To mention just a few of his many enduring achievements: Ben's thesis, advanced as early as 1951 and based on a study of the inner history of the rise of the Chinese Communist movement from a comparative perspective, developed the idea that the trajectory of Marxism eastward to Russia and China was, in fact, "a steady process of decomposition." This powerful argument has stood the test of time, whereas both the notion, on the Right, of a monolithic world communism and the idea, on the Left, of the Chinese Communist movement as the embodiment of the intellectual and moral legitimacy of Marxism fell by the wayside.His In Search of Wealth and Power: Yen Fu and the West, which offers a double mirror, with modern China illuminated by the modern West and vice versa, is a trailblazing work in intercultural intellectual history. Furthermore, The World of Thought in Ancient China, Ben's prizewinning magnum opus, which treats the whole range of ancient Chinese thought from a world-historical perspective, has achieved a methodological, no less than a historiographical, breakthrough. Ben's discussion of the need to "descend from the level of total cultural orientations to the level of shared problématiques" advances boldly beyond Max Weber's ideal-typical analysis in comparative world history. Historiographically, Ben's study of the general orientations in ancient China and their dialectical relations with the problématiques manifested in different schools of thought is the most incisive and comprehensive treatment of ancient Chinese thought to date.These great achievements derived from his ability to combine deep insights into historical realities with a humane simplicity in holding onto what is central in life. Such a simplicity was manifest in his spontaneous humility, a quality that furnished him with the moral and intellectual resources by which to develop empathetic understanding of the various strands of thought in China as well as in the West. Ben's analyses of human problems from a world-historical perspective, while characteristically erudite, subtle, complex, and at times extraordinarily brilliant, were singularly free from any trace of the influence of intellectual fashions and from any sort of [End Page 187] posturing or self-exhibition. He always struggled at the center of life and history, making the best effort to enter into the depth of human reality, drawing out its significanceas fully as he could. These great attainments were, I submit, a natural outgrowth of the strength of his moral and intellectual character, which led him to be truly open-minded and thus acutely perceptive. It was because he was so seriously interested in the study of humanity that he so seriously studied the Chinese. His universalist concerns fused with his humanist humility and thus empowered him to lift the field of Chinese studies out of its various forms of parochialism.The Confucian philosopher Xun Zi once said that the genuine scholar "explains with a humane compassion, listens with a studious attitude, and engages in disputation with an impartial mind." I know no one other than Ben Schwartz to have attained this ideal. His absolute joy in intellectual give-and-take and his delight, with his eyes gently sparkling, in reaching an understanding of a complex issue were infectious. It was indeed my good fortune and great privilege to be able to sit at the feet of Professor Schwartz. He embodied most eloquently the very essence of humanistic scholarship; his spirit is and shall always be a... (shrink)

The image of the Moor in Spanish literature reveals a paradox at the heart of Christian and Castilian hegemony in the period between the conquest of Nasrid Granada in 1492 and the expulsion of the Moriscos by Philip III in 1609.­­ Depictions fall between two extremes. On the “vilifying” side, Moors are hateful dogs, miserly, treacherous, lazy and overreaching. On the “idealizing” side, the men are noble, loyal, heroic, courtly—they even mirror the virtues that Christian knights aspire to—while the (...) women are endowed with singular beauty and discretion.Anti-Muslim diatribes are fairly common and predictable: they are flat and repetitive in their assertion of Old Christian superiority over every aspect of the lives of Muslims or crypto-Muslims. Any sign of cultural otherness is ridiculed; the conquering caste, insecure about its own lofty standards of limpieza de sangre , laughs away whatever trace of old Hispano-Arab splendor might remain in the Morisco. Or, conversely, the uneasy master recasts wretched Moriscos as ominous brethren of the Ottoman Turk.The truly vexed problem, however, consists in determining the meaning of idealized Moors in historiography, ballads, drama, and the novel. Roughly speaking, modern criticism divides into two camps in attempting to explain this curious phenomenon of literary infatuation with a cultural and religious minority subjected to growing popular hostility, Inquisitional hounding, and economic exploitation. I will call one camp “aestheticist” and the other “social.” Israel Burshatin, assistant professor of Spanish at Haverford College, is currently preparing a critical edition of Pedro del Corral’s Crónica sarracina. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Abraham, Planter of Mathematics":Histories of Mathematics and Astrology in Early Modern EuropeNicholas PopperFrancis Bacon's 1605 Advancement of Learning proposed to dedicatee James I a massive reorganization of the institutions, goals, and methods of generating and transmitting knowledge. The numerous defects crippling the contemporary educational regime, Bacon claimed, should be addressed by strengthening emphasis on philosophy and natural knowledge. To that end, university positions were to be created devoted to (...) "Artes and Sciences at large," rather than to the professions. High salaries would render lecturers "able and sufficient," undistracted from their task. Most famously, he argued that teaching of the "operatiue studie of many Scyences" should involve sophisticated technical education. The study of natural philosophy demanded not only books, but globes, astrolabes, and other "instrumentals." Most significantly, yielding reliable and meaningful knowledge from experiential gleanings required a rigorous system of deductive reasoning.The legacy of this colossal proposal has earned Bacon honored status as devisor of the scientific method.1 But Bacon's educational reform extended [End Page 87] beyond the methods of producing and transmitting knowledge. To facilitate more efficient "vse and administration" of the knowledge produced by his system, he also demanded a searching examination of the history of learning. This history would provide a mirror enabling his contemporaries to deploy the fruits of his method, by considering how learning in the past had been used successfully or ill-advisedly. Producing this history was the ambition of the Advancement, for he explained: "no man hath propounded to himselfe the generall state of learning to bee described and represented from age to age, as many have done the works of Nature, & the State civile and Ecclesiastical." He continued:And yet I am not ignorant that in divers particular sciences, as of the Iurisconsults, the Mathematicians, the Rhetoricians, the Philosophers, there are set down some smal memorials of the Schooles, Authors, and Bookes: and so likewise some barren relations touching the Invention of Arts, or usages. But a iust story of learning, containing the Antiquities and Originalls of Knowledges, & their Sects; their Inventions, their Traditions; their diverse Administrations and Managings; their Flourishings, their Oppositions, Decayes, Depressions, Oblivions, Removes, with the causes, and occasions of them, and all other events concerning learning, throughout the ages of the world; I may truly affirme to be wanting.2Bacon thus positioned himself not only as a Father of Modern Science, but also a Father of the History of Science.Following Bacon's suggestion, I will examine the "small memorials" of the history of mathematics—and particularly the mathematical art of astrology—in the sixteenth and seventeenth centuries. My conclusion, however, will not bear out Bacon's claims. Despite his frustration, Bacon was only one of many early modern scholars appraising the role of mathematics within history. And he devoted less energy than others to mapping its origins and tracing its transmissions between communities. In fact, Bacon's 1605 proposal for a history of mathematics was already out-of-date. Discussions [End Page 88] of the history of mathematics had been rife on the continent and in England throughout the previous century.3The evidence that Renaissance scholars inherited was sprawling and inconclusive. Several genealogies for mathematics could be found within classical Greek, Latin, and patristic references. One lineage claimed mathematics began in ancient Assyria, where the priestly caste, the Chaldeans, practiced a form of mathematics that seemed a corrupt admixture of philosophy, medicine, and religion, and relied heavily on observation of the heavens. Other scholars traced the origins to Egypt, claiming that the field developed to survey lands frequently flooded by the Nile. The real problem for ancient, late antique, and medieval scholars had not been the origins of mathematics, but what exactly mathematics were. For some, the term strictly referred to the quadrivium: geometry, arithmetic, astronomy, and music. But for others, mathematics' origins amongst the Egyptians or Chaldeans inextricably linked it to forms of astrological divination, augury, and necromancy that were unsavory to both Latin and Christian traditions. Mathematici were included alongside ghastly lists of Magi, Brahmins, Aruspices, Genethliaci, and other diabolic practitioners of idolatrous magic. These might or might not be distinguished from mathematici such as Pythagoras... (shrink)

This chapter discusses problems as they arise in Minima Moralia, respectively addressing the question of truth and knowledge as a function of the accessibility of language and the question of transparency in relation to the formulation of these problems. One of the most important meditations on reading and transparency in Minima Moralia is found in the section “Memento” [“Hinter den Spiegel”]. This thought-image takes us to the far side of mimetic perception and reflection, behind the mirror, offering what might (...) be a new way of thinking transparency. Once arrived, however, we do not stay there, as indicated by the accusative article den; we are to remain in motion, following the movement of language as it passes through and bears the traces of a complex web of social relations and aesthetic conventions. Here Theodor W. Adorno reflects on illuminating writing not in terms of its clarity, but rather its porous, material nature. (shrink)

On his death in 2007, Richard Rorty was heralded by the New York Times as “one of the world’s most influential contemporary thinkers.” Controversial on the left and the right for his critiques of objectivity and political radicalism, Rorty experienced a renown denied to all but a handful of living philosophers. In this masterly biography, Neil Gross explores the path of Rorty’s thought over the decades in order to trace the intellectual and professional journey that led him to that prominence. (...) The child of a pair of leftist writers who worried that their precocious son “wasn’t rebellious enough,” Rorty enrolled at the University of Chicago at the age of fifteen. There he came under the tutelage of polymath Richard McKeon, whose catholic approach to philosophical systems would profoundly influence Rorty’s own thought. Doctoral work at Yale led to Rorty’s landing a job at Princeton, where his colleagues were primarily analytic philosophers. With a series of publications in the 1960s, Rorty quickly established himself as a strong thinker in that tradition—but by the late 1970s Rorty had eschewed the idea of objective truth altogether, urging philosophers to take a “relaxed attitude” toward the question of logical rigor. Drawing on the pragmatism of John Dewey, he argued that philosophers should instead open themselves up to multiple methods of thought and sources of knowledge—an approach that would culminate in the publication of Philosophy and the Mirror of Nature , one of the most seminal and controversial philosophical works of our time. In clear and compelling fashion, Gross sets that surprising shift in Rorty’s thought in the context of his life and social experiences, revealing the many disparate influences that contribute to the making of knowledge. As much a book about the growth of ideas as it is a biography of a philosopher, Richard Rorty will provide readers with a fresh understanding of both the man and the course of twentieth-century thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Remarks at Harvard University Memorial Service for Benjamin I. SchwartzYu-sheng LinAmong the eminent intellectual historians in the world after World War II, Ben Schwartz was one of the most subtle and profound. He was deeply rooted in—but not confined by—the humanist tradition of Montaigne and Pascal, and this provided him with insights into the wretchedness as well as the grandeur of the human condition and with a conscious Socratic (...) moral and intellectual drive toward self-examination as a prerequisite for any inquiry into human affairs. Indeed, the distinctivecharacter of Ben's scholarship lay in his integration of morality and intellect. These humanistic resources in combination with his outstanding intellectual endowment enabled Ben to reach great heights of scholarly endeavor.To mention just a few of his many enduring achievements: Ben's thesis, advanced as early as 1951 and based on a study of the inner history of the rise of the Chinese Communist movement from a comparative perspective, developed the idea that the trajectory of Marxism eastward to Russia and China was, in fact, "a steady process of decomposition." This powerful argument has stood the test of time, whereas both the notion, on the Right, of a monolithic world communism and the idea, on the Left, of the Chinese Communist movement as the embodiment of the intellectual and moral legitimacy of Marxism fell by the wayside.His In Search of Wealth and Power: Yen Fu and the West, which offers a double mirror, with modern China illuminated by the modern West and vice versa, is a trailblazing work in intercultural intellectual history. Furthermore, The World of Thought in Ancient China, Ben's prizewinning magnum opus, which treats the whole range of ancient Chinese thought from a world-historical perspective, has achieved a methodological, no less than a historiographical, breakthrough. Ben's discussion of the need to "descend from the level of total cultural orientations to the level of shared problématiques" advances boldly beyond Max Weber's ideal-typical analysis in comparative world history. Historiographically, Ben's study of the general orientations in ancient China and their dialectical relations with the problématiques manifested in different schools of thought is the most incisive and comprehensive treatment of ancient Chinese thought to date.These great achievements derived from his ability to combine deep insights into historical realities with a humane simplicity in holding onto what is central in life. Such a simplicity was manifest in his spontaneous humility, a quality that furnished him with the moral and intellectual resources by which to develop empathetic understanding of the various strands of thought in China as well as in the West. Ben's analyses of human problems from a world-historical perspective, while characteristically erudite, subtle, complex, and at times extraordinarily brilliant, were singularly free from any trace of the influence of intellectual fashions and from any sort of [End Page 187] posturing or self-exhibition. He always struggled at the center of life and history, making the best effort to enter into the depth of human reality, drawing out its significanceas fully as he could. These great attainments were, I submit, a natural outgrowth of the strength of his moral and intellectual character, which led him to be truly open-minded and thus acutely perceptive. It was because he was so seriously interested in the study of humanity that he so seriously studied the Chinese. His universalist concerns fused with his humanist humility and thus empowered him to lift the field of Chinese studies out of its various forms of parochialism.The Confucian philosopher Xun Zi once said that the genuine scholar "explains with a humane compassion, listens with a studious attitude, and engages in disputation with an impartial mind." I know no one other than Ben Schwartz to have attained this ideal. His absolute joy in intellectual give-and-take and his delight, with his eyes gently sparkling, in reaching an understanding of a complex issue were infectious. It was indeed my good fortune and great privilege to be able to sit at the feet of Professor Schwartz. He embodied most eloquently the very essence of humanistic scholarship; his spirit is and shall always be a... (shrink)

While painted wooden icons of the Nursing Virgin were relatively common in fifteenth-century Ethiopia, only one miniature of the motif of the time has come to light. This image, bound into a later manuscript of the Miracles of Mary, is painted in a decidedly abstract style, comparable to other representations of the Virgin in fifteenth-century Ethiopian book illustration. Relying on Peirce’s distinction between index and icon, this article considers how such abstract representations might have been meant to evoke the divine (...) presence of Mary as a spiritual trace of the artist’s and the audience’s devotional practices, rather than as a potentially miracle-working depiction of her corporeal presence based on figural likeness, as was the case with painted wooden panels. Incorporating references to Ethiopian and Western theorists of modernity, the essay further proposes to view the multiple and interlocking mirror effects in book art as instances of second-order observation, in which, for example, the Virgin sees herself depicted in a book of her miracles, the compilation of which she commissioned and aided; the scribe and artist is featured in one of the miracles he himself is writing and illustrating; and the donor is depicted gazing at the viewer. Whether enabling skeptical distance or a more fully immersive spiritual experience undisturbed by attempts to capture corporeal likeness, or both, this essay proposes to analyze the politics and theology of abstraction in fifteenth-century Ethiopian book art by centering on a rare depiction of the Nursing Virgin. (shrink)

Miroir, miroir de mes désirsAu seuil de la réversibilité, la libido ardente des imagesEn parcourant les perspectives de Lacan, Merleau-Ponty et Deleuze, je me propose de montrer comment l’image – une image dont le rôle, depuis Platon, a été réduit par la métaphysique occidentale à celui de simple copie – rend possible une pensée nouvelle non dualiste, une pensée ouverte par le désir, c’est-à-dire par ce qui dépasse tout dualisme simpliste et qui trouve dans l’image sa voie privilégiée.L’image du miroir (...) – considérée par le platonisme comme le simulacre par excellence, comme l’emblème de la copie déformante et trompeuse d’un modèle originaire harmonieux – donne à voir bien plus qu’elle ne nous montre : comme Lacan le remarquait dans son célèbre essai de 1949, devant le miroir, nous nous découvrons, comme les enfants, sujets du monde, mais aussi, inévitablement, sujets au monde. Le «je» – dont nous sommes in-formés par l’image du miroir – s’abîme, par cette même image, dans les l’inquiétante étrangété de l’autre, et par suite dans les gorges insondables de son désir. Si l’image du miroir nous permet d’embrasser la totalité de notre corps et d’apprécier en un regard notre statut de sujet, ce regard nous est toutefois restitué – aveugle et insistant – sous la forme d’un objet partiel qui nous interpelle comme sujets désubjectivés, comme sujets castrés, ou encore comme simples « taches » dans lapeinture du monde. L’image fixée par l’enfant dans le miroir fonde, paradoxalement, l’idée traditionnelle du sujet comme pôle dynamique de la relation je-monde. Comme le remarque Slavoj Žižek, en commentant Lacan, la capacité dynamique du sujet se fonde en somme sur une fixation excessive de l’image du sujet lui-même, fixation qui trouve son origine absente dans le regard entendu comme objet a, c’est-à-dire comme point aveugle de la conscience, lieu d’acquisition et de perte qui, par la castration du sujet, ouvre la plaie libidineuse et pulsionnelle de l’inconscient et renverse par là le désir de l’homme en désir de l’autre, comme le rappelle une célèbre formule de Lacan.Longtemps considérées comme porteuses d’illusions, comme l’illusion en tant que telle, les images nous montrent en fait la vérité de cette illusion : le monde est déformation et réversibilité, et nous-mêmes, prétendus sujets faisant face à son tableau inerte, n’en sommes que des taches. Au cours des mêmes années durant lesquelles Lacan élabore une théorie du regard, Merleau-Ponty, son interlocuteur direct – qui se réfère lui aussi au comportement de l’enfant devant le miroir – réfléchit sur la question du « en-être », c’est-à-dire de la réversibilité de la chair, ce tissu de différences qui nous constitue – les animaux et les choses – comme autant de plis d’un horizon commun. Pour Merleau-Ponty comme pour Lacan, dans une telle perspective, le sujet ne se défi nit pas positivement, mais comme écart par rapport à lui-même, comme coupure dans la peau de la conscience, comme plaie ouverte sur l’inconscient et sur le désir qui en jaillit abondamment. Ainsi, voir dans le miroir que, comme disait le poète, « je est un autre », implique que l’image soit libérée de son statut dévalorisant de « seconde chose » hérité du platonisme. Cela inaugure, en fait, une pensée sans dualisme. Gilles Deleuze travaillera lui aussi dans ce sens, lorsqu’il théorisera un renversement du platonisme à partir des images, dans son essai de 1966 Renverser le platonisme.Historiquement, le commencement de la philosophie a coïncidé avec la recherche d’une origine, d’une archè. Mais un monde où les relations nées du désir tracent des itinéraires imprévisibles, où le je et l’autre ne se distinguent plus, où sujet et objet ne connaissent plus de frontière, où la copie cesse de présupposer le modèle, un monde ainsi fait, a-t-il encore une origine accessible? Confronté à cette question essentielle, Merleau-Ponty théorisera – une fois encore à partir de la vision –, au lieu d’une origine en soi préétablie, un originaire en perpétuelle explosion. De son côté, Deleuze élaborera quelque chose d’analogue, à partir de la réflexion sur le cinéma qui l’occupera dans les années 1980 : il « encapsulera » les extases temporelles dans une image-miroir, une concrétion cristalline à plusieurs facettes où le monde se différencie sans cesse, dans un éternel retour.Mirror, Mirror of my DesiresOn the Threshold of Reversibility, the libidic Passion of ImagesIn a journey through the perspectives of Lacan, Merleau-Ponty and Deleuze, I shall show how images – the images that from Plato on have been relegated by Western metaphysics to the role of mere copies – allow us to trace the direction of a new and non-dualistic thought, a direction opened up by desire, that is to say, by something exceeding any simplistic dualism and fi nding precisely in images its privileged channel.The specular image – conceived by Platonism as the simulacrum par excellence, as the emblem of the deforming, deceiving copy of a harmonious preliminarymodel – makes us see more than it actually shows: as Lacan remarked in a renowned essay published in 1949, since childhood, in front of the mirror, we discover ourselves as subjects of the world, but also – and inevitably – as subjected to the world. The ego – of which we are in-formed by the specular image – is turned, through that very image, into the obscure, uncanny chasm of the other, and, consequently, in the unfathomable vortex of the other’s desire. Indeed, if in the mirror we can embrace the whole of our body and catch with a single gaze its status of subject, by the mirror that very gaze is however returned – blind and insistent – as a partial object summoning us as desubjectivized subjects, as castrated subjects, namely, as mere “stains” in the picture of the world. Quite paradoxically, the image fixed by the child in the mirror founds the traditional idea of the subject conceived as the dinamic pole of the relation between the ego and the world. In short, as Slavoj Žižek remarks commenting on Lacan, the dinamic capability of the subject is grounded on an excessive fixation of the image of the subject itself, fixation which finds its absent origin in the gaze meant as object a, namely, meant as that blind point of consciousness, that point of acquisition and loss which, by castrating the subject, opens the acies of the libidically throbbing wound of the unconscious and turns, to borrow a renowed Lacanian expression, man’s desire into the other’s desire.For long considered to herald illusions, images show us the truth of illusion itself: the world is deformation and reversibility and we – presumed subjects in front of its inert picture – are, on the contrary, its “stains.” In the same years in which Lacan was elaborating a theory of gaze, Merleau-Ponty, who was then a direct interlocutor of his, was articulating – by referring, as Lacan did, to the child’s behaviour in front of the mirror – a series of important reflections over the problem of the en-être, that is to say, over the problem of the reversibility of flesh, i. e., that differential fabric constituting us – animals and things – as variegated gatherings of a common horizon. For Merleau-Ponty, as well as for Lacan, according to such a perspective, the subject, far from being defined in a positive way, is defined by a gap in relation with its own self, that is to say, by a cut in the skin of consciousness, by a wound opening to the unconscious and to the desire spurting abundantly from the subconscious.To see in the mirror that, as the poet said, “I am an Other,” is to free images from the status of “second things” with which Platonism had dismissed them; it is, in other words, to inaugurate a non-dualistic thought. For his part, Deleuze will also engage in the same direction by theorizing a reversing of Platonism from the very standpoint of images in his 1966 essay Renverser le platonisme.The beginning of philosophy has historically matched with the search for an origin, namely, an arké. But in a world in which the relations inaugurated by desire trace unpredictable itineraries, in a world in which the ego and the other can no longer be distinguished, in a world in which the subject and the object know no more boundary lines, in a world in which model and copy cease to exist as the presupposition of one another, in such a world, I said, is it still possible to find an origin? By measuring himself with such a crucial question, Merleau-Ponty will theorize – once again from the standpoint of vision – an “originating in perennial explosion” instead of a narrow, pregiven origin. For his part, Deleuze will elaborate something similar in his reflection on cinema, which will keep him busy in the first half of the eighties, by capsulating the temporal dimensions in a mirror-image, i. e., a crystalline concretion in whose facets the world perennially becomes in an eternal differential return. (shrink)