Epictetus’ discussion of the death of spouse and child in Encheiridion 3 raises interesting problems on the meaning of “person” in his Stoic philosophy. The author uses Epictetus’ discussion as a window into his notion of person, and weighs the strengths and weaknesses of that notion. The Stoic view of person represents an advance over pre-Stoic views. It offers us a better way to look at significant others throughout life, and helps us better to deal with their loss. Yet it (...) falls short of being a fully satisfactory notion of person, because it does not address the fact that I am constituted as person only in relationship to others who are themselves persons. (shrink)

This volume contains the first critical edition and translation of Barlaam of Seminara's fourteenth century treatise Ethics According to the Stoics , along with a series of interpretative essays explaining its content and context. Barlaam's text is the earliest interpretative work written on Stoic ethics, a product of the burgeoning Italian Renaissance but also drawing on Barlaam's experience in the Byzantine intellectual world of Constantinople. Intriguingly, it offers a radically different account of the Stoic theory of emotions to the one (...) known from other sources, possibly taken from sources accessible to Barlaam but now lost. The volume includes interpretative essays on each of the two books of Barlaam's treatise, along with a biographical introduction and an essay setting out the wider context of the reception of Stoicism in the Middle Ages and early Renaissance. (shrink)

In Romantic theories of art and literature, the notion of mimesis—defined as art’s reflection of the external world—became introspective and self-reflexive as poets and artists sought to represent the act of creativity itself. Frederick Burwick seeks to elucidate this Romantic aesthetic, first by offering an understanding of key Romantic mimetic concepts and then by analyzing manifestations of the mimetic process in literary works of the period. Burwick explores the mimetic concepts of "art for art's sake," "Idem et Alter," and "palingenesis (...) of mind as art" by drawing on the theories of Philo of Alexandria, Aristotle, Immanuel Kant, Friedrich Schiller, Friederich Wilhelm Joseph von Schelling, Thomas De Quincey, and Germaine de Staël. Having established the philosophical bases of these key mimetic concepts, Burwick analyzes manifestations of mimesis in the literature of the period, including ekphrasis in the work of Thomas De Quincey, mirrored images in the poems of Samuel Taylor Coleridge and William Wordsworth, and the twice-told tale in the novels of Charles Brockden Brown, E. T. A. Hoffmann, and James Hogg. Although artists of this period have traditionally been dismissed in discussions of mimesis, Burwick demonstrates that mimetic concepts comprised a major component of the Romantic aesthetic. (shrink)

Il s'agit de retracer ici la présence spectrale dans l'oeuvre de Gaston Bachelard de ce que nous appelons «École de l'ETH ». Nous en avons choisi trois figures fondamentales: Hermann Weyl, Wolfgang Pauli et Gustave Juvet. Pour le premier, nous traitons de sa place centrale et permanente dans la constitution bachelardienne d'une philosophie qui se veut à hauteur de la nouvelle « géométrie physique » rigoureusement construite dans un esprit riemannien. Quant à Pauli, nous montrons une insoupçonnable affinité qui est (...) étayée par les analyses remarquables qu'en donna le philosophe: de la construction urgente d'une« métaphysique quantique», qui se fonde sur les implications d'un principe de Pauli bien compris, à l'idée de «particule métaphysique», en passant par les enjeux décisifs et si prometteurs du «postulat de non-analyse». Dans le cadre de cette polyconstruction convergente de l'entreprise « surrationaliste », nous traitons de la troisième figure, moins connue mais tout aussi marquante, du mathématicien-philosophe Gustave Juvet. (shrink)

Charles Saatchi relates often perversely entertaining stories in a wittily dry style that looks at death and mortality in a coolly amused and detached way. The 52 brief essays span a wide variety of topics; the Russian mafia, snake eating spiders, Attila the Hun, The Wild West, being run over by your own dog, even laughing yourself to a heart attack!"--Publisher's description.

In lieu of an abstract, here is a brief excerpt of the content:Further ReflectionsCharles AltieriI see now that I was wrong in lumping Robert B. Pippin with other philosophers who adapt literary experience to philosophical purposes.1 And I was probably too taken with Walter Benjamin to appreciate fully Pippin's version of Proustian sensibility. I can invoke no authority to explain why I did not see adequately that tone is so central to J. M. Coetzee's Elizabeth Costello. So I am very (...) grateful to Pippin not only for pointing out my inadequate reading but also showing how, as critics, we both—for the most part—emphasize conditions of experience rendered by great literary texts. But I cannot apologize for some features of my argument, so I hope to refine them in this response.Pippin is not interested in providing explanations for texts or even, at his best, in using philosophy to extract "meaning." He limits himself to a subset of literary texts that engage philosophical thinking. Within these limits he proposes to do philosophy by literary means. That is, he wants to develop philosophically the particular situations eliciting philosophical concerns. His goal is not to stabilize the arguments underlying the text but to make more fully articulate the particular line of reflection carried out by the text and projected as a means of engaging thought on the part of the audience. Philosophy by other means becomes an engagement with literary practices concentrating on how the ways that thinking is handled in the text can take on a kind of concrete universality. This move toward generalizability does not depend on universals provided by argument (since, if one follows Ludwig Wittgenstein's On Certainty, the fictive cannot be said to provide any knowledge of objective conditions, despite Pippin's wavering on this point; see p. 240). Rather, [End Page 260] generalization occurs by fleshing out dramatic particular occasions that establish significant perspectives on cultural problems, especially those involving transformations in cultural life, like understandings of self-knowledge, the consequences of imperialism, and the ways language becomes increasingly difficult to trust for communicative purposes.The philosophical task for Pippin is to provide a language for why the situation in a literary text might matter beyond the details that give it much of its power. G. W. F. Hegel showed how works of art can embody modes of thinking that provide articulate moments shaping what before them had been isolated undercurrents marking fissures in cultural life. Pippin wants to revive this ambition to produce philosophically articulate moments that bring out cultural and ideological tensions formative for modern reflective lives. This desire, I think, springs largely from Pippin's commitment to preserve Hegel's way of reading literature so that he can provide an alternative to Hegel's argument that once the universals established in an Absolute become increasingly visible, the significance of art for understanding culture will diminish substantially.Pippin has explored two alternatives for defending a Hegelian approach capable of preserving the cultural importance of the arts: in visual arts by providing languages for social critique, and in literature by actually dramatizing the significance of how texts can engage and establish processes of thinking that address pressing philosophical concerns. In effect, only by showing how Hegel was wrong that philosophy could establish a possibility of knowing an Absolute that would render art a minor player in civilization's capacity for self-awareness could criticism show how art becomes possibly the only vehicle we have to honor the spiritual complexities experience can make manifest.But even when I am led to agree for the most part with Pippin's claims about literature as philosophy, his focus on cultural relevance bothers me because that focus provides constant temptations to minimize the complex experiences works produce. So I think I have to try again to articulate what I think I can save of my efforts to distinguish literary experience from Pippin's enlightened philosophical ways of engaging literary texts. Let me propose three features of my original argument that seem still worth considering. First, I will simply assert that Pippin's theorizing of two factors necessary for interpreting intentions—as authorial purposiveness and as historically based recontextualizations of the work—makes it very difficult... (shrink)

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

This article elaborates on the dilemma faced by modernist poets in seeking to define values in an intellectual context that was post-Romantic and post-epistemic. Pound and Stevens, for example, reacted strongly against the ways that Romantic writers had tried to tie the rhetorical elaboration of values to precise descriptions, as if description could still support values. Victorian writing tended to experience the effort to ground value in fact as a source of constant irony, given that the desired values refused to (...) become manifest. Positivist philosophy and its literary allies asserted that values simply occupy a different and much more unstable realm than do facts. Having established these historical premises, the essay then concentrates on how Stevens and Pound, in challenging positivist assumptions, sought two different sources of value, each of which, however, placed value within the domain of experience. Pound's approach was Nietzschean, in that it was Nietzsche who had demonstrated how valuing precedes determinations about fact. Pound's capacity to make his early lyric poems seem to come out of nowhere and depend on linguistic invention alone for their power is shown to be a realization of Nietzschean strategies. Meanwhile, Stevens in his early work tried out a range of attitudes that seemed to him capable of defying fact, especially by approximating aphoristic self-assertion. Finally, Pound in his Cantos and Stevens from the late thirties onward developed self-reflexive versions of an analogical model of valuing that, as Dora Zhang has shown, shaped the response of novelists (James, Proust, and Woolf) to the same dilemma that modernist poets were facing. The essay closes with a reading of section XII of “An Ordinary Evening in New Haven” as a demonstration of Stevens's analogical mode. (shrink)

This article offers an engagement of the ethics of Badiou, one of the most significant representatives of contemporary continental philosophy, with the question of corporate social responsibility. First, this article displays an account of the complex ethical thinking of Badiou. Then, it seeks to show how Badiou's thought offers an important and distinctive critique of corporate social responsibility as ideology. Precisely, the two main features of the ideological discourse of corporate social responsibility are collaboration and depoliticisation. The Badiouan critique provides (...) a performative efficacy against the seductions of corporate social responsibility discourse within the framework of a universalist ethics. Therefore, a Badiouan analysis argues that an ethical life is incompatible with corporate social responsibility. (shrink)

The Mississippi River flows through American history and culture as a mythic waterway brimming with tragedy and hope, and awash in passionate ambitions and harsh realities. In 1953, a young Charles Dee Sharp traveled twice down the Mississippi to make a documentary film of it, taking black-and-white photographs of the river, its communities, and its people. While Sharp’s documentary never came to fruition, the striking images he captured survived as moving and evocative historical testaments to a lost era, now (...) collected in his new book The Mississippi in 1953. These images create a vivid portrait of America’s heartland a half century ago, and they are enriched with excerpts from Sharp’s original trip journal, intriguing anecdotes from the people he encountered along his journey, and an engaging environmental history of the river by historian John O. Anfinson. The Mississippi in 1953 offers an original and poignant look at the living artery of the American landscape and how it molded the United States into the nation it is today. (shrink)

"J’aborderai ici de biais la question de l’ «École de l’ETH» dans l’œuvre de Gaston Bachelard, et plus spécifiquement de la figure spectrale d’Hermann Weyl.".

Il s’agit d’affronter la « figure » d’Ettore Majorana et d’en proposer un premier « profil philosophique ». La question des « fictions » apparaît alors centrale chez Majorana. On établit ensuite la dimension surrationaliste et européenne de ses affinités électives avec Giovanni Gentile Junior. Les deux oeuvres sont restituées dans le cadre d’un mathématisme constructif et inductif (Gaston Bachelard, puis Robert Blanché) qui s’oppose au géométrisme classique (Emile Meyerson) et au pythagorisme spiritualiste (Arthur Eddington).

The authors of the ‘Conversational Rollercoaster’ article give a vivid and engaging account of a difficult but worthwhile exercise: bringing live Conversation Analysis to the public in a Science Fair. Part of their motivation is a claim that CA is uniquely qualified for such exhibition: as a mode of enquiry, it has what they call a ‘public ethos’. I examine that part of their case and suggest that it might not be as waterproof as it appears. But, such qualms ought (...) not detract from the positive benefits of sharing CA’s attractions with the public. The manifest success of the event, and its grounding in solid CA practice, is enough reason to hope that others will be inspired to follow in these pioneers’ footsteps. (shrink)

Mysticism and the mystical experience seemingly play little or no part in our Western tradition. Certainly there is no mystical tradition in the West such as Zen Buddhism, nor is there any great understanding of or influence from the writings of Heraclitus, Spinoza, or the mystical passages in the early work of Wittgenstein. Mysticism has been generally misunderstood in the West, and it has even evoked the attacks of philosophers and theologians. 1 Mysticism to many conjures up images of monks (...) meditating in caves; it is generally pictured as esoteric, otherworldly, irrational, and at best irrelevant to the daily lives of human beings. If what we say below is correct, it will be seen that mysticism is none of these but is rather a singular human experience that lies at the foundations of civilization. (shrink)

I compare the failure of counterfactual dependence as a criterion of event causation to the failure of stochastic dependence as a criterion of causal law. Counterexamples to the stochastic analysis arise from cases of Simpson's Paradox, and Nancy Cartwright has suggested a way of transforming the stochastic analysis into something that avoids these counterexample. There is an analogical relationship between cases of Simpson's Paradox and cases of causal overdetermination. I exploit this analogical relationship to motivate my own view about the (...) connection between counterfactuals and event causation. According to my view, counterfactuals and event causation are intimately connected by a principle which falls short of being an analysis but which, as I show, correctly handles not only overdetermination but common causes as well. (shrink)

Most of us came into ecology with memories of special personal places. A cliff top that Claude Monet might have painted. Allen as a youth spent his holidays on the Dorset Coast near Swanage; he can still smell the sea breeze of his childhood. Curtin grow up on a farm in southwestern Wisconsin, the dew of the grass and the bright green on a June morning remains vivid. The catching of reptiles and insects for him awakened a curiosity about the (...) natural world that has remained to this day. But once into the field there came the scholarship. With ever tighter grant monies, the pressure to publish takes so much of the fun out of it. A climate of unbridled careerism prevails and shows itself in the incremental state of the literature: little things to list on this year's activities report. There are now even predatory journals that cynically do not seriously review submissions, and only collect page charges. As journal editors have a desperate time getting reviews done by mature scholars, instead of a hand off to their overworked graduate students. So what is to be done - how can we bring the joy and importance of discovery back into it all? After all ecology is done by human beings. Mostly it is a personal mission, for what great ecologists write is frequently personal and life changing. So an undercurrent of this book is to remind and reveal the original purpose of science. Not professional advancement, but the genuine search for novel ideas and the imperative to share hard won insights and personal passions. (shrink)