Heine is one of Germany's most renowned poets. His Jewish heritage and his Christian baptism have informed both his life's work as well as its reception. He was an expert and a passionate reader of the Bible. Despite his criticism of the official system of churches and religious communities, he greatly appreciated religion and its symbolic language, which speaks especially to the poet – even in its silences.

Christopher Tilmouth's wide-ranging study of Early Modern ideas of the passions explores a series of philosophical authors in relation to poets and dramatists of the period 1580 to 1680. Aristotle, Aquinas, Augustine, and Hobbes receive detailed treatment here, alongside Spenser's Faerie Queene, Hamlet and Julius Caesar, the lyrics of Herbert and Crashaw, and Milton's Paradise Lost. Central to this innovative exploration of literary-philosophical relations is a comprehensive reappraisal of the works of the Earl of Rochester.

In his earlier essay in aesthetics--after lengthily disposing of a number of Aristotelian-Thomist distinctions between the speculative order and the practical order, between the "useful" arts and the "fine" arts, and so on--M. Maritain, in the most interesting passages of Art and Scholasticism, concerned himself with this astonishing "growth of self-consciousness" in the modern artist. And what chiefly occupied him was the thought that, in submitting to the idea of making art out of the idea of art, the artist might (...) become so fascinated with technique and so estranged from the existential world of nature and the universe of man that he should forget that, unlike God, he cannot create ex nihilo. He wanted, then, to confront him with the futility of claiming any kind of aseity for his art, for pure art, he said, "involves nothing, the subject being completely whittled away. I call that a sin of idealism in relation to the matter of art: pushed to the extreme, a perfect building, with nothing to build." The idea of making poetry out of the idea of poetry or painting out of the idea of painting can, in other words, never yield anything but sterility, since the kind of "metaphysical vastness" that characterizes greatness in the arts has always been a result of vital transactions between the creative Self and the universes of Being. And for the poet or the painter to seek to allay the kind of "eucharistic passion" that arises at the very center of the artistic process is for him to run the risk of suicide, since it is for him to isolate his art from everything that is not "its own peculiar rules of operation." There is one long and wonderful sentence in which the lesson is summed up, as M. Maritain says that he would remind modern art that. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Meaning of Meat and the Structure of the Odyssey by Egbert J. BakkerSusan A. CurryEgbert J. Bakker. The Meaning of Meat and the Structure of the Odyssey. Cambridge: Cambridge University Press, 2013. xiv + 191 pp. Cloth, $90.Meat-eating in the Odyssey is a risky business. Inextricably intertwined with song itself in the context of the aristocratic feast, meat-eating in excess becomes a weapon of the Suitors in (...) Ithaca as part of a three-year effort “literally to eat Odysseus’ house to ruin” (xi). In the “Otherworld” through which Odysseus and his Companions venture, meat and meat-eating are further problematized: there is too much or not enough of it; what they come across is forbidden; one may become meat oneself, filling the belly of another.This book traces the theme of meat in the Odyssey through a series of case studies that reveal a web of associations between Odysseus’ account of his adventures in the Otherworld and the poet’s account of events in Ithaca. Using a variety of approaches (narratological, folkloric, anthropological, philological), Bakker investigates the numerous “paradigmatic relationships” existing between the “matrix narrative” of the Odyssey, the aoide\, and the epos, the “embedded utterance” or part of the poem narrated by Odysseus himself (3). The theme of meat also allows Bakker to bring the related topics of dining and hospitality, sacrifice and hunting to bear on his exploration of the interconnections, thematic and linguistic, of the aoide\ and the epos. Although this book is weakest where Bakker roams farthest from meat, it nevertheless contains some choice cuts. In particular, he provides fascinating analyses of the Cyclops and Circe episodes and of hunting in the Otherworld (chaps. 4 and 5).We must begin with the “Epilogue: On ‘Interformularity,’” because, for passionate advocates of a particular school of thought on the composition of Homeric poetry, understanding Bakker’s approach to repetitions and allusions within the Odyssey is a prerequisite for accepting the claims he makes throughout the preceding chapters. Bakker favors an approach to the Homeric poems that involves the integration of intertextuality and orality, which he terms “interformularity.” Rather than randomly repeated traditional formulas, Bakker suggests that the repetitions and allusions within the Homeric poems are the result of “a poet’s judgment as to the (degree of) similarity between two contexts” (159). In other words, Bakker argues for meaningful repetition. Situations and similarity of situations determine the appropriate utterance; when similar situations evoke the same utterance or the same utterance gives rise to a similar situation, the language of the utterance becomes formulaic. [End Page 485]Because each of Bakker’s chapters is, for the most part, a separate case study, each will find its own audience beyond Homeric scholars generally. The first chapter, “Epos and Aoide\,” and the second, “Nostos as Quest,” will appeal to fans of intertextuality and folklore motifs, respectively. In the first chapter, Bakker defines and describes, as noted above, the epos and aoide\ of the Odyssey and makes two crucial points regarding the relationship between these on which much of his overall argument depends: first, epic is itself a ravening genre insatiable in its swallowing up of so-called “minor” genres; and, thus, second, the epos does not occupy a secondary position vis-à-vis the aoide\, but “competes with its ‘container,’ shaping the narrative tension within the Odyssey” (3).The second chapter is concerned more with structure than with meat. Bakker, following Anna Bonifazi (“Inquiring into Nostos and its Cognates,” AJP 130.4 [2009]:481–510), extends the definition of nostos to include the idea of survival as well as homecoming. He also discusses the role of quest as “an essential and versatile narrative building-block” (20) and adjusts Vladimir Propp’s quest sequence to accommodate the narrative of Odysseus’ wanderings. Most importantly, this chapter lays the groundwork for the two most significant contributions of Bakker’s study: first, the “Wanderings provide essential exemplars for the crimes committed in Odysseus’ house in his absence”; and second, meat is “a catalyst of crime and transgression” throughout the Odyssey (35).Although more focused on meat, meat-eating, dining, and cattle culture in Homeric society, “Meat in... (shrink)

If Unamuno had been able to choose how to be remembered, he would have wanted him to be a poet. This book wants to do justice to that happy possibility. But above all because Unamuno was a poet in the highest sense: he was while writing the same essay as a novel, or theater, letter or verse, and he was also a poet when he passionately lived all the facets of his intense existence. His intellectual work was (...) poetic and his personal relationships, as well as his political activity, also responded to that peculiar Unamunian aesthetic in which the vital horizon is inescapably confused with the tasks of thought." --Translated from back cover. (shrink)

One legacy of post-Enlightenment dualism in the universe of academic discourse is the presence of two approached to notions of duality championed by two differing camps. One camp might arbitrarily be called debunkers; the other might be labeled rationalists. The strategies of the camps are conditioned by traditional notions of inside and outside. Debunkers consider themselves outsiders, beyond a deceptive show filled with tricky mirrors. Rationalists, by contrast, spend a great deal of time among mirrors, listening to explanations from the (...) overseers, attempting to absorb sideshow language, hoping to provide acceptable analytical accounts. If debunkers are intent on discovering generative and, presumably, hidden ideological inscriptions of a given discourse—its situation on what Amiri Baraka calls the “real side” of economic exchange and world exploitative power—rationalists are concerned to study discursive products, to decode or explain them according to forms and formulas that claim to avoid general views or judgments of ideology. Differentiating the camps also is what might be called a thermal gradient: the heat of the debunker’s passion is palpable. It is unnecessary to command him, in the manner of the invisible man’s tormentor, to “Get hot, boy! Get hot!” Rationalists, by contrast, do not radiate. They appear to have nothing personal at stake and remain coolly instructive and intelligently unflappable in their analyses.This tale of an Enlightenment legacy, as I have told it, contrasts a debunking body and rationalist soul. As I have suggested in my opening sentence, however, what is at issue is not so much two actual and substantially distinctive camps as two metonyms for dual approaches to a common subject—namely, notions of duality. My claim is that the Enlightenment reflexivity of academic discourse, devoted to, say, “the Other” and conceived in dualistic terms of self-and-other, expresses itself as an opposition. Thos whom I have called debunkers gladly accept the Other’s sovereignty as a bodily and aboriginal donnée; rationalists work to discover the dynamics of “othering” engaged in by a self-indulgent Western soul. The difficulty of producing usefully analytical or political results for either camp is occasioned by their joint situation within a post-Enlightenment field. Houston A. Baker, Jr. is the Albert M. Greenfield Professor of Human Relations at the University of Pennsylvania. He is a poet whose recent volume Blues Journeys Home appeared in 1985. He is also the author of a number of studies of Afro-American literature and culture, including the forthcoming Modernism and the Harlem Renaissance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Songs of Degrees: Essays on Contemporary Poetry and PoeticsVirginia A. La CharitéSongs of Degrees: Essays on Contemporary Poetry and Poetics, by John Taggart; 254 pp. Tuscaloosa: University of Alabama Press, 1994, $29.95 paper.John Taggart is a highly respected American poet whose passion for objectivism permeates his critical reading as well as his own creative works. The volume Songs of Degrees: Essays on Contemporary Poetry and Poetics represents (...) the first time that his various critical articles have been collected into a single work. Of the eighteen essays, all but one were previously published in various journals between 1975 and 1989; the eighteenth is an essay or “A Preface” on one of his own collections of poetry, Peace on Earth. By addressing his own poetry, Taggart’s volume cleverly includes himself as poet in this study of what he considers valuable in a work of art. [End Page 398]Finding a poem to be a simple composition of words (principle) and an image suggested by that composition (process), Taggart adopts the title Songs of Degrees from Louis Zukofsy’s seven short poems published in 1956 as Some Time. A song is then a poetic form, a continuing complete statement which actualizes the separate entities (words) of its expression. However, and most importantly, a song does not begin as a visual report; rather, a song moves towards being visualized. Consequently, everything depends on technique and everything turns on its structure, as the mind coordinates the information received by the eye. Degrees, then, emerge as variations of consonance and dissonance or word-sound functions. To write down is to compose; to compose is to create. Hence, a song of degrees is both an actual object and a metaphor for that object.Under the poetic of objectivism, Taggart’s essays are primarily concerned with poets whose work is in accord with his own: George Oppen (three essays), Frank Sampori, William Bronk, Louis Zukofsy (three essays), Bruce Andrews, Susan Howe (two essays), Robert Duncan, Charles Olson, and Theodore Enslin. Taggart demonstrates here that he is a sensitive and intellectually alert reader. These essays on criticism are in actuality essays on Taggart’s concept of poetics. Implicit is Taggart’s bias as an objectivist poet who insists that poetry has a spiritual value in the visionary tradition of Robert Lowell and Robert Duncan and to an extent Wallace Stevens.But perhaps of even greater interest than Taggart’s superb readings of his poetic colleagues—and it can be justifiably argued that perhaps only Taggart can read these poets with the sympathetic eye that they deserve—is the inclusion of three essays on other arts: dance (Trina Collins), stained glass (Mark Rothko), and jazz (John Coltrane). By including these essays with those of literary criticism, Taggart expands the terms poetics and poetry to any text or object which is a moving line and complete at the same time. Form comes from language; language is then based on experience, not belief, and the resulting image is what is revealed and reflected, what is seen. A work (poem, song, text) is valuable because its visionary imagination captures the collective conscience to regain spiritual ascesis. The process of objectification is the metaphor or song, which emerges in degrees of interaction. The song has substance, it is tangible, and it has an objective existence of its own. To be critical is to objectify the composition or structure at hand. Critical is another term for technical, and indeed it is the technical aspect of writing poetry which Taggart so deftly elucidates in his volume of essays.For anyone interested in objectivist poetry, Taggart’s collection of essays is mandatory reading. His insights into this kind of cerebral poetry are invaluable, for he blends appreciation with analysis, information with inspiration, and logic with imagination. His own sensitivity to the struggle which is the poetic process brings a new consciousness to the poetics of poetry.Virginia A. La CharitéUniversity of KentuckyCopyright © 1995 The Johns Hopkins University Press... (shrink)

Of worshipers, expositors, scholars, translators, defenders and detractors Kierkegaard suffers no lack. Less forthcoming is the kind of reader he calls "my reader," one whose thought-mood reduplicates Kierkegaard's own, a "dialectician" and "poet" whose basic posture is less a professor's than that of a reflective human being, primitively attuned to the issues of faith and selfhood.

Resumo O propósito deste artigo é mostrar a contribuição de Nietzsche à revolução nas práticas da encenação que ocorreram no Século XX, bem como sua relevância como crítico apaixonado pelo potencial de uma forma de arte que ele sentia que era interpretada em sua época de forma diminuída. A partir de seu estudo do teatro grego na obraO nascimento da tragédia, sublinha a importância da encenação na tragédia antiga, a qual estava para além do texto escrito por seu autor. Oferece (...) com isso uma análise da ideia de teatro como arte, a qual é consubstancial realizar-se em três dimensões: a do ator, a do poeta ou escritor do texto e a do espectador. Nietzsche defende a especificidade desses três papéis para toda realização teatral e o sentido filosófico que tem o teatro como autêntica forma artística. Conclui-se o artigo mostrando a recepção do pensamento teatral de Nietzsche em autores como August Strindberg, George Bernard Shaw e Eugene O'Neill, que buscarão novas formas e novos significados para sua arte.The purpose of this article is to show the contribution of Nietzsche to the revolution in the practices of the scenario that takes place in the 20th century, as well as its relevance as a passionate critic for the potential of an art form that he felt was interpreted in his time in a diminished way. From his study of Greek theater in his workThe Birth of Tragedy,he underlines the importance that in the ancient tragedy had its staging, and that went beyond the text written by its author. It offers therefore an analysis of the idea of theater as art, which is consubstantial in three dimensions: the actor, the poet or writer of the text and the viewer. Nietzsche defends the specificity of these three roles for every theatrical enterprise and the philosophical sense that theater has as an authentic artistic form. The article concludes by showing the acceptance of Nietzsche's theatrical thought in authors such as August Strindberg, George Bernard Shaw or Eugene O'Neill, who sought new forms and new meanings for their art. (shrink)

La poésie lyrique de Hâfez s'élève au niveau de la plus exigeante méditation philosophique. L'amour, qui est son foyer, n'y désigne pas une affection ou une passion de l'âme. Il fait écho à la théologie de l'amour qui s'est construite en islam au croisement du néoplatonisme avicennisant et du soufisme d'Ibn 'Arabî. Pour Hâfez, l'amour est ce qui de Dieu apparaît dans l'homme. Ses affres sont le mystère de la théophanie. Le ghazal est une fenêtre sur l'ontologie de la théophanie (...) et sur l'amphibolie du réel qu'elle induit. Il opère, dans la matière des figures qu'il sollicite, la coalescence des ordres de la réalité et des formes de la perception. Il révèle les ressources du sensible quand il devient cette réalité subtile lestée d'une matière transmuée. La poésie de Hâfez dévoile les paradoxes du réel, immanent et transcendant, sensible et intelligible, pour nous mettre sur la voie du paradoxe fondamental : le paradoxe de Dieu, qui est caché et apparent, et le paradoxe de la révélation, qui confère des noms et des attributs à une essence insondable. Ce faisant, elle côtoie les discours de la religion et de la philosophie. Le poète, en dévoilant le sens vrai de la révélation, devient le rival du religieux. Il trouve son site en un lieu défriché et balisé par le philosophe. Hâfez exprime dans l'unité et l'équilibre parfait du poème d'amour la théologie et l'ontologie que le philosophe formule dans des concepts abstraits. Il parachève le projet que la philosophie réalise partiellement et maladroitement. The lyrical poetry of Hâfez is in the upright position of the most accurate philosophical meditation. Its focus, which is love, is neither affection nor a passion of the soul. Love, in this place, is the matter of the theological theory of love born in Islam at the crossing of the Neo-Platonism of Avicenna and the Sufism of Ibn 'Arabî. According to Hâfez, Love proceeds from God and is made manifest in man. To endure the suffering of love is the secret of God's self-revelation. The ghazal uncloses the ontology of God's self-revelation and the ambiguous signification of the reality signified by it. By the modes of the poetical expression, divine realities and forms of perception are coalescing, and what the sensible supplies gets clearly visible. Hâfez's poetry unveils the paradox of divine reality, being both immanence and transcendence, intelligible and sensible. By this way, we are led to the essential paradox: the paradox of God, who is both hidden and evident, that is the paradox of revelation: the Essence is unknown, and yet it admits names and attributes. Thus, poetry joins with religion and philosophy. The poet unveils the true signification of revelation and thereby competes with the devout. He dwells in a place closely examined by the philosopher. Hâfez makes known the theological and ontological matters of abstract concepts of philosophy in the unity and perfect equilibrium of the poem. The poet brings to the end the philosopher's purpose, which the philosopher is unable to accomplish. (shrink)

Books reviewed:James D. G. Dunn and John W. Rogerson, Eerdmans Commentary on the BibleYairah Amit, Reading Biblical Narratives. Literary Criticism and the Hebrew BibleThomas L. Leclerc, Yahweh is Exalted in Justice: Solidarity and Conflict in IsaiahNuria Calduch‐Benages, Joan Ferrer, and Jan Liesen, La sabiduría del Escriba/Wisdom of the Scribe: Diplomatic Edition of the Syriac Version of the Book of Ben Sira according to Codex Ambrosianus, with Translations in Spanish and EnglishSidnie White Crawford and Leonard J. Greenspoon, The Book of Esther (...) in Modern ResearchPaolo Sacchi, The History of the Second Temple PeriodMary E. Mills, Biblical Morality. Moral Perspectives in Old Testament NarrativesRichard Swinburne, The Resurrection of God IncarnateH. Benedict Green, Matthew, Poet of the BeatitudesC. K. Barrett, On Paul. Essays on His Life, Work and Influence in the Early ChurchMichael D. Goulder, Paul and the Competing Mission in CorinthByron R. McCane, Roll Back the Stone: Death and Burial in the World of JesusMagnus Zetterholm, The Formation of Christianity in Antioch: A Social‐Scientific Approach to the Separation between Judaism and ChristianityDale V. Irvin and Scott W. Sunquist, History of the World Christian Movement, Volume I: Earliest Christianity to 1453Francis Clark, The ‘Gregorian’ Dialogues and the Origins of Benedictine MonasticismMichael Frassetto, The Year 1000: Religious and Social Response to the Turning of the First MillenniumPatrick Nold, Pope John XXII and his Franciscan Cardinal: Bertrand de la Tour and the Apostolic Poverty ControversyTeresa P. Reed, Shadows of Mary: Reading the Virgin Mary in Medieval TextsMichael D. Bailey, Battling Demons: Witchcraft, Heresy, and Reforma in the Late Middle AgesColm Lennon, An Irish Prisoner of Conscience of the Tudor Era: Archbishop Richard Creagh of Armagh, 1523–86Judith S. Graham, Puritan Family Life: The Diary of Samuel SewallCrawford Gribben, The Puritan Millennium. Literature and Theology, 1550‐1682M. Feingold, Jesuit Science And The Republic of LettersRobert Bireley, The Jesuits And The Thirty Years War: Kings, Courts, and ConfessorsTorkel Brekke, Makers of Modern Indian Religion in the Late Nineteenth CenturyP. Koslowski, The Concept of God, the Origin of the World, and the Image of the Human in the World ReligionsPeter Koslowski, The Origin and the Overcoming of Evil and Suffering in the World ReligionsJ. H. Laenen, Jewish Mysticism: An IntroductionBarbara Bowe, Biblical Foundations of Spirituality: Touching a Finger to the FlameThomas G. Weinandy and Daniel A. Keating, The Theology of St Cyril of Alexandria. A Critical AppreciationJames D. G. Dunn, Jesus Remembered: Christianity in the Making, Volume 1Daniel W. Hardy, Finding the Church: The Dynamic Truth of AnglicanismS. Mark Heim, The Depth of the Riches: A Trinitarian Theology of Religious EndsJohn Webster, Word and Church. Essays in Christian DogmaticsAlister E. McGrath, A Scientific Theology. Volume 1: NatureJames Alison, On Being LikedMichael J. Langford, A Liberal Theology for the Twenty‐First Century: A Passion for ReasonGuy Mansini and James G. Hart, Ethics and Theological Disclosures:The Thought of Robert SokolowskiMark A. Wrathall, Religion After MetaphysicsGerd Van Riel, Pleasure and the Good Life: Plato, Aristotle, and the NeoplatonistsNomy Arpaly, Unprincipled Virtue: An Inquiry into Moral AgencyGernot Böhme, Ethics in Context: The Art of Dealing with Serious QuestionsErica Appelros, God in the Act of Reference: Debating Religious Realism and Non‐RealismMark C. Murphy, Natural Law and Practical RationalityRichard Brian Davis, The Metaphysics of Theism and ModalityJ. Brower and K. Guilfoy, The Cambridge Companion to AbelardBrian Davies, Thomas Aquinas: Contemporary Philosophical PerspectivesStephen J. Pope, The Ethics of AquinasKevin White and Romanus Cessario, On The Virtues John CapreolusSteven Shakespeare, Kierkegaard, Language and the Reality of GodSusan M. Felch and Paul J. Contino, Bakhtin and Religion: A Feeling for FaithRuth Coates, Christianity in Bakhtin: God and the Exiled AuthorDavid Michael Levin, The Philosopher's Gaze: Modernity in the Shadows of EnlightenmentCharles Guignon and David R. Hiley, Richard RortyCelia E. Deane‐Drummond, Biology and Theology TodayOswaldo de Rivero, The Myth of Development: The Non‐Viable Economies of the 21st Century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Acts of Askēsis, Scenes of PoiēsisThe Dramatic Phenomenology of Another Violence in a Muslim Painter-PoetNauman Naqvi (bio)[End Page 50]The Divinity is beautiful and loves beauty. Cultivate the ethos of the Divinity. Askēsis is my glory, and all askēsis is from me.— Hadith of the Prophet Muhammad, Sahih al-Bukhari>> Introduction: Presenting the Drama of the Gnostic Ontology of Violence in IslamIn current discourse on violence in Islam, the fundamental importance (...) of the Prophetic distinction—a distinction iterated in a number of hadith, or speech-events of the Prophet Muhammad—between the greater, inner jihad, against the ego (al-jihad al-akbar), and the lesser, outward jihad, against oppression and animosity (al-jihad al-asghar), has often been cited. Even so, an originary measure of the significance of this exemplary distinction—abyssal in its simplicity, disclosing as it does the divinity proper to the divinely ordained imperative of jihad (such disclosure of divinity being the very task and telos of the Prophetic speech-event, its very eventfulness (hadatha)—has hardly been taken or heeded.It has not, to begin with, been explored that both forms strikingly share the violent word, jihad: in Arabic, forceful effort or struggle. It is as if the reality and intensity of these two radically different forms of force are adequated a priori in the Prophetic speech-event—if anything, it is the former, the inner jihad, that has the greater reality, the more violent, imperative intensity. With their difference a matter of degree and quality, the two are at once intimately related and violently real, linguistically leaving us little space for the distinction between the metaphoric and the literal in this demanding economy, language, and ontology of violence.1The line that has been drawn between the two forms of violence in the Prophetic speech-event is not ontological per se—it is the axis of the stage of their dramatic encounter, the battle line of their distinction. This axis, this vertical battle line of distinction, is the strait, but upwardly infinite, dramaturgical space wherein is enacted the gnostic ontology of violence in Islam. It is the axial line of force emanating from Islam’s extraordinary emphasis on the radical purification of one’s intention, one’s very intentionality (i.e., the purification not just of the springing ground of one’s comportment, but of the anterior ground where one receives and apprehends the real as such), in a quest for the demanding Divinity that would hurl the Islamic subject both inside and outside itself in its own endless search and infinite encounter. It is the battle line of distinction that races through the world stage of Islam’s arts, knowledges, and practices—the auratic line of force pulsating through the fields of its charismatic inheritance of generous visions, discourses, and gestures. Indeed, it is the piercing erotic arrow of divine love and mercy that is the subtle motus animi continuus of Islam’s graceful works of poiēsis.For the violent task of askēsis assigned by the great imperative of inner jihad is closely related both to the imperative of beauty in Islam—where the effects of askēsis: virtue and virtuosity, are densely, passionately cathected and imbricated with the beautiful2 by [End Page 51] virtue of the latter’s manifestation of divinity—as well as to the imperative of knowledge, wherein theory and praxis are united in askēsis.3Beauty and its creation—the act of poiēsis —are also, then, violently real, as are knowledge and its effects, since together they all have a kenotically violent askēsis as the condition and telos of their possibility, as the very ground(s) of their emergence and potentiality. Thus, the significance of the greater jihad is (again) to be read potentially, in the entire range of the arts, gestures, habits, and letters of Islam, its artifacts and bodies, where generous, kenotic, sacrificial logics are on display, not just in the lesser archive of jihad (in acts of greater jihad on far bygone battlefields), but in the epic world-panorama of the acts and scenes of askēsis and poiēsis that are... (shrink)

Le prétexte de ce livre est la nature. Celle qui est aujourd'hui entrevue dans sa fragilité et sa finitude, et non la " sauvagerie ", naguère encore déclarée l'ennemie par excellence de toute civilisation. Mais l'objet véritable du propos est la société actuelle ; mieux : la culture, dans son effort pour se faire planétaire, rencontrant ainsi un nouveau visage de la nature. Dans ce miroir à la fois multiple et unique, nous sommes peut-être en train de redécouvrir un trait (...) nécessaire et durable de toute culture humaine : nos contructions collectives ne peuvent demeurer supportables que si elles " laissent être " quelque chose qui leur soit extérieur, quelque réalité qui échappe à leurs fictions et à leurs artifices. Certes, nous allons inventer la nature : mais l'opposition culture/nature qui en résultera ne sera pas plus artificielle - ni moins inévitablement paradoxale - que celle dont Claude Lévi-Strauss oberva naguère le caractère fondateur des sociétés dites primitives. C'est en effet toujours à cette séparation que tient la persistance de la prohibition des confusions, dont celle de l'inceste fut - et demeure - le paradigme. A l'envers de l'argent qui circule entre nous, divisant tous les objets pour les soumettre à un partage absolu (dont l'effet le moins paradoxal est qu'il nous isole à terme dans un solipsisme brutal, une déréliction sans espoir), la nature ne circule pas. C'est nous qui circulons à sa surface, à l'intérieur de son unité vitale. La nature ne se partage pas. C'est nous qui nous partageons à son contact, révélant l'irréductibilité de nos passions distinctes : celle de ranger, celle de dominer, celle d'évoquer l'interdit, celle enfin, de nous identifier à de purs sujets des actes. En nous indiquant la limite commune de ces sentiments incoercibles, et leur indispensable séparation par l'espace non domestiqué, la nature nous ouvre un champ politique inédit, et peut-être salvateur. Un champ qui ressemble à ce que poète pourrait nommer : " une politique de l'amour ", s'il ne savait que l'amour, au-delà de la nature, évoque l'insaisissable, l'impolitisable dans l'être humain. A tout le moins, la nature, en divisant la culture, nous rappelle qu'aucune société humaine ne peut vivre sans que l'Etre ne lui échappe. (shrink)

An incisive exploration of Nietzsche as a bold, visionary poet-philosopher. Today, Nietzsche is justly celebrated for his rich, philosophical naturalism, but Keith Ansell-Pearson warns that we must not overlook the visionary dimension of his thinking and his focus on the need to cultivate a new care of the self and care of life. In Nietzsche's Earthbound Wisdom, Ansell-Pearson recovers Nietzsche's love for a philosophy that guides us through our passions, one that opens us more fully to the possibilities of (...) life and the joy of knowledge. Ansell-Pearson offers close readings of Nietzsche's texts in conversation with philosophical and literary figures including Augustine, Baudelaire, Carlyle, Dostoevsky, Emerson, Flaubert, Stendhal, and more. Throughout, Ansell-Pearson examines Nietzsche's sophisticated critique of literary naturalism and his alternative conception of the poet as a seer who has a deep longing for a new earth. (shrink)

On being told that "translation is an impossible thing," Anatole France replied: "precisely, my friend; the recognition of that truth is a necessary preliminary to success in art." The task of Transplantings is to add flesh and bones to that familiar quip. Indeed, Daniel Weissbort notes that Viereck's study represented a sixty-five year long project. Now, it is finally being brought to print in its full form, with the completion of the final manuscript shortly before Viereck's death. If translation is (...) a special genre in its own right, the translation of poetry, especially from major foreign languages, is a special subset of that genre. What emerges in the imperfect act of translation is an aesthetic dimension that Viereck considers unique in its own right. Transplantings provides new insight into Viereck as a poet of substance, but more than that as a public intellectual. He is critical in probing the work of the major figures such as Stefan George and Georg Heym. To round out this monumental new look at German poetical history, Viereck reviews Goethe, Novalis, and Rilke among others. For Viereck, the difference between the poetical and the political is critical. The quality of poetry is not measured by politics, nor can the worth of political action be defined by commitment to the poetical. The experience of German thought, as well as French and Italian efforts, reveals a divide that can be narrowed but hardly bridged by rhetoric. Transplantings does not simplify the task of the reader. Rather it shows without doubt that the passion of great poetry is part of a national tradition. Efforts at translation indicate how such poetry becomes part of an international culture. This is a major work by one of the great thinkers of the twentieth century. It merits reading, and then, re-reading. "Peter Viereck was that rare scholar who captured the European experience with America, while fully realizing the American encounter with Europe. He did so with consciousness of and compassion for both sectors of Western Civilization" --Irving Louis Horowitz, Society Peter Viereck was a Pulitzer Prize-winning poet, critic, and historian. He held the Kenan Chair in History at Mount Holyoke College. He was known as one of America's conservatism's early leaders and was the recipient of Guggenheim Fellowships both in history and poetry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.1 (2004) 107-108 [Access article in PDF] H. H. M. van Lieshout. The Making of Pierre Bayle's Dictionaire Historique et Critique: With a CD-ROM containing the Dictionaire's library and references between articles. Translated by Lynne Richards. Amsterdam and Utrecht: APA-Holland University Press, 2001. Pp. xxiv + 339. Cloth, + 58,00. Bayle's Dictionaire Historique et Critique was published in 1697 in Rotterdam with a (...) second edition appearing in 1702. In this journal there should be no need to point out that Bayle (1647-1706) was by vocation a professor of philosophy. His courses were divided into logic, ethics, physics, and metaphysics and their emphasis was upon science and the methods appropriate to its pursuit. That is to say that Bayle's students received a grounding in the post-Cartesian philosophy syllabus that had spread throughout continental Europe in the second half of the seventeenth century. Indeed, that Bayle was no dilettante was evidenced by the fact that before embarking on the Dictionaire in 1692, he had published various monographs on natural philosophy and works of public criticism in the skeptical/rationalist tradition. The French thinker, furthermore, despite his success as an encyclopaedist, returned increasingly in the years from 1697-1706 to his first calling as a critical philosopher. [End Page 107]Nevertheless from his student days Bayle loved books for their own sake, a passion which in due course came to support his first literary enterprise, the journal of books Nouvelles de la République des Lettres (1684). As author of the Dictionaire, he attracted attention from scholars in many disciplines. This study addresses therefore the general scholar rather than the historian of philosophy, for the Dictionaire did indeed become an indispensable work of reference for lexicographers, as well as for the encyclopaedists, the philosophes, the historians, the economists, the physiocrats, the satirists, the poets, and the reformers throughout the eighteenth century and on both sides of the Atlantic. Bound within four in-folio volumes, its second edition consisted of some seventeen hundred bio-bibliographical articles rigorously annotated and devoted to the ideas of authors in print, profane and sacred.Yet how could one author, it has often been asked, have produced in a mere five years so monumental a work? The Dutch scholar Leny Van Lieshout, already author of works of distinction about Bayle, has sought to answer this question and has done so with a rigor that equals that of Bayle himself. To assist her analysis she has compiled a bibliography of all the sources cited in the text of the Dictionaire itself. She has then matched this source, which she describes as a "library for learned Europe" (177), with Bayle's prodigious and lifelong correspondence about books with an ever-expanding network of friends and associates.With such tools at her elbow, Dr. Van Lieshout has been able to throw new light on many questions about the making of the Dictionaire. For example, how far did Bayle consider his method to be a model for the sort of reference book appropriate to a post-theological culture which today we call a plural age? His medium was indeed part of the message insofar as he sought to separate fact from comment, to cite relevant evidence, and to invoke many classical and heterodox sources whether or not they might offend an apologist for Christian doctrine. And how far did Bayle's own life really lie "only in his writings" (150) as Voltaire suggested, implying that Bayle could not have achieved so much had he not been a dry Huguenot recluse who knew little or nothing of the real world? The two questions are shown to be connected. In respect of the first, Dr. Van Lieshout observes that through the very structure of the Dictionaire Bayle seeks to assert that the political authority of the Church, following the breakdown of former Catholic Christendom, had ceased to be appropriate to the pursuit of scientific... (shrink)

This is a new edition of "A Problem in Greek Ethics," originally published in London in 1901 for "private circulation." Part of the project Immortal Literature Series of classic literature, this is a new edition of the classic work published in 1901-not a facsimile reprint. Obvious typographical errors have been carefully corrected and the entire text has been reset and redesigned by Pen House Editions to enhance readability, while respecting the original edition."A Problem in Greek Ethics" is an account of (...) sexuality between men in all its forms, with Greek culture as a backdrop. Perhaps the best description of "A Problem in Greek Ethics" is this one in "Queer Religion" (Praeger, 2012, edited by Donald L. Boisvert and Jay Emerson Johnson, pp. 180-181): "Published at the turn of the century, 'A Problem in Greek Ethics' is a systematic and well-documented exposition of the role of homosexuality in the different historical periods of ancient Greek society. Throughout most of his work, Symonds prefers to use the term 'paiderastia' to 'homosexuality,' the latter a term he only uses in rare instances. Nevertheless, 'paiderastia,' in Symonds's work, amounts to a broad concept of homosexuality rather than to our current concept of pederasty. Whitman and his work are never mentioned by Symonds in 'A Problem in Greek Ethics,' but the conceptual connection had already been made explicit in Walt Whitman: 'A Study' eight years earlier. In the introductory lines to 'A Problem in Greek Ethics,' the reader is alerted that ancient Greece offers a unique example in history of 'a great and highly developed race not only tolerating homosexual passions, but deeming them of spiritual value, and attempting to use them for the benefit of society.' According to Symonds, while homosexual relations were not prominent in the so-called heroic age of Greece, it was nevertheless the love of Achilles for Patroclus, as narrated by Homer, that conferred in a later age of Greek history an almost religious sanction to the martial form of paiderastia. This episode in the Iliad inspired in later generations an ideal of manly love, which he describes as 'a powerful and masculine emotion, in which effeminacy had no part, and which by no means excluded the ordinary sexual feelings.' To which he adds that the tie created by these relationships was 'both more spiritual and more energetic [than] that which bound man to woman.' While Homer knew not about homosexuality, very early in Greek history paiderastia became a national institution giving rise, according to Symonds, to a distinction between a noble, spiritual, form of masculine passion, which he calls "heroic love," and a base and sensual one, which he identifies as 'vulgar love.'"About the Author: John Addington Symonds was born in Bristol, England, in 1840. He was an English poet, an author of several works, and a literary critic. In 1873 he wrote "A Problem in Greek Ethics," which discussed homosexuality between men. He printed ten copies in 1883, before effectively publishing the book in 1901. He was also known for his work on the Renaissance, as well as for his translations and biographies. He wrote "Our Life in the Swiss Highlands" (1891), biographies of Philip Sidney (1886), Ben Jonson (1886) and Michelangelo (1893), several volumes of poetry and essays, and a translation of the "Autobiography of Benvenuto Cellini" (1887). John Addington Symonds died in Rome in 1893. In 1896, Havelock Ellis published, in German, prepared with the collaboration of Dr. Hans Kurella, "Das konträre Geschlechtsgefühl" (Leipzig, by Georg H. Wigand's Verlag), later revised and published by Ellis as "Sexual Inversion"-the first medical text in English about homosexuality, which he had co-authored with Symonds, and which would become a part of Ellis's six-volume "Studies in the Psychology of Sex.". (shrink)

A contemporary of Giordano Bruno and Galileo, Tommaso Campanella was a controversial philosopher, theologian, astrologer, and poet who was persecuted during the Inquisition and spent much of his adult life imprisoned because of his heterodox views. He is best known today for two works: _The City of the Sun_, a dialogue inspired by Plato’s _Republic_, in which he prophesies a vision of a unified, peaceful world governed by a theocratic monarchy; and his well-meaning _Defense of Galileo_, which may have (...) done Galileo more harm than good because of Campanella’s previous conviction for heresy. But Campanella’s philosophical poems are where his most forceful and undiluted ideas reside. His poetry is where his faith in observable and experimental sciences, his astrological and occult wisdom, his ideas about deism, his anti-Aristotelianism, and his calls for religious and secular reform most put him at odds with both civil and church authorities. For this volume, Sherry Roush has selected Campanella’s best and most idiosyncratic poems, which are masterpieces of sixteenth-century Italian lyrics, displaying a questing mind of great, if unorthodox, brilliance, and showing Campanella’s passionate belief in the intrinsic harmony between the sacred and secular. (shrink)

Previous attempts to elucidate the meaning of Plato's exile of the poets in Republic X fall into two groups: they either dismiss the exile of poetry as marginal to the dialogue's main argument or they understand its logic in relation to only one, among several, fundamental Platonic doctrines advanced within the dialogue. In Alien Pleasures: The Exile of the Poets in Plato's Republic, I argue that not only is Book X's exile of poetry an integral and important part of the (...) dialogue but it is also the site where all of Plato's most innovative and controversial theories are finally inextricably bound together as one complete philosophical system. Further, I explicate how Plato uses his whole philosophical system to deploy a definition of the poetic effect as essentially dangerous to and subversive of the values of the philosophical life. ;The dangers of poetry are explored in four separate chapters, each of which examines a distinct aspect of Plato's uncomfortable relation to poetic creation and experience. In Chapter One, I concentrate on Plato's definition of the metaphysical dangers of poetry, both a disguised and false imitation of divine production and of philosophical discourse. In Chapter Two, I suggest how Plato enacts an epistemological break with prior definitions of poetry so to define it as the most deceptive and dangerous speech possible. Chapter Three concentrates on the operations of the poetic image in Plato's ontology. I argue that Plato conceives the poetic image as the most dangerous kind of representation, removed as far as ontologically possible from the reality of the forms. The final chapter concentrates on Plato's conception of poetic grief and the psychological dangers poetry poses to the ethical and rational individual. I demonstrate that the pleasures of poetic passion are of a different order than those of to epithumetikon. Furthermore, unlike these desires, poetic passion cannot simply be mastered by the exercise of reason. Rather, Plato argues, spirit must first be aligned with reason and all the distinct parts of the soul harmonized in order to counter the irresistible attraction to the alien pleasures of poetic passion. (shrink)

Russell’s enthusiasm for the romantic poet Shelley contradicts the common notion that the philosophical outlook dulls our emotions. Russell loved Shelley even though he was careful to examine the shortcomings of the young poet and of the romantic genre. Furthermore, Russell acknowledged his own weaknesses inherent to his interest in the romantics. Love through a philosophical lens is arguably superior to love through a romantic filter because the former allows for a clear perception of the object. Russell’s passion (...) for Shelley is a case in point. (shrink)

Edward Verrall Lucas and Francis Meynell were men of letters in the old-fashioned sense. They were indefatigable both in creating text and bringing like matter together in new and meaningful forms. Lucas was a journalist, anthologist and publisher. Meynell was a printer, anthologist and publisher, and also a poet of considerable sensitivity and charm. Lucas did not write much poetry but was passionate about its merits, and sought, through his collections, to bring children into contact with the best (...) of verse. Today, the significant contributions that these men made to publishing in Britain are in danger of becoming forgotten, relegated to the minor byways of publishing history. This article examines the origins and connections between two hugely successful anthologies that were inspired by a growing public interest in, and engagement with, the English countryside. (shrink)

The spiritual geography of Russian cosmism. General characteristics ; Recent definitions of cosmism -- Forerunners of Russian cosmism. Vasily Nazarovich Karazin (1773-1842) ; Alexander Nikolaevich Radishchev (1749-1802) ; Poets: Mikhail Vasilyevich Lomonosov, (1711-1765) and Gavriila Romanovich Derzhavin (1743-1816) ; Prince Vladimir Fedorovich Odoevsky (1803-1869) ; Aleksander Vasilyevich Sukhovo-Kobylin (1817-1903) -- The Russian philosophical context. Philosophy as a passion ; The destiny of Russia ; Thought as a call for action ; The totalitarian cast of mind -- The religious and spiritual (...) context. The kingdom of god on earth ; Hesychasm: two great Russian saints ; The Third Rome ; Pre-Christian antecedents -- The Russian esoteric context. Early searches for "deep wisdom" ; Popular magic ; Higher magic in the time of Peter the Great ; Esotericism after Peter the Great ; Theosophy and anthroposophy -- Nikolai Fedorovich Fedorov (1829-1903), the philosopher of the common task ; The one idea ; The unacknowledged prince ; The village teacher ; First disciple: Dostoevsky and Tolstoy ; The Moscow librarian ; Last years: Askhabad: the only portrait -- The "common task" ; Esoteric dimensions of the "common task" ; Fedorov's legacy: projectivism, delo, regulation -- The religious cosmists. Vladimir Sergeevich Solovyov (1853-1900) ; Sergei Nikolaevich Bulgakov (1871-1944) ; Pavel Aleksandrovich Florensky (1882-1937) ; Nikolai Aleksandrovich Berdyaev (1874-1948) -- The scientific cosmists. Konstantin Edouardovich Tsiolkovsky (1857-1935) ; Vladimir Ivanovich Vernadsky (1863-1945) ; Alexander Leonidovich Chizhevsky (1897-1964) ; Vasily Feofilovich Kuprevich (1897-1969) -- Promethean theurgy. Life-creation ; Cultural immortalism ; God-building ; Re-aiming the arrows of Eros ; Technological utopianism ; Occultism -- Fedorov's twentieth century followers. Nikolai Pavlovich Peterson (1844-1919) and Vladimir Aleksandrovich Kozhevnikov (1852-1917) ; Svyatogor and the biocosmists ; New wine and the universal task ; Alexander Konstantinovich Gorsky (1886-1943) and Nikolai Alexandrovich Setnitsky (1888-1937) ; Valerian Nikolaevich Muravyov (1885-1932) ; Vasily Nikolaevich Chekrygin (1897-1922) -- Cosmism and its offshoots today. The N.F. Fedorov museum-library ; The Tsiolkovsky museum and Chizhevsky center ; ISRICA - Institute for Scientific Research in Cosmic Anthropoecology ; Lev Nikolaevich Gumilev (1912-1992) and neo-eurasianism ; The hyperboreans ; Scientific immortalism: Igor Vishev, Danila Medvedev ; Conclusions about the Russian cosmists. (shrink)

The article discusses the features of the love-passionate plot in the stories of Ivan Bunin. The question is raised why Bunin, describing the strange or immoral acts of the heroes, does not condemn them, and in general draws a bright, sometimes sad atmosphere. Analysis of L. S. Vygotsky’s short story “Easy Breathing” by Bunin allows us to express an idea about a certain strategy for building Bunin’s works. Based on this consideration, the methods by which Bunin achieves the effect (...) of perception of the characters he needs are analyzed. There are three such techniques: the convergence of the actions and behavior of the characters with the life and breath of nature, the depiction of the life of the characters from the point of view that Bunin needs, and the endowment of the characters with personality traits that exclude ethical characteristics and problems. The scientific explanation of Bunin's artistic constructions is based on the analysis of mental trauma (caused by the departure of the first wife and the horrors of the revolution), artistic understanding of the events that interest the writer, and the peculiarities of the conceptualization of these events. In addition, it is proposed to take into account that Bunin began and became famous as a poet, and as a poet he composed his prose partly according to the laws of versification. (shrink)

Philosophy for Children claims to foster not only critical thinking, but also creative and caring thinking. However, its theoretical foundations draw mainly on the analytic and pragmatist philosophical tradition. Consequently, and made evident by the choice of the terms ‘caring thinking’ and ‘creative thinking’, it seem to reduce these concepts mostly to ‘thinking skills’. In this article I will first briefly explicate the difficulties of such a reduction. Secondly I will try to resolve this problem by embedding rationality, creativity and (...) caring in a more holistic anthropology. To this end I will refer to the German philosopher and poet Friedrich Schiller, who anchors reason and the emotions in aesthetics (that is, the relationship with the sensuous world). Finally, the article calls on the thought of D. W. Winnicott in order to show how Philosophy for Children can embrace an active creation of an emotionally meaningful (caring) and rationally reflected (critical thinking) reality through the sensuous play with concepts (creativity). (shrink)

Ce livre offre un parcours en compagnie d'ecrivains, philosophes et poetes, parmi les plus marquants de la deuxieme moitie du XXe siecle. Son point de depart est une question qui porte sur l'essence meme de la litterature: que signifie aimer avec passion une oeuvre et l'homme qui est derriere?... Comment vit-on avec? Et qu'y trouve-t-on pour vivre avec soi meme, apprendre a vivre ainsi? Il s'agit donc d'un livre ecrit a la premiere personne par un auteur qui aura eu la (...) chance de croiser le chemin de quelques grandes figures de la pensee francaise contemporaine: Edmond Jabes, Jacques Derrida et Andre du Bouchet, Maurice Blanchot de facon plus lointaine. On y trouvera pourtant une volonte clairement pedagogique. Didier Cahen reprend et etudie les enonces multiples de ces createurs de la postmodernite sur l'articulation de la pensee et de la litterature ou sur l'espace commun de la philosophie et de la poesie. Dans la foulee, il aborde des questions plus ouvertes, qui touchent a l'intuition de l'autre, au non-savoir qu'explore la face cachee de la litterature. Comme le demontrent les oeuvres singulieres de Roger Laporte et de Marcel Cohen, ecrire c'est mettre sa vie en jeu, se fier a ce qui vient, suivre l'ordre de l'Autre... en se jouant de l'etre. Indiscipline au coeur des disciplines, cet exercice de la litterature traverse ainsi les genres, engage son ecriture au-dela des lignes du livre, delivre le message qui se lit a livre ouvert. (shrink)

In classical Latin, luxuria means 'desire for luxury'; it is linked with the ideas of excess and deviation from a standard. It is in most cases labelled as a vice which contrasts with the innate frugal nature of the Romans. Latin authors do not see it as endemic but as an import from the East in the aftermath of military conquests--and as a cause of fatal decline. Following these etymological and semantic origins, Roman Luxuria: A Literary and Cultural History discusses (...) the influence of Greek culture on the Roman concept and the peculiar characteristics of Roman luxuria. It analyses Roman views on luxuria through close readings in historical order from Cato the Elder, who regards luxuria as the opposite of the ideal Roman way of life, to the Christian poet Prudentius, who represents it in an allegorical fight with Sobriety. The book attends both to key authors and to wider literary genres, such as historiography and satire. Particular consideration is given to the rhetorical device of personification, which can be traced from the first appearances of luxuria in Latin literature to those of late antiquity. Berno devotes detailed attention to Seneca the Younger, whose work is often preoccupied with this passion. Seneca both defends himself from the charge of luxuria and violently attacks it in others, describing it as the archenemy of a philosophical life. Along the centuries, the focus on luxuria shifts from the economic sphere (and the waste of money) to the erotic, to the extent that in the Christian world it becomes one of the Seven Capital Sins representing the vice of lust. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 29, Number 2, November 2003, pp. 305-325 Hume, Sympathy, and the Theater BRIAN KIRBY Every movement of the theater, by a skillful poet, is communicated, as it were by magic, to the spectators; who weep, tremble, resent, rejoice, and are inflamed with all the variety of passions, which actuate the several personages of the drama. (EPM 5.2.26; SBN 221-2) Much has been written recently about (...) the role of sympathy in Hume's moral theory. That may indeed be its most important use. But it seems from a number of illustrations he uses that it has broader applications, in particular, application to a spectator's appreciation of drama. The problem some see with this broader application is that it conflicts with the basic definition of sympathy as a process by means of which impressions are shared. The actors on the stage would not seem to have the same passions which "inflame" the spectators. Worse, the spectators do not believe in their hearts that the passions which inflame them have real correlates. At first blush, "sympathy" might mean any one of several things. In "The Conscience of Huckleberry Finn," for example, Jonathan Bennett says, "As for 'sympathy': I use this term to cover every sort of fellow-feeling, as when one feels pity over someone's loneliness, or horrified compassion over his pain, and when one feels a shrinking reluctance to act in a way which will bring misfortune to someone else."1 However, fellow-feeling is not a sharing of feelings in Hume's sense. Alvin I. Goldman comes closer to Hume's meaning in a narrow description of empathy: "To empathize with someone, in its Brian Kirby, Associate Professor of Philosophy Emeritus at St. Lawrence University, is at 172 Miner Street Road, Canton, NY 13617, USA. e-mail: [email protected] 306 Brian Kirby most frequent sense, is to sympathize or commiserate, which involves shared attitudes, sentiments, or emotions."2 Still, Hume's sympathy is not the commiseration but rather what is involved in the commiseration, the shared attitudes, sentiments, and emotions. "No quality of human nature," says Hume, "is more remarkable, both in itself and in its consequences, than that propensity we have to sympathize with others, and to receive by communication their inclinations and sentiments, however different from, or even contrary to our own" (T 2.1.11.2; SBN 316). The principle of sympathy as he describes it in his technical sense is as follows: When any affection is infus'd by sympathy, it is at first known only by its effects, and by those external signs in the countenance and conversation, which convey an idea of it. This idea is presently converted into an impression, and acquires such a degree of force and vivacity, as to become the very passion itself, and produce an equal emotion, as any original affection. However instantaneous this change of the idea into an impression may be, it proceeds from certain views and reflections, which will not escape the strict scrutiny of a philosopher, tho' they may the person himself, who makes them. (T 2.1.11.3; SBN 317) If sympathy has to do with the sharing of impressions, what can one say about possible broader applications in which the correlate impression is absent? One tack to take is to dismiss the illustrative examples as aberrations or at least minor inconsistencies on Hume's part. A second is to argue that the broader applications follow reasonably, given Hume's description of the mechanism of sympathy. I propose, in this paper, to take the second tack. The above description characterizes what one might call sympathy in its normal social context in which the feelings of another are identifiable from his verbal and bodily behavior. Of course, the identification is not infallible. The other person may intend to deceive by lying or mimicking the behavior associated with a feeling. But such occasions are parasitic on normal contexts. But beyond the normal social context, there are other occasions which elicit sympathy, situations in which passions are aroused in the sympathizers for good cause, but which have no correspondent in the objects of sympathy. The case... (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

This is the story of a class of painters, puppeteers, puppy trainers, poets, and so much more. It is the story of how a community of first- and second-grade students, wonderful parents and colleagues, and a very wise principal helped me to teach so that each child could pursue a broad range of passions. It is a story about how my students, in recognizing one another’s passions, created a community where everyone, including the teacher, was celebrated.It is a story that (...) I tell with a joy tinged with sadness. The joy comes from my fondness for the memory as well as a conviction that my teaching that year created an experience that honored my students. The sadness comes from the fact that I tell this story from the.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 84-88 [Access article in PDF] Response to Yiannis Miralis, "Manos Hadjidakis: The Story of an Anarchic Youth and a 'Magnus Eroticus'" Jason Helfer University of Illinois There are two issues that struck me as essential from my consideration of Miralis'paper and the ideas of Manos Hadjidakis: Eros as a pedagogical idea and learner interactions in the music classroom. These ideas developed from (...) my interpretation of this paper, from my experiences in teacher training, and teaching in the public schools. I will examine each in turn, after a brief recapitulation of Hadjidakis' ideology.Hadjidakis' ideas were shaped through reaction against much of the work that took place within traditional musical conservatories and the larger Greek culture. They were also shaped by "his close friendships and collaborations with other poets, composers, and artists." Hadjidakis articulated his reactionary ideas not only through sound (that is, composition and performances), but also through the larger media. The cultural content of the broadcasting services in Greece leaves much to be desired although, as head of the radio Third Programme... Manos Hadjidakis brought a breath of fresh air to the stuffy studios of the broadcasting [End Page 84] organizations with talks, readings, discussion programmes-and the highly original daily program This is Lilliput.1The intended result of this work clarifies one of Hadjidakis' fundamental assumptions: one should be led to a deeper understanding of the self and others, beauty and goodness through engagement and perpetual reflection within the arts. Miralis asserts that the idea of reflection and the resultant self-knowledge and growth are qualities to which a good educator should aspire. Central to this claim is the idea of Eros.2Eros can be problematic if narrowly defined. "The name Eros has been wrongly restricted in common speech to what is really only one form of this universal desire. Just as the word "making" really means creation of any kind but has been misappropriated to one species... so the name of Eros is misappropriated to one species of passion, but really means 'any and every desire for good things and happiness.'"3 My understanding of Hadjidakis' idea of Eros is best articulated in the exchange between Socrates and Diotima in Plato's Symposium.4 Plato's idea of Eros is that the individual moves through a series of stages with the help of another until one has a "complete" and "clear" understanding of the good or beautiful.5 He makes a distinction between the good and the beautiful when Diotima asks Socrates to substitute the word "good" for the word "beautiful."6 This is not merely a change in semantic. Rather, it is a necessary transformation insofar as it emphasizes that a good thing may not be physically beautiful, but still considered good (such as the historical Socrates). The transcendence of the beautiful leading toward the "pure" good is an essential step in obtaining the Platonic understanding of Eros. "The state of mind of the philosopher who has attained knowledge of the good or of beauty is a desire to make beauty or goodness present wherever possible to a higher degree, it is not a desire to just to look at goodness or beauty. It is rather a desire to take anything that is partially good or partially beautiful and to make it more good or more beautiful."7 For Hadjidakis, the necessary quest for goodness and beauty was evident in the creation, combining, and sharing of poetry and music. This idea was not only apparent in his musical creations, but also in his work in the socio/political arena.Further, the Symposium begins as a series of speeches on the subject of love, but "Plato makes the word eros bear a burden far in excess of anything it had ever been made to bear; and the 'love' which he goes on to portray strains the language of eros almost out of recognition."8 However, love is not forgotten; rather "'Love'... is to mean not only the whole complex of... (shrink)

Se o pensamento de Antero de Quental, muito influenciado pela filosofia alemã, exprime um afastamento das vias tradicionais da fé e da teologia, contudo a sua poesia reinstaura uma dolorosa mas apaixonada aproximação de Deus. Em última análise, o que é patente na ordenação não cronológica dos seus últimos sonetos, o poeta-filósofo, o idealista insatisfeito com as suas tentativas de conciliar o naturalismo e o espiritualismo, o positivismo e o misticismo, o materialismo e o psiquismo, o imanentismo e o transcendentalismo, (...) torna-se no poeta religioso em busca de uma comunhão com os seus ancestrais, com o seu povo, com uma revelação que ele tem dificuldade em assumir inteira, mas pela qual manifesta, mais do que uma nostalgia, uma saudade. Deste modo, o itinerário de toda a sua poesia deve quanto a nós ser entendido como uma questa em que o poeta é um cavaleiro da demanda do Graal, como uma odisseia, em que o poeta-herói, perdido nos mares alterosos da vida, tenta regressar à sua terra natal, e enfim como uma peregrinação, uma peregrinatio para o lugar santo onde por ele espera o Deus em cuja mão direita enfim poderá repousar. /// Si la pensée d'Antero de Quental, très influencé par la philosophie allemande, manifeste un éloignement des voies traditionelles de la foi et de la théologie, cependant sa pensée réinstaure une douleureuse mais passionnée approche de Dieu. En dernière analyse, ce qui est patent dans l'agencement non chronologique de ses dernirers sonnets, le poète philosophe, l'idéaliste insatisfait avec ses tentatives de concilier le naturalisme et le spiritualisme, le positivisme et le mysticisme, le matérialisme et le psychisme, l'immancntisme et le ranscendantalisme devient chez le poète religieux en quête de communion avec ses ancêtres, avec son peuple, avec une révélation qu'il lui est difficile d'assumer entièrement, mais par laquelle il manifeste plus qu'une nostalgie, une "saudade". Par là, l'itinéraire de toute sa poésie doit, quant à nous, être entendu comme une quête dans laquelle le poète est un chevalier à la recherche du Graal, comme une odyssée où le poète-héros, perdu dans les mers changeantes de la vie, tente de retourner à la terre natale, et enfin comme un pèlerinage, une peregrinatio vers le lieu saint où l'attend Dieu, ce Dieu dans la main duquel enfin il pourra trouver repos. /// If the thought of Antero de Quental, under the influence of German philosophy, represents a break from the traditional pathe of faith and theology, his poetry constitutes however a painful but passionate approach to God. In final analysis, what is manifest in the non-chronological ordering of his last sonnets, the poet-philosopher, the idealistic dissatisfied wich his attempts to conciliate naturalism with spiritualism, positivism with mysticism, materialism with psychism, immanentism with transcendentalism, becomes the religious poet in search of communion with his ancesters , with his people, with a revelation that he had difficulty in accepting entirely, but for which he expresses (more than nostalgia) saudade. Thus, the itinerary of all his poetry should, in our view, be understood as a quest in which the poet isaknight in search ofthe Grail, as an odyssey in which thepoet-hero, lost in theturbulent ocean, thies to return to his nativ land, and finaly as a pilgrimage to the holy place where God awaits him and offers his right hand for him to rest. (shrink)

-Fabrice Luchini, vous lisez l'Evangile de saint Marc? - Pas encore. Avant de plonger dans les Evangiles, je lis Pierre Boutang. C'est du lourd?! Hier soir, je dînais avec François Hollande qui me dit? : "?Vous lisez Boutang?? C'est la passion de mon père?!?" Je lui réponds? : "?Transmettez mon salut admiratif à votre père car un lecteur de Boutang, c'est un costaud.?" Je suis paumé... - Qu'est-ce qui vous attire chez Boutang?? - Le poison de la curiosité. Pourquoi suis-je (...) ainsi happé?? C'est d'un tel niveau philosophique que je n'ai pas les moyens de suivre. Pourtant j'y vais. Autant Nietzsche, je peux facilement m'y mettre, car c'est un styliste poète, autant ces philosophes qui mettent Kant en allemand face à Thomas d'Aquin en latin... je ne fais pas le poids?! (Fabrice Luchini interrogé par Luc Adrian pour Famille chrétienne, le 10 mai 2016.) Ce livre est un manuel pour commencer à lire Boutang, le philosophe français le plus nécessaire et le plus libre du siècle. " Méthode d'investigation sans concession ", " classique modernité ", " courage " sont les mots par lesquels Pierre Boutang rendait compte des tout premiers travaux de son élève en Sorbonne : " Nous sommes ici en présence du véritable commencement d'une oeuvre ". (shrink)

The moth snowstorm, a phenomenon Michael McCarthy remembers from his boyhood when moths 'would pack a car's headlight beams like snowflakes in a blizzard,' is a distant memory. Wildlife is being lost, not only in the wholesale extinctions of species but also in the dwindling of those species that still exist. The Moth Snowstorm records in painful detail this rapid dissolution of nature's abundance and proposes a radical solution: that we recognize our capacity to love the natural world. Arguing that (...) neither sustainable development nor ecosystem services have proven adequate as defenses against pollution, habitat destruction, species degradation, and climate change, McCarthy asks us to consider nature as an intrinsic good and an emotional and spiritual resource, capable of inspiring joy, wonder, and even love. An award-winning environmental journalist, McCarthy presents a clear, well-documented picture of what he calls 'the great thinning' around the world, while interweaving the story of his own early discovery of wilderness and a childhood saved by nature. Drawing on the truths of poets, the studies of scientists, and the author's long experience in the field, The Moth Snowstorm is part elegy, part ode, and part argument, resulting in a passionate call to action. (shrink)

This paper addresses the ways that we can understand and transform our strong emotions and how this project contributes to moral and spiritual development. To this end, I choose to think with two Tibetan Buddhist thinkers, both of whom take up the question of how passionate emotions can fit into spiritual and moral life: the famous, playful yogin Shabkar Tsodruk Rangdrol (1781–1851) and the wandering, charismatic master Patrul Rinpoche (1808–1887). Shabkar's The Autobiography of Shabkar provides excellent examples of using (...) one's own passionate emotions to connect to others and gain insight into the world. Patrul Rinpoche's The Words of My Perfect Teacher (kun bzang bla ma'i zhal lung) focuses on passionate empathy with the emotions of others. Drawing on these texts, I present a (distinctly Buddhist) conception of a passionate life and argue that passionate emotional experience is a central part of moral and spiritual development more broadly construed. (shrink)

December 6, 1963, marked 150 years since the birth of Nikolai Platonovich Ogarev . Ogarev was one of the first in the group of Russia's best sons who, in the dark years of reaction under the serf system, became forerunners of the revolution. Ogarev was distinguished for his diverse gifts and many-sided activity. He was a revolutionist — the organizer of the secret Land and Freedom [Zemlia i Volia] society — and also became known as a lyric poet. He (...) was one of the founders of the free Russian press, an original philosopher with a materialist outlook, a penetrating student of Russia's economic life, a passionate propagandist of polytechnical education, a proponent of freedom for oppressed peoples, and a spokesman for new esthetic ideals. Prerevolutionary historiographers neglected to take account of Ogarev's work, and, at best, recognized him as a "fellow-traveler" of Herzen. Only in the Soviet period did Nikolai Platonovich Ogarev obtain the recognition he deserved. (shrink)

ABSTRACT The present paper is devoted to an outstanding Kazakh poet, musician and writer Zhumeken Nazhimedenov who lived during the Soviet Union. Zhumeken Nazhimedenov is one of the authors of the Anthem of the Republic of Kazakhstan, adopted in 2006. The object of the research was the collection of poems and prose by Zh. Nazhimedenov, published in different years, and literary criticism written about him by well-known critics and writers of that time. The purpose of the paper is to (...) analyse and distinguish thematic and ideological features the genre-literary issues and stylistic analysis of Nazhimedenov’s poetry and prose. In the study, the methods of thematic and stylistic analysis were used. The poet’s literary works are distinguished by the diversity of contemporary scenes and traces of the search for the discovery of the human world, the possibility of depicting nature. In conclusion, each work of Zh. Nazhimedenov summarizes the realities of life in its time, touches the hearts and conveys the truth. The ideology of literary works is based on the traces of goodness, which began with the homeland, consisting of a passion for life, compassion and appreciation of mankind. (shrink)

In 1815, the clever, courted and cherished Annabella Milbanke married the notorious and brilliant Lord Byron. Just one year later, she fled, taking with her their baby daughter, the future Ada Lovelace. Byron himself escaped into exile and died as a revolutionary hero in 1824, aged 36. The one thing he had asked his wife to do was to make sure that their daughter never became a poet. Ada didn't. Brought up by a mother who became one of the (...) most progressive reformers of Victorian England, Byron's little girl was introduced to mathematics as a means of calming her wild spirits. Educated by some of the most learned minds in England, she combined that scholarly discipline with a rebellious heart and a visionary imagination. As a child invalid, Ada dreamed of building a steam-driven flying horse. As an exuberant and boldly unconventional young woman, she amplified her explanations of Charles Babbage's unbuilt calculating engine to predict, as nobody would do for another century, the dawn today of our modern computer age. When Ada died - like her father, she was only 36 - great things seemed still to lie ahead for her as a passionate astronomer. Even while mired in debt from gambling and crippled by cancer, she was frenetically employing Faraday's experiments with light refraction to explore the analysis of distant stars. Drawing on fascinating new material, Seymour reveals the ways in which Byron, long after his death, continued to shape the lives and reputations both of his wife and his daughter. During her life, Lady Byron was praised as a paragon of virtue; within ten years of her death, she was vilified as a disgrace to her sex. Well over a hundred years later, Annabella Milbanke is still perceived as a prudish wife and cruelly controlling mother. But her hidden devotion to Byron and her tender ambitions for his mercurial, brilliant daughter reveal a deeply complex but unsuspectedly sympathetic personality. Miranda Seymour has written a masterful portrait of two remarkable women, revealing how two turbulent lives were often governed and always haunted by the dangerously enchanting, quicksilver spirit of that extraordinary father whom Ada never knew. (shrink)

(2013). A Passion for Pushing the Limits. World Futures: Vol. 69, The Complexity of Life and Lives of Complexity, pp. 359-381.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Horace and the Rhetoric of AuthorityKenneth J. ReckfordEllen Oliensis. Horace and the Rhetoric of Authority. Cambridge: Cambridge University Press, 1998. xii 1 241 pp. Cloth, $64.95.In a gratifying book, crafted with unusual care, Ellen Oliensis investigates Horace’s self-fashioning in his poetry. “Horace is present,” she argues, “in his personae... not because these personae are authentic and accurate impressions of his true self, but because they effectively construct that (...) self—for Horace’s contemporary readers, for us, and also for Horace himself” (2). As she carefully observes the “faces” Horace makes from early satires and epodes to late epistles, she never assumes that they simply screen a “real” Horace, ambitious and/or subservient, from the public gaze. Horace’s strategies are unmasked, and [End Page 313] his tact (together with some rudeness), and what Oliensis characterizes as a fine, shifting blend of authority and deference; but “the final sum of Horace’s calculations is the making of good poetry, by which I mean poetry that is not exhausted in or fundamentally compromised by the social exchanges in which it participates” (14). This is (as I see it) a rescue operation that succeeds most admirably.Chapter 1 is titled “Face-saving and Self-defacement in the Satires.” In book 1, Horace distinguishes himself from his satiric targets as a discriminating poet and person, worthy of his equally discriminating patron. While his defensive maneuvers ward off envious outsiders, they also and more importantly appeal to Maecenas’ judgment as “overreader.” Oliensis often argues negatively, in terms of what Horace does not do. (Cf. Sherlock Holmes and the dog that didn’t bark.) There is, for example, no mention in Satires 1.6 of the part played by Horace’s poetry in winning Maecenas’ approval, no suggestion that Horace’s father was eager to see him advance socially. So too, in 2.6, Horace’s travails are not attributed to Maecenas; his villa is not connected with Maecenas; there is no self-incriminating “thank you”; the city day does not end with dinner at Maecenas’ house. Horace’s tact, his self-effacement here, are remarkable. Yet even as his satires decry the pursuit of wealth and status, they mark and promote “the poet’s own progress from the obscure margins to the shining center of Roman society” (17). Satires 1.10 proclaims Horace’s newfound authority together with his acceptance into an aesthetic and social elite.In book 2, Oliensis argues, Horace retreats from the role of satirist, giving it (ostensibly) to others, displacing upon them (Ofellus in 2.2, Damasippus in 2.3, Ulysses in 2.5, Davus in 2.7, Nasidienus in 2.8) the attempt to “mend misfortune with art” (51–63). Only later, in Epistles 2.2.49–52, will he admit to his early ambitiousness. For now, “by displacing these autobiographical ‘facts’ onto a series of surrogates in Satires 2, he retroactively exposes the satirist of Book 1” (54). The picture is convincing. We see Horace growing in subtlety and assurance as he moves away from satire—or moves satire in a new direction? I would only ask: did the process begin earlier, with the partial rejection of diatribe satire in 1.3 and Lucilian satire in 1.4? How and where should we draw the line between Horace’s half-ironic denials of aggressive intent and his genuine self-education through satire writing?Chapter 2, on the Epodes, is distinguished by Oliensis’ regard for diversity, the ugly and low stuff along with the bright and lofty. To simplify a complex, intuitive argument: Horace associates himself deferentially with the new center of Octavian and Maecenas, and repels outsiders, but his project fails: because he is forced to recognize too much of himself in scapegoated figures like the upstart slave-tribune of Epodes 4; because attack breeds attack in an unending cycle of vengeance; and because Horace is finally impotent before the dark, irrational forces represented by Canidia. He fails signally to achieve closure in the expected ten-poem book, turning instead (mainly) to erotic subjects, [End Page 314] unsubdued passions. Dactyls compete symbolically with iambs. Finally Horace lets Canidia win—and triumphs... (shrink)

What happened in New York City on September 11, 2001, creates an urgent need for a turn to practical reason, to ethics, to critique, and to a radical,transformative theory and praxis. Contemplation, speculation, pure theory, and contemplative metaphysics in philosophy, while necessary and valuable, are notsufficient in dealing with such an infamous crime against humanity. The central idea running through this paper and much of my work is that there is an essentiallink between rationality and radicalism. The aim of this (...) paper is to explore this link in an argument sketched in three parts: self-appropriation as the pearl of great price in philosophy; a critical theory of society; and a metaphysics and philosophy of religion that are both contemplative and political — a threefold radicality, if you like. This argument seeks to show negatively how the postmodern critique of rationality misfires, and positively how a post-imperial phenomenology, critical theory, and metaphysics/philosophy of religion can do justice to and recognize difference and the otherness of nature, other human beings, being itself, and God.Because in Vietnam the vision of a burning Babeis multiplied, multiplied, the flesh on firenot Christ’s, as Southwell saw it, prefiguringthe Passion upon the Eve of Christmas,but wholly human and repeated, repeated,infant after infant, their names forgotten,their sex unknown in the ashesset alight, flaming but not vanishingnot vanishing as his vision but lingering,cinders upon the earth or living onmoaning and stinking in hospitals three abed;because of this my strong sight,my clear caressive sight, my poet’s sight I was giventhat it might stir me to songis blurredWhy do men then not wreck his rod?Generations have trod, have trod, have trodAnd all is seared with trade, bleared, smeared with toilAnd wears man’s smudge and shares man’s smell, the soilIs bare now, nor can foot feel, being. (shrink)

Had I not read that book in the months leading up to my university finals I might never have gained that real enthusiasm and excitement for ideas which has possessed me ever since. Before that time I played with the academic world in a desultory fashion, moving the thoughts, thinkers and theories in front of me as though they were merely so many counters. After I read Collingwood everything changed, and I believe the same can be true for any of (...) its readers. (shrink)

This text argues that justice is a virtue which everyone shares - a function of personal character and not just of government or economic planning. It uses examples from Plato to Ivan Boesky, to document how we live and how we feel.

This is the story of an adventurous life of pushing limits to expand our understanding of ourselves in our universe?as an explorer, as a scientist, as a philosopher, as a political animal, as a mother and grandmother, even as an artist?concluding with the realization that all we have to go on is our stories. This is what most differentiates us from other species, even from our own cells: that we tell each other stories of What, How, and Why Things Are (...) as They Are. We do not live as they do in the eternally Now moment, deeply interconnected within All That Is; rather we live in a mental trajectory from deep past to far future, making up stories about ourselves and everything else, coloring our perceptions with these stories and acting them out. We make them up differently in art, science, politics, economics, religion, and whatever, but however much we insist they are truths, they remain the more or less plausible human stories by which we necessarily live our lives individually and collectively. (shrink)

This study aims to unravel the determinants of social entrepreneurial intention (SEI). Using a moderated mediation approach, we examine the direct and indirect effects of prior experience with social problems, proactive personality, and social self-efficacy on SEI via social entrepreneurial passion for founding (SEP) as a mediator. This study is based on data collected from a survey using questionnaires completed by 283 Saudis. To analyze data and test the developed hypotheses, we used exploratory and confirmatory factor analyses followed by structural (...) equation modeling to test the direct and indirect effects of the main variables on SEI. Our findings reveal positive relationships between prior experience with social problems and proactive personality and SEP with SEI. Surprisingly, no significant relationship was found between social self-efficacy and SEI; its effect was indirect through SEP. Finally, gender moderated the relationship between SEP and SEI. Academic contributions and practical implications are then proposed. (shrink)

Drawing on philosophy, social and psychoanalytic theory, popular culture, and her own experience, Salecl explores how the passion for ignorance plays out in many different aspects of life today, from love, illness, trauma, and the fear of failure to genetics, forensic science, big data, and the Incel movement-and she concludes that ignorance is a complex phenomenon that can, on occasion, benefit individuals and society as a whole.

Benjamin Barber is one of America's preeminent political theorists. He has been a significant voice in the continuing debate about the nature and role of democracy in the contemporary world. A Passion for Democracy collects twenty of his most important writings on American democracy. Together they refine his distinctive position in democratic theory. Barber's conception of "strong democracy" contrasts with traditional concepts of "liberal democracy," especially in its emphasis on citizen participation in central issues of public debate. These essays critique (...) the "thin representation" of liberal democracy and buttress the arguments presented in Barber's twelve books, most recently in his well-received Jihad vs. McWorld: How Globalism and Tribalism Are Re-shaping the World. In these pieces, Barber argues for participatory democracy without dependence on abstract metaphysical foundations, and he stresses the relationship among democracy and civil society, civic education, and culture. A Passion for Democracy is divided into four sections. In the first, "American Theory: Democracy, Liberalism, and Rights," Barber addresses issues of ongoing relevance to today's debates about the roots of participatory democracy, including individualism vs. community, the importance of consent, and the irrelevance of Marxism. Essays in the second section, "American Practice: Leadership, Citizenship, and Censorship" provide a "strong democracy" critique of American democratic practice. "Education for Democracy: Civic Education, Service, and Citizenship" applies Barber's theories to three related topics and includes his much-discussed essay "America Skips School." The final section, "Democracy and Technology: Endless Frontier or End of Democracy?" provides glimpses into a future that technology alone cannot secure for democracy. In his preface, Barber writes: "In these essays... I have been hard on my country. Like most ardent democrats, I want more for it than it has achieved, despite the fact that it has achieved more than most people have dared to want." This wide-ranging collection displays not only his passion for democracy, but also his unique perspective on issues of abiding importance for the democratic process. (shrink)

In this paper, private gardens are portrayed as spaces and implements of aristocratic passion for plant collecting, of competition within the gentry, as well as of scientific professionalisation for botanists. This paper traces the early history of botanical collections in the Russian Empire from the 18th to the early 19th century as part of an elite culture which encouraged amateur patrons to invest in expeditions, gardens, and, consequently, in professionals to manage such projects. Young graduates of European universities who began (...) their careers working at private botanical institutions could later successfully apply for academic positions. The circulation of specimens had developed as a key element of botanical collection and an important basis for the networking of professionals and amateurs around the world. This paper argues that collecting plant specimens became an important means for engaging in “power games” and even “plant diplomacy.” These new responsibilities significantly increased botanists' status as experts. A diverse group of personalities, such as the Empress Catherine II, King George III of England, the industrialist Prokophy Demidov, aristocrat Alexei Razumovsky, Joseph Banks, President of the Royal Society, the academician Peter Simon Pallas—all shared a passion for botanical collecting and were engaged in power games at different levels, using botany as an instrument of influence. (shrink)

Perfect for readers eager to acquire a basic familiarity with the history of philosophy but intimidated by the task, A Passion for Wisdom is a lively, accessible, and highly enjoyable tour of the world's great ideas.