This essay focuses on the varieties of love in Toni Morrison’s novels. Love in a Morrison novel is always embedded in history, each character’s way of loving inflected by legacies from the ancestral past as well as from his or her personal past. Morrison has said that her novels are didactic. They teach a reader to think anew about love, race and gender. I differentiate in this essay between the early novels, which teach through character and plot and an occasional (...) direct authorial statement, and the later novels, starting with Beloved, which challenge a reader’s preconceptions about love through more subtle structural means. For example, deferred disclosures or gaps in meaning in the later novels draw out a reader’s assumptions about love and then, through a narrative twist, prompt the reader to examine and re-evaluate them. Love comes in a different shape in each later novel, surprising conventional expectations – from love as the deep friendship between young girls in Love to Home’s conception of love as a disruptive force that produces profound change in the lover to the characterization of love in Jazz as something you innovate and recreate each moment. The subtle formal techniques that engage a reader’s own values in an ethical dialogue with the text constitute Morrison’s variation on the tradition of call-and-response central to African American art forms. An overview of love in the first four novels is followed by a close reading of three later novels: Beloved, Home and Jazz. (shrink)

Jean-Paul Sartre's famous autobiography of his first ten years has been widely compared to Rousseau's Confessions. Written when he was fifty-nine years old, The Words is a masterpiece of self-analysis. Sartre the philosopher, novelist and playwright brings to his own childhood the same rigor of honesty and insight he applied so brilliantly to other authors. Born into a gentle, book-loving family and raised by a widowed mother and doting grandparents, he had a childhood which might be described as one (...) long love affair with the printed word. The Words explores and evaluates the whole use of books and language in human experience. (shrink)

The four talks collected here transcribe lectures delivered to an audience of children between the ages of ten and fourteen, under the auspices of the little dialogues series at the Montreuil's center for the dramatic arts. Modeled on Walter Benjamin's Aufklrung for Kinderradio talks, this series aims to awaken its young audience to pressing philosophical concerns. Each talk in God, Justice, Love, Beauty explores what is at stake in these topics as essential moments in human experience. (Indeed, the book argues (...) that they are constitutive of human experience.) Following each, Nancy's audience is given a chance to engage with him in a process of philosophical questioning; the texts of these touching and probing exchanges are included in the volume. Despite the fact that these lectures were delivered to an audience of children, the intellectual level they achieve-while remaining easily comprehensible-is astounding. No attempt is made to simplify Nancy's positions or to resolve the complexities that arise in the course of the talks or the question periods that follow. The work of opening performed here is fully in keeping with the strategy of Nancy's philosophy as a whole. Thus, for readers unfamiliar with his work, God, Justice, Love, Beauty will function as an excellent introduction to Nancy's larger corpus. As varied as the individual talks are, they share the motif of incalculability or the immeasurable. Broadly speaking, one could say that the various ways in which Nancy approaches this motif exemplify his deconstructive approach to think of human existence. As well, those treatments exemplify his conviction that the task of thinking is to develop original ways of communicating the incalculable.God, Justice, Love, Beauty is thus a skillful reminder that philosophy is important to all of us. The book is also a model of intellectual generosity and openness. Seamlessly moving from Schwarzenegger to Plato, from Kant, Roland Barthes, and Caravaggio to Caillou, Harry Potter, and the pages of Gala magazine, Nancy's wide-ranging references bear witness to his commitment to think of culturein its broadest sense. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Jean Wyatt THE CELEBRATION OF EROS: GREEK CONCEPTS OF LOVE AND BEAUTY IN TO THE LIGHTHOUSE A voracious reader all her life, Virginia Woolf stored up patterns and images which she naturally wove into the fabric of her novels.1 Integrating literature of the past into her own works was also an affirmation of her belief that "everything comes over again a little differently," as Eleanor says in The (...) Years. Acutely aware of the prevailing fluidity of human life, Virginia Woolf sought a counterbalance in the principle of eternal recurrence. The whole chain of human history forms a "gigantic pattern, momentarily perceptible." It becomes perceptible when elemental forces in human life coincide with the forms of individuals, "making them symbolical, making them representative."3 In Mrs. Ramsay, Virginia Woolf combines a personal portrait of her mother with an evocation of eternal life forces in the "symbolical outline" (p. Ill) of Aphrodite, goddess of love, beauty and marriage, that Mrs. Ramsay irradiates. Events, too, can be "symbolical, and therefore perhaps permanent," in the words of Bernard in The Waves, when they reflect the continuity of human experience. The dinner party in To the Lighthouse contains ritual elements, reminders that it is one in a series of communal feasts. The search for truth in the midst of human pleasures, by means of human love, recalls one such banquet in particular, the Symposium.'' The central concerns of the Symposium are those of To the Lighthouse: striving for knowledge through love; the desire to create that beauty arouses; the paradox of the eternal in the midst of the transitory. The figures and patterns of Greek literature were part of Virginia Woolf's mental formation. She began learning Greek at King's College in 1897, at the age of fifteen.6 For the next few years, Greek was her chief refuge from a stifling Victorian society. From 10:00 a.m. to 1:00 p.m. every day she read Greek: Homer, Aeschylus, Euripides, all of Sophocles, Plato. Twice a week she met for Greek lessons, first 160 Jean WyATT161 with Clara Pater, then with Janet Case. Her letters speak of Greek as "the greatest of comforts to me" (April, 1900), "my daily bread, and a keen delight to me" (June, 1900); it "has so much attraction for me... that I don't want to do anything else" (February, 1905).8 A diary entry from 1924 shows how Greek "worked its way" into her life. Upon meeting a herd of cattle, "I waved my stick and stood at bay; and thought of Homer.... some mimic battle. Grizzle grew more and more insolent and excited and skirmished about yapping. Ajax? That Greek, for all my ignorance, has worked its way into me." Seeing Grizzle as Ajax is not different in kind from transforming Mrs. Ramsay into Aphrodite, Mr. Carmichael into Poseidon. Greek was in the forefront of Virginia Woolf's mind in 1924 because she had been reading Greek steadily since 1922 in preparation for the article "On Not Knowing Greek." "The amount of reading... that went into the production of that essay... was remarkable," comments Quentin Bell. She published the essay in 1925, the year she began To the Lighthouse. "On Not Knowing Greek" shows that Virginia Woolf knew the Symposium well: she discusses it for four pages, not with the analytical lens of a literary critic, but with loving familiarity. She first read the Symposium when she was about sixteen, but her intimacy with it suggests that she must have read it more than once. At the center of the Symposium is Diotima's doctrine: man has to work through a series of human loves to arrive at the eternal. Lily pursues a similar quest for knowledge through love. She loves Mrs. Ramsay, but, unable to satisfy her love on a personal level, casts about for a way of reaching "the spirit in her, the essential thing" (p. 76). She finally finds a way of loving that takes her to the essence of things when, ten years after Mrs. Ramsay's death, she sees and loves a Mrs. Ramsay who transcends the individual to become the form of love and beauty. To understand the... (shrink)

In Being and Nothingness (1943), Sartre explains love as a strategy for achieving control over "being-for-others," the objectified aspect of the self-imposed by others' defining looks. Two contemporaneous fictions by Sartre, The Room (1939) and Dirty Hands (1948), expand the notions of love and of being-for-others in surprising directions. Dirty Hands shows the creative, productive potential of being-for-others: Hugo's reliance on the other for his self-definition paradoxically generates his decisive embrace of being for-itself. The Room dramatizes the role of the (...) family in constituting a child's subjectivity: Eve's family situation explains her ontological imprisonment in the dimension of being-for-others. The two stories' tolerant vision of the complex social and psychological reasons for adopting being-for-others as one's dominant modality contrasts with Sartre's rigorous critique of reliance on being-for-others as a form of bad faith in Being and Nothingness. The fictions' enlarged perspective on human love and on being-for-others provides a framework for complicating and critiquing the ontological categories presented in Being and Nothingness. (shrink)

Resumo A problemática na relação entre Filosofia e Cinema dá origem a duas questões: a primeira, sobre as condições que os filmes têm de satisfazer a fim de poderem ser devidamente tratados por uma compreensão filosófica; a segunda, sobre os requisitos, que os discursos sobre os filmes têm de satisfazer, em ordem a serem legitimamente considerados como filosóficos. Respondendo à primeira pergunta, através de uma análise ao debate entre Paisley Livingston e Aaron Smuts, acerca da “Filosofia do Cinema”, será afirmado (...) que, embora os filmes em si mesmos não façam filosofia, é possível fazer filosofia a partir deles, desde que estes expressem ideias estéticas. Respondendo à segunda questão, através da leitura crítica de Days of Being Wild, In the Mood of Love e 2046 de Wong Kar-wai, com referência aos conceitos de Kierkegaard, Girard e Deleuze, será argumentado que uma análise filosófica implica a renovação de conceitos filosóficos centrais e o alargamento da compreensão da natureza das imagens cinematográficas. Palavras-chave : Deleuze, emoção-imagem, filosofia do cinema, Kierkegaard, repetição, Wong Kar-waiThe problem of the relationships between Philosophy and Films raises two questions: first, the conditions that films have to fulfill in order to be rightly concerned by a philosophical understanding; second the requirements that discourses about films have to fulfill in order to be truly considered as philosophical ones. Answering to the first question through a survey of the debate between Paisley Livingston and Aaron Smuts about “Film-Philosophy”, I will affirm that, though films in themselves are not doing philosophy, it is possible to do philosophy out of them provided they express aesthetical ideas. Answering to the second question through a critical reading of Wong Kar-wai’s Days of Being Wild, In the Mood for Love, and 2046 referring to the concepts of Kierkegaard, Girard and Deleuze, I will argue that a philosophical analysis implies to renew core philosophical concepts and to extend our understanding of the nature of cinematographic images. Keywords : Deleuze, film-philosophy, image-emotion, Kierkegaard, repetition, Wong Kar-wai. (shrink)

The millennial interest in the fable told by Apuleius in The Golden Ass has produced periods of intense preoccupation. Of these uses of the legend none is more interesting, varied, and profound—none possesses greater implications for contemporary life and manners—than the obsessive concern of pre-Romantic and Romantic writers and artists. Hellenistic, Roman, and early Christian culture had produced at least twenty surviving statues of Psyche alone, some seven Christian sarcophagi that used the legend, and a set of mosaics on a (...) Christian ceiling in Rome from the early fourth century;1 and of course to late antiquity belongs the distinction of having produced the seminal telling of the tale by Apuleius in about A. D. 125. But what we possess from that remote time is thin and lacks the power to engage the modern spirit. The allegorizing and erotic responses made in the Renaissance, Mannerist, and Baroque culture produced monuments of painting that the later period cannot rival; but the impregnation of literature by the legend was slight, and the intellectual or moral content was often only a perfunctory and dutiful addendum. The revival of the story in the aesthetic movement of the late Victorians and early moderns has its examples of beauty, particularly in Rodin and in the lush harmonies and occasionally piercing melodies of César Franck's Psyché, a tone poem for chorus and orchestra; but the long retellings by Morris, Bridges, and John Jay Chapman oppress with luxuriant sweetness and remain of interest only as period pieces. · 1. See Elizabeth Hazelton Haight, Apuleius and His Influence , p. 164, and Maxime Collignon, "Essai sur les monuments grecs et romains . . . ," in Bibliothèque des écoles françaises d'Athène et de Rome , fasc. 2, pp. 285-446, esp. pp. 364, 436-38. Jean H. Hagstrum, John C. Shaffer Professor of English and Humanities at Northwestern University, is currently preparing a book on the theme of love in European literature and art from the mid-seventeenth century through the Romantic period. He is the author of books and articles on Blake and Samuel Johnson, and of The Sister Arts, a study of the relations of poetry and painting from antiquity through the eighteenth century. (shrink)

In Thinking with Literature: Towards a Cognitive Criticism (2016), Terence Cave argues that the "calculus of literary value, whether aesthetic, ethical, or more broadly cultural, is a universal feature of literate cultures" which "arises from the sense that fiction, poetry, theatre, and their analogues are potential goods and potential evils, so that it becomes a matter of urgent concern to calibrate those values in relation to the wider values of the culture in question."1 The question of fiction's cognitive affordances and (...) instrumentality—or sense of purpose, if you will—has now been reframed into a larger scope, that of literary studies in relation to human flourishing.The title of the edited volume under... Read More. (shrink)

This is be our second course adoption anthology drawing from this solid foundation.

Jean-Luc Marion advances a controversial argument for a God free of all categories of Being. Taking a characteristically postmodern stance, Marion challenges a fundamental premise of both metaphysics and neo-Thomist theology: that God, before all else, must be. Rather, he locates a "God without Being" in the realm of agape, of Christian charity or love. This volume, the first translation into English of the work of this leading Catholic philosopher, offers a contemporary perspective on the nature of God. "An (...) immensely thoughtful book. . . . It promises a rich harvest. Marion's highly original treatment of the idol and the icon, the Eucharist, boredom and vanity, conversion and prayer takes theological and philosophical discussions to a new level."--Norman Wirzba, Christian Century. (shrink)

Jean-Luc Nancy discusses his life's work with Pierre-Philippe Jandin. As Nancy looks back on his philosophical texts, he thinks anew about democracy, community, jouissance, love, Christianity, and the arts.

Resistances to sexual and gender rights are shifting and need new theorisations. This article develops the analytical concept of heteroactivism by exploring its relation to abortion debates in Ireland. Heteroactivism as an analytical category examines resistances to sexual and gender rights that seek to reiterate the place of the heteronormative family (both in terms of gender norms and heterosexuality) through activisms that can stand against new legislative orders. The article investigates three texts to explore how the ‘Vote No’ campaign in (...) Ireland discussed ‘loving both’, but in the main thrust of the poster campaign instead focused on the foetus as an ‘unborn child’. Using textual and visual analysis, we show the creation of Ireland through seeking to ‘love both’ and create a distinction from the dangers, and foreign contagion, of England. The article concludes by arguing that ongoing work is needed to explore heteroactivism and its diverse manifestations, including in abortion debates. (shrink)

While humanists have pondered the subject of love to the point of obsessiveness, philosophers have steadfastly ignored it. One might wonder whether the discipline of philosophy even recognizes love. The word philosophy means “love of wisdom,” but the absence of love from philosophical discourse is curiously glaring. So where did the love go? In The Erotic Phenomenon, Jean-Luc Marion asks this fundamental question of philosophy, while reviving inquiry into the concept of love itself. Marion begins his profound and personal (...) book with a critique of Descartes’ equation of the ego’s ability to doubt with the certainty that one exists—“I think, therefore I am”—arguing that this is worse than vain. We encounter being, he says, when we first experience love: I am loved, therefore I am; and this love is the reason I care whether I exist or not. This philosophical base allows Marion to probe several manifestations of love and its variations, including carnal excitement, self-hate, lying and perversion, fidelity, the generation of children, and the love of God. Throughout, Marion stresses that all erotic phenomena, including sentimentality, pornography, and even boasts about one’s sexual conquests, stem not from the ego as popularly understood but instead from love. A thoroughly enlightening and captivating philosophical investigation of a strangely neglected subject, The Erotic Phenomenon is certain to initiate feverish new dialogue about the philosophical meanings of that most desirable and mysterious of all concepts—love. (shrink)

Dans les sociétés démocratiques contemporaines, les individus revendiquent le droit d'aimer librement. Ils sont attachés à la réussite de leur vie sentimentale et à l'épanouissement de leur sexualité. Mais le corps épris nous permet-il d'accéder à l'existence heureuse que nous désirons? Dans ce livre, Jean-Marie Frey met au jour les ressorts de l'inquiétude suscitée par l'amour charnel. Il montre comment la pudibonderie et le libertinage expriment, chacun à leur manière, une tentative pour se rassurer. Les prudes désireux de voiler (...) les femmes et les libertins exhibant un corps morcelé dans l'imagerie pornographique, n'éprouvent-ils pas les uns et les autres une crainte devant la chair désirable? L'auteur oppose les figures du pudibond et du libertin à celle d'un amant disposé à jouer le jeu d'une passion amoureuse à la fois inquiétante et joyeuse. (shrink)

This article investigates the role of shame in shaping the epistolary form and aesthetic structure of Alice Walker's The Color Purple. I argue that the epistolary framing presents a crisis in the development of Celie's shamed self‐consciousness. To explain the connection between shame and Celie's self‐consciousness, I build on Jean Paul Sartre's theory of existentialism and explore three phases of Celie's evolution as it is represented in three phrases that I identify as significant transitions in the text: “I am,” (...) “But I'm here,” and “It mine.” The first section examines how shame fractures Celie's self‐consciousness; the second focuses on how Celie positions and locates herself in the world; and the third explains how Celie mobilizes shame by connecting her self‐consciousness to a past that is shameful but also generative. I conclude by considering the novel's emergence in the Cosby/Reagan era in order to illuminate the mutual constitution of black familial pride and black racial shame. (shrink)

Sacrificing one's own interests in order to serve another is, in general, supposed to be a good thing, an example of altruism, the hallmark of morality, and something we should commend to (but not always require of) the entirely-too-selfish human beings of our society. But let me recount a story that I hope will persuade the reader to start questioning this conventional philosophical wisdom. Last year, a friend of mine was talking with me about a mutual acquaintance whose two sons (...) were in the same nursery school as our sons. This woman, whom I will call Terry, had been pregnant with twins, but one of the twins had died during the fourth month of pregnancy, and the other twin had just been born prematurely at six months with a host of medical problems. We were discussing how stressful this woman's life had been while she was pregnant: she was a housewife, and her two boys, aged three and five, were lively, challenging, often unruly--a real handful to raise. Her husband worked long hours in a law firm, so the vast majority of the childcare and household chores fell on her shoulders. "You could see that she was exhausted by end of the first trimester," I maintained, "because her eyes were tired, and her cheeks were sunken--she looked almost like a cadaver." My friend agreed. I went on to blame her exhaustion on the fact that she had to do too much during a pregnancy that anyone would have found difficuIt. "I don't understand her husband," I maintained. "Surely he could how badly she looked. If he had concern for his future children, why didn't he do something to help her so that the pregnancy had a chance of going better? And if he loved her, why didn't he cut down his hours so that he could help out at home? Surely he could see just by looking at her that she was in trouble," My friend said nothing at the time, but after a week she called me, and told me that my criticism of this woman's husband had bothered her all week. "You're wrong about Terry's husband not caring enough about her, They have a good marriage," she insisted, and then she continued: "You know, you're not like us, We accept the fact that we should do most of the childcare and housework.. (shrink)

A collection of five essays of French philosopher Nancy, originally published in 1985-86: The Inoperative Community, Myth Interpreted, Literary Communism, Shattered Love, and Of Divine Places.

It has been not atypical for commentators to argue that Aristotelian friendship features disinterested concern for others, that is, concern for others that is completely independent of one's own happiness. Often, the relevant commentators point to some normative features of Aristotelian friendship, wishing goods for the other's sake and loving the other for herself, where these are assumed to be disinterested. While the disinterested interpretations may be correct overall, I argue that wishing goods for the other's sake and loving the (...) other for herself constitute a dubious foundation for disinterested interpretations. For wishing goods for the other's sake does not involve a reason for action on the other's behalf, and the primary point of loving the other for herself is the role of the other in facilitating one's own happiness, specifically conceived of by Aristotle in terms of one's own virtuous activity. (shrink)

La compréhension paulinienne de la loi a fait l’objet d’une réception dans la théorie psychanalytique de Jacques Lacan, en particulier le chapitre 7 de l’Épître aux Romains. Sur ce thème, plusieurs travaux récents en psychanalyse défendent la thèse selon laquelle Paul n’a pas su distinguer la loi symbolique du surmoi et, prenant l’un pour l’autre, a organisé tout un monde de la culpabilité, de la haine et de la persécution. Lacan adopte un point de vue assez différent. Sans ignorer la (...) part du surmoi, il attribue une dimension plus structurelle à la loi paulinienne. Dans la compréhension de la loi chez Paul, il voit une dialectique, centrale en psychanalyse, où le désir se porte vers ce qu’il ne doit pas obtenir. De ce fait, l’originalité de Paul est d’avoir indiqué que le péché se découvre paradoxalement sur l’axe d’un Bien et dans le mouvement de la fidélité à la loi. C’est ce que cette contribution met en lumière pour reconsidérer, à partir de là, le sens de l’amour et de la grâce. Paul’s understanding of the Law, especially in chapter 7 of the Epistle to the Romans, was taken into account by Jacques Lacan in his psychoanalytical theory. On this issue, recent studies in psychoanalysis defend a thesis according to which Paul did not distinguish between the symbolic law and the superego and, taking one for the other, organized a whole world of guilt, hatred and persecution. Lacan’s point of view is quite different. Without ignoring the share of the superego, he attributes a more structural role to the Law as understood by Paul. In Paul’s understanding of the Law, Lacan sees a dialectic stance, one central to psychoanalysis, where desire is aimed at what it must not get. Thus, Paul’s originality was to show that sin is paradoxically discovered on the axis of Good, in the movement of faithfulness to the Law. This contribution aims at bringing this to light, so as to reconsider the meaning of Love and of Grace. (shrink)

The possible and revelation -- The saturated phenomenon -- Metaphysics and phenomenology: a relief for theology -- "Christian philosophy": hermeneutic or heuristic? -- Sketch of a phenomenological concept of the gift -- What cannot be said: Apophasis and the discourse of love -- The banality of saturation -- Faith and reason.

The Darkness of Love. This text defends the idea of the philosophical evil as opposed to purely psychological and/or sociological evil. Philosophical evil is an evil that forces action and reflection in all matters. Love, in the contemporary world, is a victim of this evil and it has been plunged into darkness by mediatizing approaches that drive us to despair. The objective here is to give substance to the concept of love by enlightening it again and taking it out of (...) the vision that is either too relativist or too absolutist in which it has been confined. RESUMÉE : Dans ce texte, est défendue l’idée du mal philosophique qui s’oppose au mal purement psychologique et/ou seulement sociologique. Le mal philosophique est un mal qui oblige à une action et une réflexion dans tous les sujets. L’amour, dans le monde contemporain est victime de ce mal et il a été plongé dans les ténèbres par des approches médiatisantes qui nous désespèrent. L’objectif est ici de lui redonner substance en l’éclairant à nouveau et en le sortant de la vision soit trop relativiste soit trop absolutiste dans laquelle il a été enfermé. Mots-clés : amour ; mal ; sujet ; Nietzsche. (shrink)

In this paper, I argue that Aristotle's basic principle, that all friends love only because of the lovable, is egoistic. First, I argue that 'the lovable' (τὸ φιλητὸν) refers to that which appears to contribute to one's own happiness. Second, I argue that the lovable is the final cause of love. This means that in loving only because of the lovable, all friends love only for the sake of what appears to contribute to their own happiness. Further, Aristotelian love for (...) others not only requires that these others appear to contribute to one's own happiness but also prioritizes one's own happiness; Aristotelian love is therefore in some sense egoistic. (shrink)

The publication in France of our book Impostures Intellectuelles [1] appears to have created a small storm in certain intellectual circles. According to Jon Henley in The Guardian, we have shown that ``modern French philosophy is a load of old tosh.''[2] According to Robert Maggiori in Libération, we are humourless scientistic pedants who correct grammatical errors in love letters.[3] We shall try to explain here why neither is the case.

In seven essays that draw from metaphysics, phenomenology, literature, Christological theology, and Biblical exegesis,Marion sketches several prolegomena to a future fuller thinking and saying of love’s paradoxical reasons, exploring evil, freedom, bedazzlement, and the loving gaze; crisis, absence, and knowing.

This book is a rich collection of philosophical essays radically interrogating key notions and preoccupations of the phenomenological tradition. While using Heidegger’s Being and Time as its permanent point of reference and dispute, this collection also confronts other important philosophers, such as Kant, Nietzsche, and Derrida. The projects of these pivotal thinkers of finitude are relentlessly pushed to their extreme, with respect both to their unexpected horizons and to their as yet unexplored analytical potential. A Finite Thinking shows that, paradoxically, (...) where the thought of finitude comes into its own it frees itself, not only to reaffirm a certain transformed and transformative presence, but also for a non-religious reconsideration and reaffirmation of certain theologemes, as well as of the body, heart, and love. This book shows the literary dimension of philosophical discourse, providing important enabling ideas for scholars of literature, cultural theory, and philosophy. (shrink)

This chapter ventures into a deeper interpretation of the concept of cogito, ergo sum. The chapter begins with a presentation of the newly-reborn challenge and contact of Descartes' thoughts to contemporary philosophy. One such contact was Henry's use of “material phenomenology” to interpret Descartes' hermeneutic. The chapter emphasizes that this particular line gives access to an original and powerful understanding of the cogito, ergo sum, and not only that its phenomenological repetition pulls the Cartesian ego out of the aporias for (...) which the greatest interpreters—Kant, Nietzsche, Husserl, Heidegger—had opposed it, but above all that this line opens absolutely new perspectives on the whole of Descartes' work. In particular, the chapter argues that it would in this way seem possible to reestablish, in the “I think, therefore I am” which generosity finally effects, the unity long missing between the love of wisdom and the search for truth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Chariton's Erotic HistoryJean AlvaresIt is clear that numerous personages and events of Chaireas and Callirhoe are either taken directly from history or are in some way based on historiographical materials.1 The work has been considered a historical romance,2 yet its mixture of genuine historical fact, gross inaccuracies, anachronisms of Chariton's period,3 and reflections of drama, oratory, and epic4 suggests to some that Chariton merely aims to provide a "general (...) colouring of Greek history, to titillate the readers" (Reardon 1996, 327). I believe Chariton had larger aims. Building upon the insights of Edwards (1987, 29–51) into how Chariton depicts Aphrodite's influence upon politics and society, I consider here how Chariton adapts familiar elements from history in order to provide a contrast to [End Page 613] history, as those elements' usual political and social significances are attenuated or ignored and as they in turn become evidence for the operations of Aphrodite. Thus a Greek assembly pleads for the marriage of teenagers, an eros–obsessed satrap contemplates revolt, and the hero, seeking vengeance against his erotic rival, mimics the deeds of Alexander. I use these elements to produce an outline (not a full–fledged narrative) of an "alternative" history of Syracuse, one that suggests a more satisfying history wherein Aphrodisian values are pursued with the same vigor as those of conventional history.5 I do not assert that Chariton intended his work to be read as a type of history or even as a historical novel;6 I merely wish to reveal the historical narrative that is contained (with much else) within the text and its significance.To provide context for this reading I begin with Müller's observation that Chariton offers his work as a successor to epic inasmuch as Chaireas and Callirhoe concerns a heroic period of Greek history that had by Chariton's time become legendary.7 For such "epic" and "mythologized" history, traditional accounts, such as those of Thucydides, become simply raw material, such as Homer became for later poets, dramatists and rhetoricians—material to be altered according to the author's purposes.8 Further, as Bowersock notes, starting at roughly the [End Page 614] time of Nero, various literary works appeared that challenged conventional history or myth by presenting an alternative version of famous events: for example, the account of the Trojan War offered under the name of Dictys of Crete.9 I suggest that, for Chariton, the glorious period of Syracuse's victory over Athens is sufficiently remote and mythologized to be the legitimate object of a similar rewriting, an "alternative" history which demonstrates that pursuit of the values of Aphrodite and Eros can bring the sort of success achieved by the heroes of conventional histories. The outlines of such an alternative history can be extracted from Chaireas and Callirhoe.The starting point for Chariton's alternative erotic history is an idealized Syracuse, a state whose unique excellence makes it a fitting birthplace for the exceptional Chaireas and Callirhoe. A long–standing literary tradition idealized Syracuse and Hermocrates for their wealth and unexpected defeat of Athens.10 The Syracuse of Chaireas and Callirhoe is a city with recognizably Hellenic political and social institutions that work in surprising harmony.11 Hellenistic and Roman historiography often connect the rise and fall of states and individuals to their character and actions; similarly, the social harmony and success of these fictive Syracusans are linked to their willingness to follow the influence of Aphrodite, whose politically beneficent effects are observed early on.Initially a fierce political rivalry exists between Hermocrates and Ariston (1.1.3–4). Such rivalries were a common historiographical topos as well as a present reality of the Greek East.12 They often brought civic [End Page 615] disaster, but here Eros, "who is a lover of victory and rejoices in paradoxes set straight," decides that the rivals' two children should be married and arranges their meeting. Chaireas and Callirhoe fall in love, and, forbidden to marry, begin to waste away (1.1.4–10). At the next scheduled assembly the Syracusans, dominated by Eros the demagogue, ignore all other public business and instead beg Hermocrates to marry... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DE ORDINE CARITATIS: CHARITY, FRIENDSHIP, AND JUSTICE IN THOMAS AQUINAS' SUMMA THEOLOGIAE JEAN PORTER Vanderbilt Divinity School Nashville, Tennessee IS IT POSSIBLE to identify the :lioundational or characteristic content of Christian love? According to Gene Outka, the normative content most often ascribed to Christian neighbor-love, or agape, is equal rega.rd.1 On this aiooount, agape commits us to aot at all times out of a regard for the neighbor (...) that is stable and independent of a particular response from the other. Each individual is to he valued simply as a human person, and not on the basis of his or her particular merits, attractiveness, or functional value to others. In short, the qualities of the other that are of primary significance in determining how that person should be treated are those that he or she has in common with everybody else, and not those that set him or her apart. This view is well expressed by Kierkegaard: The category neighbor is just like the category human being. Every one of us is a human being and at the same time the heterogeneous individual which he is by particularity; but being a human being is the fundamental qualification... No one should be preoccupied with the differences so that he cowardly or presumptuously forgets that he is a human being; no man is an exception to being a human being by virtue of his particularising differences, He is rather a human being and then a particular human being.2 An Outka describes it, the claim that Christian ethics is grounded in a commitment to equal regard is a substantive 1 Gene Outka, Agape:.4.n Ethical Analysis (New Haven: Yale University Press, 1972), p. 260. 2 Quoted by Outka, p. 15. 197 198 JEAN PORTER claim, in that it is meant to identify the core content of a particular ethical tradition. But this substantive claim raises an historical question: Has Christian neighbor love actually been understood in this way, at least by some major Christian thinkers? Obviously, the substantive aµd historical questions raised by Outka's normative analysis of agape are interrelated. At least, it would be difficult to defend the claim that Christian neighbor love enjoins equal regard in the face of evidence that great numbers of Christians ha.ve not actually understood their fundamental commitments in this way. By the same token, the ca:se for interpreting the second great love commandment as enjoining equal regard would be strengthened if it could be shown that some segments of the Christian tradition, or some of its leading expositors, have held substantially the same view. Nonetheless, I do not know of any attempt to examine in detajl the ethical thought of an important classical figure in light of Outka's searching normative analysis of the different interpretations that have been given to agape. This essay is a modest attempt to begin to fill that gap through an examination of Thomas Aquinas' account of charity in the Summa Theologia.e. But my purpose in this essay is not limited to answering the question," Did Thomas understand charity as equal regard?" As we will see, that question can be answered all too quickly. Once it has.been answered, however, it provides an unexpected entree into Thomas' remarkable concept of charity. And by spelling out some of the implications of this concept, we learn something, not only about Thomas, but about the nature of Christian neighborlove as well. I. De ordine caritatis At the outset, it will be helpful to summarize the main points in Thomas' acoount of charity. Along with faith and hope, charity is one of three theological virtues that directs the human person to God as the supernatural fulfillment of human life (ST la2ae 62.l, 3; 110.3. All further references to Aquinas THE ORDER OF CHARITY IN AQUINAS 199 are to the Summa Theologiae). It is the greatest of the theological virtues because it directs the human person to friendship with God (2a2ae 23.1), That is, it directs him or her to union with God as he is in himself, and not simply as the source of a.II created good, or even as the author... (shrink)

Signe des temps, Cafebabel, est un webzine gratuit paneuropéen publiant quotidiennement en six langues . Il vise l’eurogénération, « la première génération qui vit l’Europe au quotidien ». S’appuyant sur un réseau de 31 rédactions locales dans 13 pays européens, coordonnées par une rédaction centrale à Paris, les articles partent de toutes ces rédactions, sont traduits par un réseau de traducteurs bénévoles, puis revus pour le travail final de secrétariat de rédaction par des journalistes professionnels, en fonction du lectorat de (...) l’aire linguistique à laquelle la traduction s’adresse sans nécessairement être juxtaposée sur l’original. La diversité des thèmes, la jeunesse du lectorat comme celle de la rédaction, l’amour des langues partagé par ses lecteurs, la diversité de son réseau et l’optique de proximité de Cafebabel en font un média européen original, différent de Courrier international, Euronews, Arte ou Presseurop.“Cafebabel” is a sign of the times, a free-access, pan-European webzine published every day in six languages . Its target audience is the “Eurogeneration”, “the first generation of people whose daily lives are European”. A network of 31 editorial committees in 13 European countries, coordinated by a central editorial board in Paris, sends out articles that are translated by a network of volunteer translators, before reaching the final copydesk stage where they are revised by professional journalists according to the linguistic area targeted by the translation, and not necessarily in juxtaposition with the original. The variety of topics, the youthfulness of both readership and writers and their shared love of languages, the diversity of its contributors and the “corner café” feel of “Cafebabel” have made it a highly distinctive Europe-wide media outlet, on a different register from “Courrier international”, “Euronews”, “Arte” or “Presseurop”. (shrink)

The lush surreal illustrations of this book and its short humoristic story telling make it a fun, quick read for all ages and for anyone obliquely interested in our thirst for development and the nature of who we are. Through a poetic parody of human's desires for more of everything, we become aware that such a quest does not bring us any closer to knowing ourselves or seeing, as contemporary scientific or spiritual leaders are telling us: all things and beings (...) of our planet are intimately related, alive and ultimately "One." While each colorful painting alludes to our close relationship with the world, short lines innocently and wryly comment on the predicaments of our lives pertaining to the industrial world, where dream and reality often appear intertwined. Through the shifting identities of forms, this album gives us a glance at our own formless nature and how our excessive wish for love, home, comfort, power, and productivity inexorably transforms our worldview and make us bypass our deep infinite nature, which cannot be contained through words. As some indigenous traditions have taught us: "life is like a dream. One wonders whether it is by living that we dream or by dreaming that we live.". (shrink)

According to Brentano, logic, ethics and aesthetics are practical normative sciences, and they correspond to the three classes of psychic phenomena. But if a judgment or a love may be correct or incorrect, it seems more difficult to speak of a correct representation as this class of phenomena ignores a polarity such as right / wrong or good / bad. Brentano speaks nevertheless from the aesthetical “value” of representations. Aesthetics could in this way be considered as part of a general (...) theory of value; but compared to ethics the specificity of this science tends to vanish. Another way to consider the question is to remember that the distinction among the three classes of psychic phenomena is only formal. It means that one has to question more precisely the very nature of representation and especially its relation to feeling. (shrink)