The essays in Part I of _Beyond Poststructuralism seek_ to demonstrate fallacies of structuralist and poststructuralist thought that remain potent even though the theoretical structures that led to their enunciation have lost much of their original influence. These fallacies include the idea that one must avoid the consideration of authorial intention; that meanings are undecidable; that there is no justification for seeking unity in a text; that all hierarchies of value are reversible; that history is no more than an open (...) contest among competing narrative constructions; and that the very nature of language makes the falsifiability of statements about human experience impossible. The essays in Part II suggest ways to bring literary study into closer relation with human experience of the world. Their authors emphasize the role of literature in providing new perspectives and broadening the range of available alternatives to what is threatening, unjust, fallacious, or absurd in social and cultural structures. Contributors are Bernard Bergonzi, John Holloway, Wendell V. Harris, A. D. Nuttall, Raymond Tallis, John Searle, Richard Levin, Robert Scholes, James Battersby, David Bromwich, Quentin Kraft, Michael Fischer, Charles Altieri, Christopher Clausen, Gayle Greene, André Lefevere, Daniel R. Schwarz, Virgil Nemoianu, and Martha Nussbaum. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aristophanes' Thesmophoriazousai and the Challenges of Comic Translation:The Case of William Arrowsmith's Euripides AgonistesElizabeth ScharffenbergerThesmophoriazousai is conspicuously absent from the well-known and widely used series of Aristophanes translations that, under the editorial supervision of William Arrowsmith, was published originally by the University of Michigan Press and then taken up by New American Library. This is not to say, however, that a translation of the comedy was never composed for (...) this series. Arrowsmith took the task upon himself and began his translation of Thesmophoriazousai some time before 1960 when the Aristophanes series was at the height of its production; in later years, he revised his text at least once, and the evidence points to 1968-1973 as the principal period during which the translation was reworked. The cover page on the manuscript that he sent me in 1991 indicates that an introduction and notes (standard in this series) were to accompany the translation, but the package I received contained only the translated text, and I have no idea whether the notes and commentary were ever composed or finished. The text of the translation has a handful of typographical errors and minor inconsistencies in the directions on costuming and staging, which seem to mark the project as an arrested work in progress.The unpublished creation of a renowned classicist who was also a prolific and respected translator, Arrowsmith's Thesmophoriazousai — titled on the manuscript's cover page, Euripides Agonistes (Thesmophoriazousae)— provides an exciting venue for exploring the challenges involved in translating Aristophanes for contemporary English-speaking audiences. My purposes in this paper are thus twofold. I want to examine selected aspects of Arrowsmith's version of this comedy and also advance some general ideas about the challenges involved in translating the plays of Aristophanes and, for that matter, any comic work. My endeavor on both scores will be both preliminary and cursory; there is no way to do justice to every feature of this translation in a few pages or to [End Page 429] produce a complete theory of comic translation. But I hope that I can suggest a reasonably systematized foundation for analyzing the choices Arrowsmith made in his rendering of Thesmophoriazousai and, at the same time, present a set of criteria that might have broader use to people who rely on all kinds of comic translations.The "Frames" of Comic TranslationThere are very few works that treat, from either practical or theoretical perspectives, the translation of comic works and comic devices such as parodies and puns. These works include an essay on translating Ari-stophanes published in 1960 by Arrowsmith, titled "The Lively Conventions of Translation," as well as Douglass Parker's 1992-93 Arion essay in Arrowsmith's memory and André Lefevere's Translating Literature: Practice and Theory in a Comparative Literature Context. Their consensus is that translating comedy, especially Aristophanic comedy, poses formidable and unique challenges.1The most obvious challenge is the topicality of jokes and comic scenarios. According to Arrowsmith, "It is initially the hard facts of culture that most torment the translator of Greek comedy.... Tragedy... keeps a decent distance from common life, but comedy dumps into the translator's lap an intolerable profusion of things—odd bits of clothing, alien cuisine... unfamiliar currency, etc." (1960, 123). Thesmophoriazousai bears out this observation; it overflows with difficult "things" and "hard facts" to translate, beginning with the many props and elements of costume that come into play in the prologue with the appearance of Agathon and the dressing of the Kinsman, and including such crucial items as Mica's wineskin "baby." The problem of "translating" these objects is compounded by the challenges involved in making intelligible the comedy's preoccupation with Euripides and its many-layered engagement with Euripidean tragedy, which give rise to the parodies of Telephus, Palamedes, Helen, and Andromeda. These parodies go hand in hand with countless theatrical in-jokes and self-conscious references to local Athenian theatrical practices. Then there are the play's festal performance context (the Dionysia) and festal setting (the Thesmophoria), its allusions to local forensic and judicial procedures, and its caricatures of figures such as Agathon and Cleisthenes who, like Euripides, would have... (shrink)

If we return to the experiences of our youth, we perceive what had the power to awaken our curiosity and ambitions*. The non-conformism of the Surrealists was fostered by Romantic sources and every conceivable symbolism; even if in a roundabout manner, it was through them that the names of Klee and Kandinsky were first heard. The world of the marvellous, the only one decreed worthy of attention, opened out onto painting. The moderns of the group: Dali, Tanguy, Masson, received first (...) prize for poetic adventure, but they harked back to certain selected precursors—rightly or wrongly—for the same gifts that they had themselves: Uccello, Bosch, Dürer, Blake, and Gustave Moreau. And indeed, by retaining only the unexpected, the fantastic, and (often indulgently) the scandalous, a taste was maintained for emotional shock and association, as exemplified by the sustained style of André Breton, and the more supple prose of Aragon. (shrink)

La recherche des principes ne saurait deboucher sur un fondement imposant l'hegemonie de l'une des natures simples sur les autres. La stricte delimitation du comprehensible de philosophie premiere face a l'incomprehensible de foi ouvre le champ de la philosophie a la seule raison. Le cartesianisme deborde ainsi de tres loin la post-modernite aussi bien que les tentatives reductionnistes emanant du positivisme ou de la theologie. Les modeles delivres pour la maitrise du comprehensible ouvrent le mecanistique au cybernetique. La loi ne (...) se reduit ni a la necessite de son decoulement ni a l'irrationalite de son imposition. L'attribut dominant de puissance n'aliene en rien le role des perfections divines comprehensibles. Encore fallait-il plaider la cause de Dieu, dont le proces ouvre aux grandes Theodicees du XVIIe siecle. (shrink)

This is a review of Kazutaka Inamura's book "Justice and Reciprocity in Aristotle's Political Philosophy" (Cambridge University Press, 2017).

En publiant les Principes de la philosophie du droit, Hegel ambitionnait de constituer la Science de l'Etat, et cela a l'encontre aussi bien de toute conception utopique que de toute interpretation partisane. Il disposait a cet effet des ressources theoriques presentees quelques annees auparavant dans la Science de la logique. Ce commentaire privilegie incontestablement l'aspect logique et processuel du propos hegelien. Il s'agit donc non seulement de reperer la presence de ces schemes logiques mais d'en eprouver la validite et d'en (...) verifier l'efficacite. Ce parcours logique ne fait appel qu'a l'energie et au dynamisme du pur penser - sans apport etranger, exterieur ou empirique - et a sa seule fecondite interne susceptible d'engendrer par elle-meme, de maniere immanente, la richesse et la totalite du sens. (shrink)