Giordano Bruno’s Cabala del cavallo pegaseo _ _grew out of the great Italian philosopher’s experiences lecturing and debating at Oxford in early 1584. Having received a cold reception there because of his viewpoints, Bruno went on in the Cabala to attack the narrow-mindedness of the university--and by extension, all universities that resisted his advocacy of intellectual freethinking. _The Cabala of Pegasus _consists_ _of vernacular dialogues that turn on the identification of the noble Pegasus and the humble ass. (...) In the interplay of these ideas, Bruno explores the nature of poetry, divine authority, secular learning, and Pythagorean metempsychosis, which had great influence on James Joyce and many other writers and artists from the Renaissance to the modern period. This book, the first English translation of _The Cabala of Pegasus, _contains both the English and Italian versions as well as helpful annotations. It will have particular appeal to all Renaissance scholars and those interested in the Renaissance cabalistic underpinnings of modern literature. (shrink)

Giordano Bruno’s Cabala del cavallo pegaseo _ _grew out of the great Italian philosopher’s experiences lecturing and debating at Oxford in early 1584. Having received a cold reception there because of his viewpoints, Bruno went on in the Cabala to attack the narrow-mindedness of the university--and by extension, all universities that resisted his advocacy of intellectual freethinking. _The Cabala of Pegasus _consists_ _of vernacular dialogues that turn on the identification of the noble Pegasus and the humble ass. (...) In the interplay of these ideas, Bruno explores the nature of poetry, divine authority, secular learning, and Pythagorean metempsychosis, which had great influence on James Joyce and many other writers and artists from the Renaissance to the modern period. This book, the first English translation of _The Cabala of Pegasus, _contains both the English and Italian versions as well as helpful annotations. It will have particular appeal to all Renaissance scholars and those interested in the Renaissance cabalistic underpinnings of modern literature. (shrink)

The year 1492 is only the last in a series of “ends” that inform the representation of medieval Spain in modern Jewish historical and literary discourses. These ends simultaneously mirror the traumas of history and shed light on the discursive process by which hermetic boundaries are set between periods, communities, and texts. This book addresses the representation of the twelfth and thirteenth centuries as the end of al-Andalus (Islamic Spain). Here, the end works to locate and separate Muslim from Christian (...) Spain, Jews from Arabs, philosophy from Kabbalah, Kabbalah from literature, and texts from contexts. The book offers a reading of texts that emerge from its Andalusi, Jewish, and Arabic cultural sphere: Maimonides’ Guide of the Perplexed; the major text of Kabbalah, the Zohar; and the Arabic rhymed prose narrative of Ibn al-Astarkuwi. The author argues that these texts are written in a language that disrupts the possibility of locating it in a pre-existing cultural situation, a recognizable literary tradition, or a particular genre. At stake are issues – texts and contexts – that have gained particular urgency in the writings of such recent thinkers as Walter Benjamin, Jacques Derrida, Giorgio Agamben, Jean-Luc Nancy, and Avital Ronell. The book reads the place and taking place of language, interrogating the notion of disappearing contexts and the view that language is derivative of its true place, the context that, having ended, is mourned as silent and lost. (shrink)

Цель книги - конфигурация каббалистической герменевтики с русской филологической и литературной традицией. Речь идет о сборке территорий, о многомерном ансамбле текстуальных и онтологических пространств. "Компаративизм без берегов" книги "Зоар" сопоставляется с интертекстуальным подходом и лингвистической компаративистикой. Каббала понимается как проект совместности, содержание которого раскрывается во встречных сближениях с текстами Пушкина, Достоевского, Пастернака. Книги на русском языке #ReadRussia.

Ethics in the axial age -- Some aspects of rabbinic ethics -- Medieval philosophical ethics -- Medieval rabbinic and kabbalistic ethics -- Modern Jewish ethics.

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

Studies in Safed's kabbalistic-ethical literature in 16th century.

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable - in (...) case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

Relationalität und Selbstdiskursivierung in den lebens -- und Sozialwissenschaften -- Selbstreflexion und Relationalität in der literatur.

This paper finds its origin in a debate between Georges Bataille (1897-1962) and Octavio Paz (1914-1998) on what is central to the idea of eroticism. Bataille posits that violence and transgression are fundamental to eroticism, and without prohibition, eroticism would cease to exist. Paz, however, views violence and transgression as merely intersecting with, rather than being intrinsic to, eroticism. Paz places focus on imagination, and transforms eroticism from a transgressive, to a ritualistic act. Eroticism thus functions as an intermediary, turning (...) animal sexuality into ceremony and rite. In this paper, I argue that Paz and Bataille are not fundamentally at odds in their conceptualisation of eroticism. Instead, Paz redefines the locus of eroticism by subverting its unsettling aspects. His conception of eroticism gives precedence to the imagination, which in itself is an act of violation. Imagination transgresses normal life, but this transgression – the violation of the habitual world – also introduces a glimpse of the numinous that Paz associates with belongingness. The paper further explores eroticism, as this is perceived today, and argues that it ultimately eliminates the threshold marked by transgression. The rise of the contemporary pornographic society is marked by a loss of imagination and transcendence, which ultimately reduces the subject into a mere automaton that demands instant gratification. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Giordano Bruno and the Kabbalah: Prophets, Magicians, and Rabbis by Karen Silvia de León-JonesMatt GoldishKaren Silvia de León-Jones. Giordano Bruno and the Kabbalah: Prophets, Magicians, and Rabbis (Yale Studies in Hermeneutics). New Haven: Yale University Press, 1997. Pp. ix + 272. Cloth, $40.00.Frances Yates’ Giordano Bruno and the Hermetic Tradition has become a standard work for the study of Renaissance thought, and it is through her interpretation of (...) Bruno in the tradition of Hermeticism and Lullism that he is generally understood by non-specialists. Karen Silvia de León-Jones proclaims her goal in the present volume to be a new reading of Bruno as a thinker far more affected by Kabbalah than Yates believed, and she expresses herself very sharply against many of Yates’ positions (e.g., 18–23).The book has appropriately been placed in a series on hermeneutics. It is essentially a detailed interpretation of Bruno’s dialogue La cabala del cavallopegaseo, along with two other related dialogues, Lo spaccio della bestia trionjante and De gli eroici furori. The non-specialist reader is not offered a clear introduction to the structure and content of these dialogues or an explanation of how they fit into Bruno’s thought and the larger Renaissance context. This is not to say that de León-Jones does not introduce her material at all, but the choppy prose and lack of overview, particularly in the early chapters of the book, lend it a certain amount of Bruno’s own famous obscurity for those not already conversant with Bruno’s oeuvre.I am not in a position to say whether de León-Jones interprets Bruno’s thought correctly, but I will comment on her approach to Kabbalah and its significance in Bruno’s thought. She makes clear that the Kabbalah “practiced” by Bruno is not identical with Jewish Kabbalah; it is rather what I would call “Cabala,” a group of hermeneutical and mystical techniques based loosely on Jewish Kabbalah, which was used by Renaissance and Baroque Christians. The author nicely defines the theurgic Kabbalah as absorbed by Christian savants: the study of the secret names of God, manipulation of [End Page 675] the Hebrew alphabet and numbers by gematria, temurah and notankon, and meditation on the sephiroth (10).In Bruno’s idiosyncratic theology, or “Cabala-teologia-filosofia” as it is described, Kabbalah has more specific significances. Kabbalah teaches the goal of prophecy and unio mystica; transmigration of souls; the image of God’s relationship to the world through the tree of the sephiroth (he especially emphasizes Hokhmah); the Mors osculi; and manipulation of the divine efflux. Bruno thinks of all Jewish sages who are not pedantic Talmudists as kabbalists, beginning with Moses and Solomon. Biblical wisdom too is Kabbalah. De León-Jones is therefore correct in saying that “Bruno is not a Kabbalist in the strictest sense of [the] word, but instead the example of Renaissance syncretism at its most extreme: in reality Bruno is Bruno; he proselytizes his own philosophy” (181). Going though the book one finds that Kabbalah, or Cabala, which the Nolan clearly learned mainly from Agrippa (as Yates stated), was simply another literature of the prisca sapientia to be manipulated, along with Hermetic writings, Plato, the Bible and many others, as “support” for his own system of thought. Syncretism is indeed the key here, and while de León-Jones is undoubtedly correct that Bruno used kabbalistic hermeneutics and symbols along with everything else in his satchel, I question whether it is meaningful to speak of Bruno and the Kabbalah in the normal sense of the term.After the author so roundly reproves Dame Yates for various errors, including her alleged narrowness in understanding Kabbalah, it is surprising to find that de León-Jones herself makes numerous mistakes when she talks about the Jewish Kabbalah. Over the course of four pages (12–15) for example, she errs with all the following. She says Yohanan Alemanno “was not a practitioner of Kabbalah but knew it well” (he was one of the great Renaissance Jewish kabbalists); that Pico learned Hebrew from Flavius Mithridates then translated and widely circulated Abulafian... (shrink)

Dr.Beitchman has created a variety, a plethora of interconnections and links and lines that connect many seemingly unconnectable literary elements and forms. Take for example the two political chapters...the first Shakespeare's King John and the last Jean Baudrillard's vision of 9/11; both deal with periods of crisis and loss of confidence/credibility of and in society conjuring a derangement that has become a syndrome. Drugs and literature connect Coleridge and Burroughs/ Kublai Khan and Naked Lunch and they in turn connect with (...) Platonism and the Russian Symbolist Theatre of the 20th century; Cabala obtrudes on the French writers discussed and the otherworldly ambiance of Villier's play Axel. And so the component essays and approaches play of against each other and enrich our view of a literature that transcends rather than merely compares. (shrink)

(1996). Surprise in literature. Angelaki: Vol. 1, No. 1, pp. 58-68.

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference - including, as a special case, metareference (the self-conscious reflection on music, literature and other medial concerns) (...) - is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies. (shrink)

The article is based upon the following starting position. In this post-modern time, it seems that no scholar in Europe supports what is called “Enlightenment Project” with its naïve objectivism and Correspondence Theory of Truth1, - though not being really hostile, just strongly skeptical about it. No old-fasioned “classical” academical texts; only His Majesty Discourse as chain of interpretations and reinterpretations. What was called objectivity “proved to be” intersubjectivity; what was called Object (in Latin and German and Russian tradition) now (...) is related to as a phenomenon; what was called Subject either is looked upon as Cartesian “cogito” or disappeares at all; what was called Truth turned to be either method of demonstration (by positivists) or the author’s sincerity (by existentialists); what was called Essence is now merely a joke. Alternatively, we speak about Sense, Meaning, and Value. (shrink)

Poetry of life in literature and through literature, and the vast territory in between - as vast as human life itself - where they interact and influence each other, is the nerve of human existence. Whether we are aware of it or not, we are profoundly dissatisfied with the stark reality of life's swift progress onward, and the enigmatic and irretrievable meaning of the past. And so we dramatise our existence, probing deeply for a lyrical and heartfelt yet universally valid (...) sense of our experience. It is in great works of literature that we seek those hidden springs that so move us. It is in honour of this search that this collection focuses on the creative imagination at work in literature and aesthetics. (shrink)

Through the examination of anti-psychiatric theory and literary texts, this timely and thought-provoking volume explores the possibilities of liberating our habitual patterns of perception and consciousness beyond the confines of a capitalist era. In Post-Capitalist Subjectivity in Literature and Anti-Psychiatry, Skott-Myhre asks the question, how might we be different if we didn't live in a capitalist society? By drawing on Marxist and post-Marxist theory, and conducting nuanced analysis of the professional writings of anti-psychiatrists including Basaglia and Laing, and the work (...) of fiction writers Kafka and Garcia Marquez, the text identifies alternative conceptualizations of the self. Focusing in particular on portrayals of institutions and the family, Skott-Myhre proposes that these social systems offer new modes of reading the world and ourselves which will transform social organization and free subjectivity from dominant capitalist structures. This transdisciplinary text responds to a revitalized interest in alternatives to traditional psychology, an interest in life beyond capitalism, and the crisis in the traditional family. Post-Capitalist Subjectivity in Literature and Anti-Psychiatry will offer timely reading for graduate students, researchers, and scholars in the fields of cultural studies, psychology, philosophy, family studies, and interdisciplinary studies. (shrink)

Literature and philosophy have long shared an interest in questions of truth, value, and form. And yet, from ancient times to the present, they have often sharply diverged, both in their approach to these questions and in their relationship to one another. Moreover, the vast differences among individual writers, historical periods, and languages pose challenges for anyone wishing to understand the relationship between them. This Introduction provides a synthetic and original guide to this vast terrain. It uncovers the deep interests (...) that literature and philosophy share while offering a lucid account of their differences. It sheds new light on many standing debates and offers students and scholars of literary criticism, literary theory, and philosophy a chance to think freshly about questions that have preoccupied the Western tradition from its very beginnings up until the present. (shrink)

This collection emphasizes a cross-disciplinary approach to the problem of scale, with essays ranging in subject matter from literature to film, architecture, the plastic arts, philosophy, and scientific and political writing. Its contributors consider a variety of issues provoked by the sudden and pressing shifts in scale brought on by globalization and the era of the Anthropocene, including: the difficulties of defining the concept of scale; the challenges that shifts in scale pose to knowledge formation; the role of scale in (...) mediating individual subjectivity and agency; the barriers to understanding objects existing in scalar realms different from our own; the role of scale in mediating the relationship between humans and the environment; and the nature of power, authority, and democracy at different social scales. (shrink)

Are emotions, feelings, sentiments not the stuff of literature? There it is where they project their inner logic of aesthetic transmutation; there, beyond the instrument of language that they command. This collection explores how the lyrical virtualities of life-experience and the elegiac style in literature share a common core, lifting the human significance of life from abysmal vitality to esoteric heights, from abysmal grief to a serene reconciliation with destiny. The elegiac sequence in the play of emotions, feelings and sentiments (...) brings together life and literary creativity in its transformatory power. (shrink)

How does literature illuminate the way we live? Maurice Natanson, a prominent champion of phenomenology, draws upon this method's unique power to show how fiction can highlight aspects of experience that are normally left unexamined. By exploring the structure of the everyday world, Natanson reveals the "uncanny" that lies at the core of the ordinary. Phenomenology--which involves the questioning of that which we usually take for granted--is for Natanson the essence of philosophy. Drawing upon his philosophical predecessors Edmund Husserl, Alfred (...) Schutz, and Jean-Paul Sartre, Natanson paves his own way with stories and examples that themselves bear witness to how phenomenology occurs in literature. In considering such works as Samuel Beckett's Waiting for Godot, Thomas Mann's The Magic Mountain, and Franz Kafka's The Metamorphosis, Natanson shows how literature opens us to the domain of possibility and how metaphor offers philosophical power when we think about freedom and change. This book, written by one of the twentieth century's leading phenomenologists, will interest students in philosophy and in literature. They will value the work particularly for its clarification of concepts and terms that frequently emerge in the contemporary intellectual climate. (shrink)

Aims to improve an understanding of the theoretical issues in response to the influence of fiction. Four things in narrative unreliability; Relation between narration in literary fictions and film; Comprehension of narrative essentially a matter of intentional inference; Fictions misdescribed; Asymmetry between literature and film; Ambiguity and unreliability; Implied author and narrator.

The meaning of an expression resides not in the expression itself but in the experience of a person’s engagement with it. Meaning will be different not only to different people but also to the same person at different times. This book offers a way of attending to these different meanings. This way is a version of a trans-cultural activity that Richard Dawson calls attunement. The activity of attunement involves a movement of self-adjustment to a language, which a person transforms in (...) her or his use of it. Consciously performing the activity can enable understanding of the processes by which we constitute ourselves and others when we use a language. This directly connects to the topic justice, which is concerned with constituting appropriate selves and relations. Justice as Attunement engages with a wide range of texts – legal, literary, economic, philosophical, among others – and illuminates many useful and fascinating connections between them. There is a sense in which this book transcends disciplinary boundaries, for, in addition to students and scholars of law, literature, economics, and philosophy, it is written to a general reader who is interested in reflecting on and doing justice to their experiences in life. (shrink)

This article examines the controversial issue of blasphemy in literature from the viewpoint of reception inside and outside the academia. The thesis of the article is that blasphemy in literature, though inherently related to religion and language, has a plurality of connotations and interpretations (dissidence, intertextuality, critique of colonialism, discursive strategy, alterity/Otherness, ethnicity, subversive text). Consequently, blasphemy in literature is an incentive for fruitful discussions regarding tolerance, freedom of expression, and the re-situation of the (post)modern self in today’s world, dominated (...) by an uncanny admixture of secular and religious values. (shrink)

Volume 23, Issue 2, June 2019, Page 120-123.

Is it possible for postmodernism to offer viable, coherent accounts of ethics? Or are our social and intellectual worlds too fragmented for any broad consensus about the moral life? These issues have emerged as some of the most contentious in literary and philosophical studies. In Renegotiating Ethics in Literature, Philosophy, and Theory a distinguished international gathering of philosophers and literary scholars address the reconceptualisations involved in this 'turn towards ethics'. An important feature of this has been a renewed interest in (...) the literary text as a focus for the exploration of ethical issues. Exponents of this trend include Charles Taylor, Bernard Williams, Iris Murdoch, Cora Diamond, Richard Rorty and Martha Nussbaum, the latter a contributor and a key figure in this volume. This book assesses the significance of this development for ethical and literary theory and attempts to articulate an alternative postmodern account of ethics which does not rely on earlier appeals to universal truths. (shrink)

The notion of aesthetic illusion relates to a number of art forms and media. Defined as a pleasurable mental state that emerges during the reception of texts and artefacts, it amounts to the reader's or viewer's sense of having entered the represented world while at the same time keeping a distance from it. Aesthetic Illusion in Literature and the Arts is an in-depth study of the main questions surrounding this experience of art as reality. Beginning with an introduction providing historical (...) background to modern discussions of illusion, it deals with a wide range of theoretical issues. The collection explores the nature and function of the aesthetic illusion as well as the role of affect and emotion, the implications of aesthetic illusion for the theory of fiction, the variable forms of aesthetic illusion and its relationship to other components of aesthetic response. Aesthetic Illusion in Literature and the Arts brings together a team of scholars from philosophy, literature and art and presents an interdisciplinary examination of a concept lying at the heart of contemporary aesthetics. (shrink)

This paper offers a reading of Hartmann’s philosophy of literature from the perspective of contemporary aesthetics. In particular, I focus on his defense of the truth-value of literary works. After outlining the main concern of the paper (sect. 1), I place Hartmann’s view within the context of current aesthetic cognitivism (sect. 2). In the following three sections, I discuss Hartmann’s account, examining his critique of the thesis that literature is cognitively valuable because it transmits factual truths (sect. 3); his defense (...) of the view that literature discloses life (sect. 4); and the link between cognitive value and the ontology of the literary work (sect. 5). Finally, I discuss Hartmann’s focus on the concept of “truth” in the light of recent debates on knowledge of “what it is like” and on “understanding” (sect. 6). (shrink)

Charles Bernheimer described decadence as a "stimulant that bends thought out of shape, deforming traditional conceptual molds." In this posthumously published work, Bernheimer succeeds in making a critical concept out of this perennially fashionable, rarely understood term. Decadent Subjects is a coherent and moving picture of fin de siècle decadence. Mature, ironic, iconoclastic, and thoughtful, this remarkable collection of essays shows the contradictions of the phenomenon, which is both a condition and a state of mind. In seeking to show why (...) people have failed to give a satisfactory account of the term decadence, Bernheimer argues that we often mistakenly take decadence to represent something concrete, that we see as some sort of agent. His salutary response is to return to those authors and artists whose work constitutes the topos of decadence, rereading key late nineteenth-century authors such as Nietzsche, Zola, Hardy, Wilde, Moreau, and Freud to rediscover the very dynamics of the decadent. Through careful analysis of the literature, art, and music of the fin de siècle including a riveting discussion of the many faces of Salome, Bernheimer leaves us with a fascinating and multidimensional look at decadence, all the more important as we emerge from our own fin de siècle. (shrink)

The hermeneutical ontology proposed in this book steers away from the rocks of realism and anti-realism.

Chapter 14. Andrea Timár engages with literary representations of the experience of perpetrators of dehumanization. Her chapter focuses on perpetrators of dehumanization who do not violate laws of their society (i.e., they are not criminals) but exemplify what Simona Forti, inspired by Hannah Arendt, calls “the normality of evil.” Through the parallel examples of Dezső Kosztolányi’s Anna Édes (1926) and Doris Lessing’s The Grass is Singing (1950), Timár first explores a possible clash between criminals and perpetrators of dehumanization, showing literature’s (...) exceptional ability to reveal the gap between ethics and law. Second, she examines novels focalized through perpetrators and the difficult narrative empathy they provoke, arguing that only the critical reading of these novels can make one engage with the potential perpetrator in oneself. As case studies, Timár examines Daniel Defoe’s Robinson Crusoe (1719), which may potentially turn its reader into an accomplice in the process of dehumanization, and J.M. Coetzee’s Foe (1986), which puts on critical display the dehumanizing potentials of both aesthetic representation and sympathy as imaginative violence. Third, she reads Jonathan Littell’s The Kindly Ones [Les Bienveillantes, 2006], which can make the reader question, through the polyphony of the voice of its protagonist, the notions of narrative voice and readerly empathy, only to reveal that the difficulty involved in empathizing with perpetrator characters lies not so much in the characters’ being perpetrators, but rather in their being literary characters. Eventually, Timár briefly touches upon the problem of the aesthetic and the comic via Nabokov’s Lolita (1955) to ask whether one can avoid some necessarily dehumanizing aspects of humor. (shrink)