The study of anarchism as a philosophical, political, and social movement has burgeoned both in the academy and in the global activist community in recent years. Taking advantage of this boom in anarchist scholarship, Nathan J. Jun and Shane Wahl have compiled twenty-six cutting-edge essays on this timely topic in New Perspectives on Anarchism.

La question de la compréhension philosophique et celle de la justice sont intrinsèquement liées depuis les débuts de la philosophie grecque. La compréhension platonicienne de la justice tire son origine pré-philosophique de la déesse Diké, tout comme l’herméneutique tire la sienne du dieu grec Hermès. L’ambivalence d’Hermès implique la possibilité de comprendre mais aussi la possibilité de séduire ou d’abuser de cette compréhension, ce qui, dans l’horizon de la philosophie socratique et platonicienne, signifie en fait un défaut de compréhension. Dans (...) la philosophie platonicienne, la connaissance et la position éthique sont intimement liées. Si cette position éthique s’entend comme la justice, celle-ci ne doit pas être entendue dans le sens, quelque peu réducteur, d’une harmonie entre les actions de l’homme et les lois de l’Etat. Nous devrions plutôt nous occuper de l’harmonie intérieure de l’homme et de son âme, ce qui signifie en même temps l’harmonie entre l’homme et le monde dans lequel il vit. De ce point de vue, « l’an-archisme » herméneutique potentiel peut s’orienter, d’une nouvelle façon cette fois-ci, vers la question de l’archè et se transposer d’une simple théorie en existence même de la vie humaine, traitée dans la philosophie platonicienne à travers la question de l’âme. (shrink)

The aesthetic is present everywhere—in the street, in department stores, movie houses, mountainsides, as in the art gallery, the cathedral, the sacred grove. By universalizing the concept of the aesthetic, modern art has destroyed the barrier that once marked off Beauty and the Sublime as separate realms of being. In the eyes of modern art and modernist aesthetics, anything can legitimately appeal to taste. President Eisenhower, complaining about modern art, said that he had been brought up to believe that art (...) was intended to carry one away from the dangers and unpleasantness of everyday life but that the new paintings reminded him of traffic accidents. A recent statement by Francis Bacon, the celebrated British painter, also mentions traffic accidents. Bacon agrees with Ike that this type of event is not excluded by modern art. But Bacon finds traffic accidents to be a source of beauty. "If you see somebody lying on the pavement with the blood streaming from him," he explains in the catalogue of his exhibition at the Metropolitan Museum in spring 1975, "that is in itself—the color of the blood against the pavement—very invigorating . . . exhilarating. . . . In all the motor accidents I've seen, people strewn across the road, the first thing you think of is the strange beauty." Harold Rosenberg is a professor, poet and art critic for the New Yorker. Among his influential works are The Tradition of the New, The Anxious Object, Artworks and Packages, Act and Actor, The De-Definition of Art, Discovering the Present, and Art on the Edge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Buddhisms and DeconstructionsFrancis X. Clooney, SJBuddhisms and Deconstructions. Edited by Jin Y. Park, with an afterword by Robert Magliola. Lanham, MD: Rowman & Littlefield Publishers, Inc., 2006. Pp. xxii + 290.Buddhisms and Deconstructions originated in a panel on "Buddhism, Deconstruction, and the Works of Robert Magliola" at the twenty-second annual convention [End Page 182] of the International Association for Philosophy and Literature. Half its essays began as conference (...) papers, while the rest (including several published elsewhere) were solicited for the volume. Implicit too are an awareness of other volumes—for example, Harold Coward's Derrida and Indian Philosophy (1990) and (with Toby Foshay) Derrida and Negative Theology (1992)—and the conviction that such volumes, although making a contribution, have not adequately sorted out what can usefully be said with respect to that tantalizingly elusive couple, deconstruction and Buddhism.The volume exemplifies many starting points and avenues for testing the Buddhism-deconstruction relationship, but all of it is clearly mapped. "Buddhism and Deconstruction" (section 1) illumines some basic issues underlying Buddhist-deconstructionist comparisons: "Naming the Unnameable: Dependent Co-arising and Différence" (Jin Y. Park) and "Nagarjuna and Deconstruction" (Ian Mabbett). "Buddhism Deconstructs" (section 2) explores how deconstruction can be analyzed from a Buddhist perspective, and includes "Derridean and Madhyamika Buddhist Theories of Deconstruction" (Zong-qi Cai) and "Indra's Postmodern Net" (David R. Loy). "Deconstructing Buddhism" (section 3), with essays on "Deconstructive and Foundationalist Tendencies in Indian and Tibetan Buddhism" (Roger R. Jackson) and "Ji Zang's Sunyata-Speech: Derridean Denegation with Buddhist Negations" (Ellen Y. Zhang), looks in the other direction, still further deconstructing Buddhism. "Chan/Zen Buddhist Deconstruction" (section 4) furthers the critique with another pair of detailed analyses, "The Chan Deconstruction of Buddha Nature" (Youru Wang) and "Sudao: Repeating the Question in Chan Discourse" (Frank W. Stevenson). All these authors stick with cases in order to test the larger Buddhism and deconstruction hypothesis, showing, unsurprisingly, that similarities and differences make comparisons work out in different ways and for different conclusions. It matters which Buddhist tradition is brought into play, how one interprets some particular Buddhist thinker, and (because almost everyone here is thinking of "Derrida" and "deconstruction" at the same time) how someone with Buddhist learning ought to read which early or late essay by Derrida. Altogether, these eight essays illumine specific examples and contribute to the volume's larger topic, as we narrow down and define the Budhism-Deconstructionism conversation. Loy perhaps speaks for many of the authors here:From a Buddhist perspective, the post-structural realization that the meaning of a text cannot be totalized—that language/thought never attains a self-presence which escapes differences—is an important step towards the realization that there is no abiding-place for the mind anywhere within Indra's net. But the textual dissemination liberated by Derrida's deconstruction will not be satisfactory unless the dualist sense-of-self—not just its discourse—has been deconstructed.(p. 80)Or, as Ellen Zhang soberly puts it, [End Page 183]The play of sunyata/denegation implies a movement of thought that sees the surplus of thought, and understanding this surplus sometimes requires the un-thought. The moment of negativity is, therefore, also the moment of construction and creativity. Sunyata/denegation is not simply a nihilistic place of reducing meaning to non-meaning, reality to non-reality. On the contrary, it is the moment of emancipation of meanings, we find in the Chinese traditions from Zhuangzi to Buddhist philosophers and Chan masters. Meanwhile, the experiential dimensions in the process of transforming our thought and consciousness explored by Daoism and Buddhism also offer a possible critique of postmodern discourse.(p. 121)One could well imagine an entire volume made of just these essays with just such insights.But there is more. In "Deconstructing Life-Worlds" (section 5), two essays—"The Veil Rent in Twain: A Buddhist Reading of Robert Magliola's Deconstructive Chiasm" (Jane Augustine) and "Emmanuel, Robert" (Gad Horowitz)—remind us that the volume is indeed a still more complex three-way conversation, including also the writings and personality (evident by the vehicle of an Afterword) of Robert Magliola, a scholar of both Buddhism (which he teaches... (shrink)

Today's academia is obsessed about writing and speaking gobbledygook. At least most of the time. It has little time in sitting still and actually reading fiction, poetry and say, Wittgenstein. One pretends to say fancy things about these authors but one does not actually read books anymore. COVID 19 Lockdown prompted this author to answer queries from students and peers about a reading list. So prepare a wide ranging list he did which covers everything from the version of Mahabharata one (...) ought to read to novels on celibacy. But then he chose to publish at Prabuddha Bharata over all other platforms because the Ramakrishna Mission has the finances to keep this list alive 200 years hence. This was written during COVID 19 Lockdown in India at the end of April, 2020. Nirad C Chaudhuri insisted on making a good bibliography in his magnum opus. This author follows Nirad C Chaudhuri in quietly speaking about how Harold Bloom plagiarised the Late Professor John Senior's reading list. The list also comments on Romanticism and the art of writing itself. The list on Hinduism is truly contrarian. One hopes that this list survives when GoodReads and other Listopias are no longer. -/- Today's academia is obsessed about writing and speaking gobbledygook. At least most of the time. It has little time in sitting still and actually reading fiction, poetry and say, Wittgenstein. One pretends to say fancy things about these authors but one does not actually read books anymore. COVID 19 Lockdown prompted this author to answer queries from students and peers about a reading list. So prepare a wide ranging list he did which covers everything from the version of Mahabharata one ought to read to novels on celibacy. But then he chose to publish at Prabuddha Bharata over all other platforms because the Ramakrishna Mission has the finances to keep this list alive 200 years hence. This was written during COVID 19 Lockdown in India at the end of April, 2020. Nirad C Chaudhuri insisted on making a good bibliography in his magnum opus. This author follows Nirad C Chaudhuri in quietly speaking about how Harold Bloom plagiarised the Late Professor John Senior's reading list. The list also comments on Romanticism and the art of writing itself. The list on Hinduism is truly contrarian. One hopes that this list survives when GoodReads and other Listopias are no longer. -/- These COVID 19 days, while the First world is mooning over syllabi for their kids and third and fourth world folks like me are tackling Umphan; I chose to prepare a new kind of syllabus. A syllabus which is not merely a list. In these days of incessant and meaningless webinars which my students can only spread memes about and only the poor and doctors will actually travel to white nations which are killing their own; here's a list which ends with Hindu classics which are contrarian. Nirad C Chaudhuri, a much maligned man in India and a forgotten polyglot in white privileged academia said we must first prepare a bibliography. So, Figure it out. I used some of the Hindu resources on recognition mentioned here and tried to work on Stephen King; a privileged white tenure track person from Trumpland just snowballed me. Now, this list is syllabi and also just a list of a bunch of books to read during Lockdowns which will be more common in the future because COVID 19, as Dr Fauci tells us; is here to stay. Even if one COVID 19 person is there; then along with Ebola, my white privileged tenure track fiends; off you go to gagaland. We in India already know these diseases. Go figure it out. (shrink)

Drawing extensively on the whole range of Spinoza’s philosophical writing, Staring into the Void devotes twelve chapters to showing in detail how the architecture of reality as Spinoza saw it rises in stages from a theory of being to prophetically modern theories of the physical world, of causal law, of perceptual and intuitive knowledge, of determinism, of the roots of human motivation, and of the kinds of civil society that human nature is capable of sustaining. Professor Skulsky tries to disarm (...) the justifiably skeptical reader by showing why Spinoza’s thesis about the One Real Thing is as arguable as it is outrageous. The Spinoza of this intellectual portrait is a bleaker and more subversive figure than the hero of Enlightenment humanism now in general circulation. (shrink)

Demeurer fidèle à la singularité et à la richesse de l'expérience humaine en y introduisant le plus de raison possible, telle est la tâche première de la philosophie. De livre en livre, depuis près de trente ans, Francis Wolff s'attelle sereinement à élaborer une philosophie au sens classique du terme, ni une simple exégèse des Classiques ni la déconstruction des systèmes. Une philosophie qui englobe une métaphysique, une théorie de la connaissance, une définition de l'être humain et toutes leurs (...) conséquences morales, politiques et esthétiques. Dans ce dialogue passionnant, amical et sans concession avec André Comte-Sponville, Francis Wolff invite à une traversée de son œuvre dans un style accessible et allègre. Il montre les liens qui unissent sa vision du monde à son esthétique (l'universalité de la musique, des images et des récits), en passant par l'anthropologie (l'homme, « animal dialogique »), l'éthique (l'existence de la liberté et l'objectivité du bien) et la politique (de la démocratie au cosmopolitisme). Donnant corps à une philosophie généreuse et résolument contemporaine, le livre dévoile un autoportrait attachant ainsi qu'un itinéraire familial singulier croisant une des grandes tragédies du siècle dernier. André Comte-Sponville note dans son Avant-Propos : « Je ne connais pas, à notre époque et dans notre pays, de philosophe dont la pensée soit plus forte, plus savante et plus rigoureuse que la sienne. ». (shrink)

L’article commence par mettre en évidence une tendance chez les Platoniciens de l’antiquité tardive à prêter attention aux mots du maître pour savoir s’il prend en compte des niveaux métaphysiques ou s’il s’agit de conséquences métaphysiques. L’auteur réfléchit ensuite sur les passages mathématiques et ésotériques des Lettres, qui présentent, comme on le croit, des doctrines secrètes, et sur la Lettre II en particulier, dont l’influence lui permet de discuter deux triades d’Amélius. La triade première est bien connue grâce aux quelques (...) témoignages de Proclus, la deuxième, à peine reconnue comme triade, correspond aux trois hypothèses du Parménide de Platon, et présente donc, pour les interprètes néoplatoniciens, des significations métaphysiques. Pour toutes les deux, il s’agit d’interpréter les fragments et de se demander si l’une peut avoir un rapport avec l’autre, et quel serait ce rapport. (shrink)

There are numerous occasions on which we need to reason about a finite number of events. And we often need to consider only those events which are given or which we perceive. These give rise to the Criteria of Finiteness and Closedness. Allen's logic provides a way of reasoning about events. In this paper I examine Allen and Hayes' axiomatisation of this logic, and develop two other axiomatisations based on the work by Russell and Thomason. I shall show that these (...) three axiomatisations are weakly equivalent, and that only the last two meet the Criteria of Finiteness and Closedness (to different degrees). I shall then examine two ways of constructing instants of time in a finite and closed world, i.e. the Russell construction and the Thomason construction. I shall prove that these two constructions are equivalent under certain conditions. (shrink)

Rothstein (2010) argues that groups may be harmed by research on deidentified data. He concludes that researchers are obligated to minimize group harms and demonstrate respect for a studied group t...

This groundbreaking interactive book contains the tools that you will need in order to clean your emotional house from top to bottom. It includes a journal as well as access to audio meditations for you to listen along to as you read. The meditations will help you dig deep into past trauma and discover when and how trauma took root, learn to get in touch with various parts of the physical and energy body, and how to use them to let (...) go of stored traumas. From this, you will learn to live from a new mindful and powerful space. (shrink)

« La raison est ce qui existe de plus noble dans l’homme. »L’homme était vif et malicieux, d’une courtoisie exquise, joignant tout naturellement l’ouverture affable et la réserve discrète ; son seul contact, on l’a dit, « possédait un merveilleux pouvoir de “désenclavement” » . Sans ostentation, sa culture encyclopédique – « stupéfiante »,..

Process engraver and printer Emery Walker was a pivotal figure in the English, American, and continental European Private Press Movement from the 1880s until his death in 1933. This article looks at his theories for the typography, design, and production of books, and how those theories were developed by key designers and close associates of Walker such as William Morris, T. J. Cobden Sanderson, and Bruce Rogers and through the practical teaching of figures such as J. H. Mason and Edward (...) Johnston. It examines how the theories were then taken up by the exponents of fine printing from the early 20th century through to the 1930s, focusing on the presses of Bernard Newdigate, Harry Kessler, Harold Curwen, and Francis Meynell. From these presses, and also via Stanley Morison and the Monotype Corporation, Walker’s theories are shown to have spread into mainstream book publishing in the first half of the 20th century. The article considers questions of whether the improvement in the readability of books in the early 20th century has had a continuing impact in book publishing, and makes suggestions how to access the incunabula referenced by the designers discussed, as well as collections of private press books and other early 20th-century fine printing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Francis Sparshott THE CASE OF THE UNRELIABLE AUTHOR Narratology, as the study of narrative in its most general sense, has made great advances in the last decade, ranging from the rhetorical and syntactic study of narrative forms to an interpretation of human life as a fabric of stories we tell ourselves and each other. I do not keep up with these studies, and the intention of die present (...) article is not to add to them. The standpoint from which it is written is not that of the literary theorist, but that of the relatively plain reader. I write as someone who reads stories that people have written for relatively naive people like me to read, though I have fortified myselfwith a handful of appropriately down-to-earth theoretical works to help me out. The article presents some reflections prompted by a novel that I have found disturbing, not as a special sort of being called a reader and correlated with an equally special writer, but as someone who has been reading a book and has had to come to terms with the fact of being transformed into a person who has read it. In 1966, the English novelist Anthony Burgess announced his intention of writing a novel "of Tolstoyan proportions."1 In 1980 it appeared, under the title Earthly Powers, and was duly described by some reviewers as his War and Peace.2 But why? Perhaps it was just the size of it, 649 pages. Perhaps it was the way the novel combined a story of private life with a background of world history. But perhaps what the reviewers found relevant in Tolstoy was not only the length and the epic scale but also the way his novel conveyed a view oflife, partly in the story invented, partly in the opinions of favorably presented characters, and partly in the way he supplemented his story with comments directiy addressed to the reader — or should we rather say, projected into the readerly void. As for Burgess himself, he probably had nothing more specific in mind than the narrowness he elsewhere complains of in English novelists, whose interests remain typically domestic and suburban when they could be "expanding the 145 146Philosophy and Literature resources of literature to find out more about die whole human complex, the roots on which societies are built."3 Suppose we take the parallel with Tolstoy seriously. War and Peace reads as if told in a voice which is that of the implicit author, a distinctive and cranky character represented for us by the name "Tolstoy" on the title page. A distinctive character, but not a character in the book; it is just the putative owner of a voice projected by the tone in which the book is written. However, much of the special effect of War and Peace comes from our tendency to identify this highly personalized voice-bearer with a real person. The authorial voice ofthe book becomes that ofthe person who wrote it, Count L. Tolstoy himself, quite widiout regard to who this person was in real life and what the real life was that he was in. The book reads like a communication, and mat is how many ofus read it. As it happens, the actual person Tolstoy was himselfat least sometimes prepared to read books that way. Our first question to a new author, he said when writing about Maupassant, is: "What sort of a man axe you? Wherein are you different from all die people I know, and what can you tell me that is new, about how we must look at this life ofours?"4 That is, a book is not only a text to exercise our readership on, and a story told for us to follow in delight or suspense, but also a message from a real person who writes, to real people who read, about the world they all share. Note that we do not have to read War andPeace that way. Fielding's Tom Jones is written in a comparably distinctive and insistent authorial voice, as of someone buttonholing the reader and sharing a joke about the world; but I, and many other readers, take mis to be a... (shrink)