In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Scars of the Spirit: The Struggle Against InauthenticityChristopher S. SchreinerScars of the Spirit: The Struggle Against Inauthenticity, by Geoffrey Hartman; xii & 260 pp. New York: Palgrave Macmillan, 2002. $17.95 paper.Geoffrey Hartman is now an emeritus faculty member at Yale. All but the youngest readers of this journal will recognize him as a member of the now defunct Yale School of Criticism, which in its glory days included (...) Harold Bloom, Hillis Miller, Paul de Man, and Jacques Derrida. Among these accomplished individuals, Hartman distinguished himself as the one most engaged with discussing the role of style in theoretically propelled criticism, and this remains his lasting contribution. The question he kept asking was the following: what demands do the books we read and the theories we use make on our own critical practice, and in particular, on our style? Works such as Criticism in the Wilderness (1980) and Saving the Text (1981) were concerned with promoting a philosophical criticism that is as creative as the literature it seeks to criticize, in opposition to the Arnoldian standard of a disinterested criticism that respects and preserves the canonical hauteur of literary classics and doesn't seek to imitate them. Yet over the decades Hartman's own prose, except when it lapsed into copying Derrida's, seemed more that of the Doctor and less the Explorer, to borrow the terms Lionel Trilling used to describe Matthew Arnold's criticism. This is an irony we are grateful for.Hartman's most recent book, Scars of the Spirit, takes up the problem of authenticity in the context of postmodern culture, seeking to reestablish its legitimacy as a serious topic and unmask what merely poses as authentic in the global marketplace. Today his agenda ignominiously crosses paths with the likes of Jane Fonda, whose autobiography is replete with New Age claims to recover "the authentic me." One of the issues never resolved by Hartman's book and which taunts his project behind its back is whether his Continental erudition makes his project any more authentic than Fonda's celebrity psychobabble. Authenticity was the Heideggerian concept that Adorno ruthlessly and ironically attacked in his The Jargon of Authenticity, and it has an old-fashioned existential ring to it to this day. For those readers who haven't read Being and Time lately, authenticity (Jemeinigkeit) was the resolute impetus of making time one's own, taking it back from the instrumental public world that had appropriated it so that one can live a sincerely mortal life and die one's own death, as it were properly. Professors valiantly conjured an ethic out of this retrieval of selfhood, of one's personal property of time and destiny in the Lost and Found of culture, not fully cognizant of its Nietzschean roots. The absence of altruism in this existential ethic inspired Emmanel Levinas's patient attempt to persuade us to demote our egoism in an insatiable responsibility to and for others, for whom we can never do enough.There is surely irony in the fact that the anachrony of authenticity as a concept was accelerated by the deconstructive theory that Hartman helped [End Page 501] promulgate. Hence his new book reads a bit like someone having to gingerly retrace his steps in a field of landmines planted by the Yale School of Criticism. The question of propriety, what is right and proper, what is one's own, stamped with one's unique or authentic properties, was deconstructed by Derrida, and Hartman reverently recorded the results in the incongruously titled Saving the Text, an analysis of Derrida's attempt to promote textual intercourse between Hegel and Jean Genet by setting them in parallel columns on one page. In a nutshell, the original source of an event or text, its material advent, is untraceable due to its derivativeness, the forces of semiosis (or textuality) at play in and between texts. In parallel to this discovery, Jean Baudrillard spoke of the simulacrum as a media-generated version behind which the original "thing itself" was forever irrecoverable. The very idea of authenticity came to sound illusory, denoting a mirage sought in a hopeless regressive inquiry or Ruckfrage which Husserl (with... (shrink)

Certainty : a contemporary question -- Beginnings: questions and debates in the fourteenth and fifteenth centuries -- Abba Father: the certainty of salvation -- The spiritual man judges all things: the certainty of exegetical authority -- Are you alone wise?: the Catholic response -- Experientia: the great age of the Spirit -- Unmasking the angel of light: the discernment of the spirits -- Men should be what they seem: appearances and reality.

“People’s lives are written on the fields of old farms. The rows of the fields are like lines on a page, blank and white in winter, filled in with each year’s story of happiness, disappointment, drought, rain, sun, scarcity, plenty. The chapters accumulate, and people enter and leave the narrative. Only the farm goes on.”—From the Introduction In One Small Farm, Craig Schreiner’s evocative color photographs capture one family as they maintain the rhythms and routines of small farm life (...) near Pine Bluff, Wisconsin. “Milk in the morning and milk at night. Feed the cows and calves. Plant crops. Grind feed. Chop and bale hay. Cut wood. Clean the barn. Spread manure on the fields. Plow snow and split wood in winter. In spring, pick rocks from the fields. Cultivate corn. Pick corn. Harvest oats and barley. Help calves be born. Milk in the morning and milk at night.” There’s much more to life on the farm than just chores, of course, and Schreiner captures the rhythms and richness of everyday life on the farm in all seasons, evoking both the challenges and the joys and providing viewers a window into a world that is quickly fading. In documenting the Lamberty family’s daily work and life, these thoughtful photos explore larger questions concerning the future of small farm agriculture, Wisconsin cultural traditions, and the rural way of life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:AbusesC. S. SchreinerAbuses, by Alphonso Lingis; 268 pp. Berkeley: University of California Press, 1994, $25.00 paper.Long ago and far away it seemed that academia served as a way station for inventive figures whose nonconformism, demonstrated in their work and lifestyles, was welcomed with graceful suspicion by their colleagues. Philosophy has had its share: one thinks of Wittgenstein and C. S. Peirce, but many lesser Wittgensteins and Peirces somehow (...) adapted and became tenured. In regard to such figures “eccentric” meant outside the circle or off center; “radical” meant surprising, original, sincere. Today radical has a murky political sense. Most radicality takes place in a discourse, or as a discourse—in the title of a university press book—which when invoked aligns the writer with the orthodoxy of a speech community. No surprise; only a dull echo as membership is [End Page 516] confirmed and the circle remains unbroken. Contrary to almost everyone’s intentions, never has so much “identity politics” been melded with the writing act in a metaphysical proof. We write about pragmatism, therefore we are new pragmatists. We write eco-feminism, therefore we are radical eco-feminists.Yet the nonconformist self-image of many philosophers is belied less by the uniformity of their discourse than of their lives, constrained as they are by professional protocol. This situation has become especially painful for phenomenologists whose credos “to the things themselves” and “towards the concrete” mandate a method of worldbound description confirmed by first-person evidence. It is a longstanding embarrassment that most phenomenological studies are either studies about phenomenology, or phenomenologies of books. In this regard even before Of Grammatology it was obvious that there was nothing outside the text.The rare exception is Alphonso Lingis, author of Excesses (1983), Libido: The French Existential Theories (1985), and The Community of Those Who Have Nothing in Common (1994). So much is obvious to anyone who leafs through his Abuses. The vistas and catastrophes we access through this book cannot be easily disengaged from the personality that guides us to Tenochtitlan, Matagalpa, Kuta, Bali, the Sambodromo in Rio de Janeiro, Khlong Toei, and Chichicastenango. From these places and others Lingis reports the sometimes macabre longings and vulnerabilities of those who have nothing in common except violent changes in heritage and landscape. He speaks to their wounds and of his own ailments he acquires by exposing himself to forsaken circumstances: it is all material for his philosophy. In this work speech is primary, as it was for phenomenologists before Derrida.Merleau-Ponty’s writing remains unsurpassed as an eloquent transcript of perceptual life as expression and bodily engagement. Lingis, who translated The Visible and the Invisible, has from the start of his career been the most interesting and outlandish promulgator of this style of phenomenology. But his focus was decisively turned by Emmanuel Lévinas (whom Lingis has also translated) towards alterity relations, intimate events in which persons defer to and ennoble strangers by taking responsibility for them. Speech and physical contact are precious components of these relations, allowing persons to disburden themselves, to exchange pain and betrayal for tenderness and trust.Lingis shows how alterity relations suffer abuses at the face-to-face level and in the global network of electronic media. We enter his work breathlessly, as into a deep valley where there is gunfire and tropical birds. Spy satellites pass overhead. The human beings are strangely quiet. Women and children are being herded into canvas-covered trucks by youthful militia with oversized weapons. The volatile prose lifts up the voices of the damned just before they vanish around the bend in the jungle. Lingis speaks for them. This is the mandate of his research: “One has to speak for the silenced” (p. 36).How does highly educated thought speak for the tortured and dispossessed [End Page 517] without looking absurd or merely pretentious? Here it won’t do to speak of the world as a text. In this regard the kind of work we find in Abuses is at a vast remove from something like Susan Suleiman’s recently published Risking Who One Is: Encounters With Contemporary Art and Literature. There is nothing peculiar... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Birth-Mark: Unsettling the Wilderness in American Literary HistoryC. S. SchreinerThe Birth-Mark: Unsettling the Wilderness in American Literary History, by Susan Howe; 189 pp. Middletown: Wesleyan University Press, 1993, $40.00.In the interview which concludes The Birth-Mark, Susan Howe says that during childhood her Boston household was visited by such pioneers of American studies as Perry Miller and F. O. Matthiessen. Career-wise, however, Howe’s path to academia has be (...) en indirect: born in 1937, she gained her first professorship in 1989 in the Poetics Program at SUNY Buffalo. A visual artist by [End Page 192] training, Howe veered into a genre of writing in the 1970s that seeks to “install certain narrativ es somewhere between history, mystic speech, and poetry” (p. 44). Her poetry includes Secret History of the Dividing Line (1978), Pythagorean Silence (1982), and Defenestration of Prague (1983). In 1985 she published an original criti cal study, My Emily Dickinson, which criticized editors for having homogenized the format and typography of Dickinson’s manuscripts, taming the unruly rigor of poems which were originally “multifaceted visual and verbal productions.” Howe also argu ed that the Amherst poet should not be viewed as a victim of repression, as many feminists see her, but as a refuser of congregations, a powerful will-to-reclusion in art—“One unchosen American women alone at home and choosing.” Emily’s home was a nomadi c space between orthodoxies.An understanding of Howe’s kinship with Dickinson’s poetic daring is helpful for reading The Birth-Mark, whose prose is poetic, and whose protagonist, Mary Rowlandson, shared Dickinson’s “stubborn strength in isolation.” The captivity narratives ar e portals into the antinomian controversy of New England, which was “the primordial struggle of North American literary expression” (p. 4). It is not Gilbert and Gubar to whom Howe has recourse in her analyses of hostage consciousness. She cites the philo sophy of Emmanuel Lévinas. As with feminism, which she extends rather than follows, Howe takes up the philosophy of alterity without its orthodoxy. (In the face of frontier brutality she cannot discern the “Father of orphans and defender of widows” of Psalm 68.) Encounters in the wilderness of tribes, woods, and waters aroused an immodest otherness within the American literary unconscious, unsettling the styles of expression and selfhood which the puritan colonies were trying to instantiate. The literary awakening of Dickinson, Rowlandson, Melville, Hawthorne, and other writers was not due to the Great Awakening urged by churches, but to the traumatic transfer of sovereignty from God to frontier, a permanent revolution to which these writers’ imaginations would remain exposed.Howe’s new foray into criticism tracks the textual marginalia which yield the visionary utterances of Rowlandson and Hutchinson. A self-confessed “library cormorant,” Howe gathers a quiet spectacle of testimonies, those of separated loved ones dragged int o “Removes” by tribes of Native Americans. These resonant texts from New England village libraries and major collections at Harvard, are melded together by Howe’s intuitive, almost telepathic sensibility into a kind of spiritual drama informed by critical acumen. Howe takes her bearings from Patricia Caldwell’s essay “The Antinomian Language Controversy,” which appeared in the Harvard Theological Review in 1976. The dislocating frontier experience for Hutchinson, Rowlandson, and others forced the c reation of a different language. It is with this antinomian language that Howe develops a sensitive rapport, echoing its myriad haunting voices in her commentaries. What Gadamer calls effective history broods and rustles inside her [End Page 193] writing with lyrical unease. Indeed, Howe’s work is a creative example of the fusion of horizons which Gadamer says epitomizes the hermeneutic event. Howe’s personal method as revealed in her interview: “Not to explain the work, not to trans late it, but to meet the work with writing... Not just to write a tribute, but to meet her [Dickinson] in the tribute. And that’s a kind of fusion” (p. 158). Some scholars will find her method obscure. But it’s hard to find anything negative at this height. Howe would have us meet others at their most exposed, delicate point, where their vulnerability... (shrink)

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 112 Heft: 1 Seiten: 261-266.

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 109 Heft: 2 Seiten: 943-994.

Este estudo objetivou conhecer o pensamento de toxicômanos sobre o uso de maconha durante o tratamento para abuso do crack. Participaram 10 sujeitos do sexo masculino, entre 15 e 36 anos, em tratamento nos CAPSi e CAPSad na cidade de Santa Maria/RS. Foram realizadas entrevistas semi-estruturadas e s..

This collection of articles illustrates the intimacy between science and literature, pleasure and sense, excess and moderation that Jean Ceard sought to understand and that he instilled in those who collaborated or studied with him.

What everything is about -- Why understanding cycles matters and how to recognize a cycle when you're in one -- A new science in the making -- How cycles study became a science that can explain the universe or predict your future -- Follow the money -- Cycles students got profitable early warnings of the 2008/9 financial crisis, did you? -- Nature on the move -- Will it rain on your parade? Will a rising tide flood your basement? : try (...) asking cycles -- Heeding nature's clock -- Do you doze after lunch? : it isn't food, are you bright at dawn? : it's not sun, it's cycles -- Making the most of moods -- For the curse in woman or just the blues in anyone, cycles can be a saving grace -- Cycles as history -- How did China get so rich? Why the war in Afghanistan? -- It could be star-born cycles -- Looking to the heavens -- Is the universe a giant musical instrument? : scientists and poets can hear it singing -- Thinking out of the box -- Independent thinkers are allied with cycles students in learning from nature's rich text. (shrink)