In light of the rising anti-racist and decolonial struggles breaking out in the world, this essay seeks to displace the theoretical dichotomy between ‘violence’ and ‘non-violence’. We begin by revisiting Arendt and Fanon to argue that within the conditions of colonial-racial capitalism, ‘non-violence’ is merely a theoretical abstraction. Building on Fanon, who understands decolonial struggle as setting the ‘atmospheric violence’ of colonization into motion toward a new humanity, we develop our own vocabulary of revolutionary anti-violence (...) that replaces a static dichotomy with a spectrum of spontaneous insurrectional activity, non-retaliatory anti-violence, self-defense, and offensive armed struggle. From these, we reinterpret various struggles and distinguish them from terrorism. By centralizing anti-violence as an ethical ideal and political struggle, we aim to overcome the unproductive pitting of ‘good’ (non-violent) movements from ‘bad’ (violent or terrorist) ones and offer a political theory of violence more appropriate to our times. (shrink)

Science has developed technology to the point that computers are networked, “talking” to each other and artificial intelligence is a real possibility in the future. In a parallel development, nanotechnology examines interaction on a subparticle level, too small to be seen. Yet, humankind is lagging in development of social co-operation and communication. Violence is still the “weapon of choice” on a personal level as well as a national level. Two major developments seek to address conflict resolution. On a personal (...) level, Marshall B. Rosenburg’s study of Nonviolent Communication seeks to facilitate individual interaction. And on the macro level, Gandhi and Martin Luther King, Jr’s work in Passive Resistance has had great success in social change without loss of life. This article, in an effort to promote civil discourse asks the questions: How do these two movements relate to each other? Is there a point of connection which may offer a window through which individuals and groups might resolve conflict successfully? (shrink)

ABSTRACT: The largest obstacle to saving people in today's world is from violence and wars. There is a long line of people waiting for peace so that they can survive the conflict. People will promise that no country can exploit another and that no country can produce weapons capable of mass murder. They believe that their plan can be realised by transforming the world's goodwill and efforts toward world peace into world peace in paradise. The whole world is waiting (...) for a human universe that seems to be taking us to Mohandas Karamchand Gandhi (Mahatma Gandhi). This article's main issue is an extinct political ideology that Mahatma Gandhi promoted many years ago as a supporter of nonviolent policy in search of the human world. Here, the communication style has been shown to have the missing Gandhian ideals. This post will attempt to analyse Mahatma Gandhi's policy & ideology in communication style as we approach his 150th birthday celebrations. Through extensive study, this article will attempt to determine how Gandhi's philosophy and communications relate to one another. As a method of exploration and analysis, Gandhi’s principles Nonviolence, and Chamber-Pots have been scientifically reviewed in this article. Keywords: Violence, principles, chamber pots, Mohandas K. Gandhi, mass murder. (shrink)

There is a strong presumption that mental disorder injures a person's autonomy, understood as a set of capacities and as an ideal condition of agency which is worth striving for. However, recent multidimensional approaches to autonomy have revealed a greater diversity in ways of being autonomous than has previously been appreciated. This presumption, then, risks wrongly dismissing variant, neuro-atypical sorts of autonomy as non-autonomy. This is both an epistemic error, which impairs our understanding of autonomy as a phenomenon, and (...) a moral error, which withholds recognition and respect that autonomous agents are due. I argue that careful attention to the different 'shapes' of agent's autonomy reveals that there are indeed distinctive kinds of neuro-atypical autonomy that are widely mistaken for non-autonomy. This project argues for two propositions. First, that there is a kind of autonomy, with a distinctive shape and texture, available to bipolar agents. This is a variant sort of autonomy, but not a defective or deficient sort. It is the ideal of autonomy that it is worth bipolar agents striving for, given the range and intensity of experiences that they will have to confront. Whilst bipolar autonomy will look unlike more neurotypical kinds of autonomy, it continues to be owed recognition. The second proposition is that we should understand the ideal of autonomy to be both pluralist and highly context sensitive. Given the range of starting points from which agents will strive to an ideal of autonomy, there will be some variation in the ideals worth striving for. The variation in ideals will reflect the existential realities they are local to. Theory of autonomy must be adapted to recognise bipolar, and other neuro-atypical, kinds of autonomy, and to reflect this wider pluralism. These propositions will be argued for with careful attention to the experiences and agency of people living with bipolar, or related, disorders. Understanding the ways that manic or depressive episodes, and the shifts between them, alter and apply pressure to our agency will inform an account of the distinctively bipolar autonomy that can be built on top of it. (shrink)

In today's world the need for cultivating non-violence is becoming more pronounced. Gandhi extrapolated an ideal society based on truth and nonviolence. The Bombay Chronicle in its issue of 5th April, 1930, reported "...For the first time a nation is asked by its leader to win freedom by itself accepting all the suffering and sacrifice involved. Mahatma Gandhi's success does not, therefore, merely mean the freedom of India. It will also constitute the most important contribution that any country (...) yet made towards the elimination of force as an arbiter between one nation and another..." For him, two cardinal principles of life, non-violence and truth, were the essence of sociopolitical good. "Satyagraha" was Gandhi's gift to the world. The word was coined by him in South Africa. In the West it was known as passive resistance. Satyagraha signified pure soul-force. Truth or Love is the very substance of the soul. To quote Gandhi in this context: "Non-violence as supreme dharma is the proof of this power of Love. Nonviolence is a dormant state. In the working state, it is Love, ruled by Love, the world goes on.... we are alive solely because of Love....we are all ourselves the proof of this..." In a centrifugal world, Gandhi's views expressed on non-violence and love are guidance to the world today more than at any other time. (shrink)

The literary oeuvre of Marquis de Sade (1740–1814) has attracted a great deal of interest over the past 200 years, not only from writers, but also from numerous leading philosophers. Among them is Georges Bataille, who particularly emphasizes the apathetic character of the Sadean libertines, meaning that they feel nothing at all. More specifically, the French philosopher focuses on their apathetic enjoyment that goes hand in hand with the abuse of victims. The goal of this article is to clarify that (...) peculiar pleasure by comparing it, among other things, with stoicism and mysticism. It will be shown that in the Sadean universe not moral transgression is central, but rather the transgression of a metaphysical boundary, i.e. the boundary between the human and non-human. (shrink)

This paper will bring Žižek’s divine violence as an Act, a means without end, into conversation with Derrida’s divine violence, différance and auto-deconstruction as the impossible possibility of justice. Although Žižek has, in his later works, conceded to his indebtedness to Derrida, there are certain important differences between the two thinkers. The paper will focus on their respective interpretations of divine violence and the link to minimal difference (Žižek) or différance (Derrida). Their respective interpretations of divine (...) class='Hi'>violence will be further explored with regards to Derrida’s auto-deconstruction as a kind of Heideggerian Gelassenheit and Žižek’s interpretation of the Lacanian Act. Critchley criticises Žižek for being too Gelassen in his dream of patiently waiting for an absolute, divine, cataclysmic revolutionary act of divine violence. This patient waiting or non-violent violence will be read within the context of Derrida’s auto-deconstruction: a means (an Act/Event) without specific end. The second part of the paper will explore a re-reading or inter-textual reading of John’s Gospel within the context of the above conversation. The reading will specifically focus on the Christ-event, creating an alternative community to the Roman Empire as it transverses the primal fantasy of this empire. This will be translated into the context of the contemporary neo-liberal fantasy, namely John’s alternative Christian community as a community of subjects who enjoy their symptom. As such a community they present a non-violent violent transversion of the primal fantasy of for example neo-liberalism. Such a community could be interpreted as a community of non-action action with an auto-deconstructive ethos: the divine violence of the Christ-event. (shrink)

The thesis argued for in this work is that under certain conditions the use of violence is morally obligatory. The thesis is advanced as an alternative to both the pacifist and the liberal, right-oriented theses which are rooted in the idea that violence is evil. The defense consists of an exposition of the problems of the pacifist and liberal theses on the one hand and the development of a system that makes it possible to conceive of the use (...) of violence as morally obligatory on the other hand. ;The work begins with an examination of the socio-practical consequences of the idea that violent is evil--the blindness and insensitivity toward violence that most of us exhibit most of the time. Next comes an analysis of the pacifist and liberal moralities of violence that point out the two are grounded in similar utopian visions of a harmonious world and how they fail to be responsive to the demands of practice. The idea that violence is evil is examined next and a morally neutral conception of violence, an idea of non-abusive violence, is suggested as a preliminary to the consideration of an alternative morality of violence. ;The construction of an alternative begins with the outline of a schema for a moral system. The idea of human dignity is taken as its unifying notion and the ideals of justice, freedom and respect for persons as unfolding it. Moral rules understood as specifying moral obligation are taken as the mechanism of practical morality. The idea of moral policy is introduced as a middle ground between moral ideals and moral rules. The moral ideals are used to draw a distinction between savagery and a violent social world. The choice of a violent social world is understood as the choice of a world in which violence is morally regulated by rules that specify when we are morally obligated to use violence and when we are morally obligated to refrain from the use of violence. A discussion of such rules completes the construction of the alternative. (shrink)

There is a tension in Ricœur’s thinking between the undeniable presence of violence and his trust in a primordial goodness of existence. This tension is linked to Ricœur’s understanding of the human being as ambiguous and fragile, torn between freedom and nature, as well as between the voluntary and involuntary dimensions of human action. By analysing articles from the first decades after the Second World War, and especially Ricœur’s discussion of prophetical troublemaking through non--violence, voluntary poverty, and art, (...) and comparing these to some of Ricœur’s later writings, the essay critically discusses the role Ricœur assigns to non-intentional social activism. The author argues that the non-intentional and intentional dimensions of human action need to be kept in a fruitful critical tension with each other, to prevent an understanding of human existence as primarily tragic and passive. The gap separating ideals from the experienced reality, may, in line with Ricœur’s own intentions, be considered a space both for mourning of a lost innocence, and for hopeful visions guiding the struggle for a better and more just world. (shrink)

Revisionists have reclassified fascism as an autonomous revolutionary force based on the power of myth. Yet despite attempts to close the gap between materialist and culturalist readings, theories of fascism as the future-oriented projection of a mythic past overlook the point that, though intrinsic in the subjectification and deautonomization of the individual in collective-type societies, myths cannot be revolutionary because they derive their significance by projecting an idealized past that originates outside the emancipatory-developmental trajectory of modernity. Myths constitute a generic (...) feature of human societies, idealized narratives which synthesize historical events, values and ideals into all-encompassing and enduring social intuitions; myths cannot be criticized because they are ‘untrue’ but because they exhibit an intrinsically speculative and particularistic nature which is unable to provide an objective basis for the revolutionary transformation of capitalist social relations. As a violent rupture of incendiary modernism, the mythic narrative of interwar fascism dramatized the experience of modernity in a new and scandalous form, confronting but ultimately reaffirming the conformism and disavowal in bourgeois culture. Unable to rise above the powerful yet imaginary ideal of ‘manifest destiny’ – an imperial ideal shared by non-fascist European powers, fascism offered a beguiling glimpse into the transgressive power of the modern postdemocratic corporate state, pointing towards a social structure of accumulation based on an appropriation of the cooperative capacities and democratic potential of society by capital. Emphasizing the accumulated or ‘constituted’ violence of modernity, the fascist mythologization of power led to the functionalization of reason, the demoralization of socially motivated action, and the suspension of objective moral standards as grounds for civic association. (shrink)

In this article, I wish to show the importance of the consequentialist method for the realisation of the ideal of non-domination. If, as stated by Philip Pettit, consequentialist ethics helps to better conceive republican political institutions, we then have to see how the fundamental principles of republican liberty can meet the norms traditionally associated with consequentialism. After a brief presentation of consequentialism and republican liberty (as Pettit defines it), I criticize the idea that liberty as non-domination could be included (...) in a bundle of goods that we seek to maximize. Next, I argue that we should reject the maximization of liberty as non-domination when this concept is considered as an absolute. Finally, I explore the idea of liberty as a condition for other goods, where liberty is still taken in the republican sense. These three theses are all rejected by demonstrating that the maximization of republican liberty is not really the maximization of liberty itself, but the maximization of protections granted to the individuals with the aim of defending their liberty. (shrink)

Since the Moroccan invasion in 1975, official reports on visits to Sahrawi refugee camps by international aid agencies and faith-based groups consistently reflect an overwhelming impression of gender equality in Sahrawi society. As a result, the space of the Sahrawi refugee camps in Algeria and, by external association, Sahrawi society and Western Sahara as a nation-in-exile is constructed as ‘ideal’ (Fiddian-Qasmiyeh, 2010, p. 67). I suggest that the ‘feminist nationalism’ of the Sahrawi nation-in-exile is one that is employed strategically (...) by internal representatives of the Popular Front for the Liberation of Saguia el-Hamra and Río de Oro (POLISARIO), the Sahrawi Arab Democratic Republic (SADR) and the National Union of Sahrawi Women (NUSW), and by external actors from international aid agencies and also the colonial Moroccan state. The international attention paid to the active role of certain women in Sahrawi refugee camps makes ‘Other’ Sahrawi invisible, such as children, young women, mothers, men, people of lower socio-economic statuses, (‘liberated’) slave classes and refugees who are not of Sahrawi background. According to Elena Fiddian-Qasmiyeh (ibid.), it also creates a discourse of ‘good’, ‘ideal’ refugees who are reluctant to complain, in contrast to ‘Other refugees’. This feminisation allows the international community not to take the Sahrawi call for independence seriously and reproduces the myth of Sahrawi refugees as naturally non-violent (read feminine) and therefore ‘ideal’. The myth of non-violence accompanied by claims of Sahrawi secularity is also used to distance Western Sahara from ‘African’, ‘Arab’ and ‘Islamic’, to reaffirm racialised and gendered discourses that associate Islam with terrorism and situate both in the Arab/muslim East. These binaries make invisible the violence that Sahrawis experience as a result of the gendered constructions of both internal and external actors, and silence voices of dissent and frustration with the more than forty years of waiting to return home. (shrink)

Peace ( salm/silm/salam ) and peacemaking ( sulh ) are essential concepts within the foundational texts of Islam. In these texts, peace is idealized as the state that governs the life of the faithful and defines their relationship with the Creator and His creation. Particularly within the worldview of the Qur’an (the central scripture of Islam, which Muslims believe to be directly revealed by God), peace is the ultimate desideratum, the achievement of which is the noblest and loftiest objective of (...) human striving and existence on earth. This article provides an overview of the contents of these foundational texts and discusses two significant concepts – human stewardship of the earth and justice tempered by mercy – the adoption of which leads to positive peace that addresses the root causes of structural violence and conflict. (shrink)

Those seeking to lead a spiritual life may become curious as to what is ahimsa (non violence), and inspired to practice it. But understanding how to live in non violence is not as simple as it seems, and practicing no violence in daily life can quickly become bewildering. To someone just beginning to cultivate non-violence, daily interactions might even begin to feel like the very definition of conflict! In the book “Non-Violence”, Gnani Purush (embodiment of (...) Self knowledge) Dada Bhagwan offers key understanding on how to define ahimsa (non violence) and how to avoid kashaya (internal self harm). Dadashri explains that kashaya is at the root of self harming, unhealthy relationships, and violence. Here, he teaches how to live in peace, offering profound knowledge of non violent communication, conflict resolution skills, and conflict management strategies. His spiritual teaching on how to resolve conflict - or to avoid it altogether - is offered in the context of common and everyday relationship challenges. For anyone with the intent to practice non-violence - whether wondering how to deal with negative people and difficult people, how to handle conflict, or seeking skills to face internal struggle amidst life problems - this book will prove an invaluable resource. (shrink)

To examine the cultural limitations and implications in the applicability of the Depression Anxiety Stress Scale 8-items —a shortened version of the DASS-21 recently introduced in an Arab sample—this study evaluated its psychometric properties, including measurement invariance, among healthy subjects from the United States, Australia, and Ghana. Confirmatory factor analysis revealed good fit of the DASS-8 relative to a 12-item version. Both the DASS-8 and the DASS-12 were invariant at all levels across genders, employment status, and students vs. non-students. The (...) DASS-8/DASS-12 also expressed invariance at the configural and metric levels across all countries, albeit scalar invariance was not maintained due to misspecification of the factor loadings in the Ghanian sample. Mann–Whitney U test revealed significantly lower levels of mental symptomatology on the DASS measures among Ghanian students than in English-speaking respondents. The DASS-8 expressed excellent internal consistency, good convergent validity—noted by high values of item-total correlations, good predictive validity—indicated by significantly strong correlation with the DASS-21 and its subscales, and adequate discriminant validity—indicated by heterotrait–monotrait ratio of correlations <0.85. The DASS-8 correlated with the Internet Gaming Disorder-9, the Adult attention-deficit/hyperactivity disorder Self-Report Scale, and the Individualism and Collectivism Scale/Culture Orientation Scale at the same level as the DASS-21 and the DASS-12, denoting its adequate criterion validity. The DASS-8 can be used as a brief alternative to the DASS-21 to screen for mental symptomatology in English-speaking and African cultures. However, the same scores on the DASS-8 and the DASS-12 may not always indicate the same level of symptom severity in subjects from different countries. Further inter-cultural evaluations of the DASS-8 are needed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Commandment against the Law Writing and Divine Justice in Walter Benjamin’s “Critique of Violence”Tracy McNulty (bio)Pierre Legendre has shown that the Romano-canonical legal traditions that form the foundations of Western jurisprudence “are founded in a discourse which denies the essential quality of the relation of the body to writing” [“Masters of Law” 110]. It emerges historically as a repudiation of Jewish legalism and Talmud law, where the (...) rite of circumcision encodes the subject’s entry into law as an “allegiance to the absolute Writing,” or the “relationship between the human subject and the logical place of the Other” [110–11; see also “les juifs”]. In this shift, one understanding of writing is displaced by another: the material inscription of the letter, as an incommunicable limit or cut, is supplanted by the fantasy of what Legendre calls a “living writing,” a writing “in the heart” that promotes an ideal of perfect communication in which nothing is lost, in which meaning is lodged in an absolute Other who guarantees all knowledge. In his words, “we belong to a culture in which a mystically alienated human body stands in the place of the absolute book. The state has emerged from this structure.... Its basic characteristics can be set out by means of a fundamental Romano-pontifical maxim: the Emperor carries all the archives in his breast (omnia scrinia habet in pectore suo)” [“Masters of Law” 109].The ultimate theological source of this Roman maxim is Paul’s polemic against the Jewish law in the Epistle to the Romans. Paul’s polemic is structured by a distinction between two orders of law: the “law of God” and the “law of sin.” The first is associated with the intelligible “spirit” of the law, which is “written in the heart,” the second with the prescriptive “letter” of the Jewish law, which compromises or corrupts the first by binding it to a particular representation and consigning it to written form. Paul’s solution is to bypass the law, to bypass representation, and perhaps even language itself. The prescriptive “letter” of the Jewish law must be sublated by the law of the spirit, such that “we serve not under the old written code but in the new life of the Spirit” [Romans 7: 6]. Christ, as the living embodiment of the law of God, upholds the spirit of the law by “fulfilling”––and so rendering obsolete–its written form.The doctrine of Christ as the “living law” sustains what Legendre describes as a “banalisation of writing” [“Masters of Law” 111], a disregard for its material inscription that holds the letter to be nothing more than a placeholder, a flawed or incomplete representation of a meaning or truth that is itself beyond words. At the same time, it makes possible the legal and political fantasy of a living writing, located in a single body understood as the site of interpretive authority. The extraction of a meaning or truth from the intractable letter becomes the ultimate aim of the legal order and the most lofty task of its sovereign interpreter, uniquely charged with animating the dead letter. This notion permeates what Peter Goodrich describes as “the most standard protocols of legal reading,” according to [End Page 34] which “it is not the letter but the spirit that determines the meaning of the law”:The text is composed of dead letters (litera mortua); the rule is no more than a “mute judge,” a sleeping form, requiring the interposition, anima legis, of jurist or judge.... [T]he meaning of the law is internal to its living body, viva vox iuris or lex loquens, its image, interpreter, or legislator. In classical terms it is spelled out by reference to something beyond words: “to know the law is not to know the words of the law, but its force and power.” In a renaissance formulation we are similarly told that “no words, forms, niceties, or propriety of language is of any regard in the Civil Law, in comparison to truth, faithfulness and integrity. For verba menti, non verbis servire debet; words, are made as instruments to serve and express the mind, and not to command it.”[229–30]1... (shrink)

This essay will examine Gandhian ahimsa in its inseparability from truth. In this context, it will take issue with those who have argued that Gandhian ahimsa was either (entirely or in part) drawn from Tolstoy or (entirely or in part) from the anekantavada of the Jains; arguing that while Gandhi was influenced by both these sources, his ahimsa was drawn (in his own admission) from an altogether different source, i.e. from the metaphysics and ethics of the Bhagavad Gita. Even if (...) one were to disregard for the moment the differences between Gandhi and the other interpreters of the Gita (specially from those who were his contemporaries), Gandhi’s drawing of ahimsa as non-violence and a non-passionate universal love from the context of the war between cousins in the Gita might seem surprising. Gandhi’s contemporaries like Tilak and Sri Aurobindo (among others) had argued that the Gita had justified the exception to the law of harmlessness for the sake of duty and suggested that the aim of the Gita was to undertake a critique of the ethical and confirm it’s subordination to the political. Gandhi however had argued (to the contrary) that the metaphysics of oneness in the Gita brought out in the vision of Sri Krishna’s divine form recommended both desireless action and absolute ahimsa; given that to harm anyone or anything in the universe was, quite literally, to harm oneself. (shrink)

Contemporary Nigerian society is in its doldrums as regards the culture of violence and distrust among peoples from various ethnic groups that make-up this nation. To an extent, religio-political reasons are fueling this culture of violence and distrust. The thrust of this paper is that: Christian military chaplains are stakeholders as promoters of peace and mutual co-existence in Nigeria with regard to controlling the culture of violence and disunity. The core of this thesis remains Jesus’ convictions concerning (...) non-resistance to the evil one as documented in the Sermon on the Mount, Matthew 5: 38-42, and His life as the Peace-Builder. Therefore, contemporary Nigerian context calls for Christian military chaplains to be more conscious that being messengers of peace and promoters of peaceful coexistence in our country, they have ethical responsibility to build bridges to harmony. Since Christ (God) is love, the chaplains should rediscover the poetics of testimony as a principle for building and reconstructing paths that lead to mutual co-existence in view of encouraging the reign of justice, unity, and peace in Nigeria. (shrink)

One of the most interesting features of the computer is its ability to create virtual environments. These environments allow us to interact with objects that are simulated by the computer and are not real. They thus allow us to realize actions that have no repercussions whatsoever on the non-virtual world. This seems to qualify virtual environments as an ideal playground to do all kinds of things that would be labelled ethically wrong if realized in the real world. Nevertheless, we (...) have the feeling that certain types of virtual actions – raping computer simulated girls for example – are not right at all, in spite of the fact that we know that no actual person is harmed by this. In the light of phenomena like virtual rape and violence, philosophical reflection on the ethical status of actions realized in virtual worlds has become inevitable. This paper will provide the groundwork for such a reflection, by answering the following questions: Can we apply the predicates of ‘right’ and ‘wrong’ to actions realized in virtual worlds? And if this turns out to be problematic, how can we explain our feeling of discomfort with certain types of virtual behaviour, i.e. our feeling that there is something ‘not at all right’ about, for example, virtual rape? These questions will be answered in the three sections of this paper.The first section deals with the necessary condition for the application of the predicates of ‘right’ and ‘wrong’ to virtual actions: freedom in the virtual environment.In the second section, we will endeavour to demonstrate that the fulfilment of this necessary condition is not sufficient when it comes to the application of these predicates to virtual actions.The last section explains how we can still be uncomfortable with certain virtual actions, even though the said actions escape ethical judgment. (shrink)

ABSTRACTMahatma Gandhi’s profound theory of non-violence takes into account both human beings and animals. His fundamental thought on the subject of protecting animals is the outcome of a cluster of theories, including the non-violence of Jainism, the teachings of the Gitā, Sānkhya, Christianity, and Tolstoy. While retaining the literal meaning of non-violence i.e. non-killing, Gandhi attributes to it certain features that expand its scope and yet also determine its limitations. He suggests that non-violence does not merely (...) imply non-hurting in thought and deed, but that it entails an extension of love and compassion. He identifies its limitation by unmistakably denying the possibility of absolute non-violence. He defends his stance on animals on the basis of a wide range of perspectives: religious, scientific, political, as well as economic. Gandhi demands protection of their lives and also enhancement of their welfare. This paper aims to philosophically analyse Gandhi’s doctrine of non-viol... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DHARMA AND DESTRUCTION: BUDDHIST INSTITUTIONS AND VIOLENCE Christopher Ives Stonehill College Photographs ofgentle monks in saffron, the cottageindustry ofbooks on mindfulness, and the Dalai Lama's response to the Chinese invasion of Tibet have all helped portray Buddhism as the "religion of nonviolence." This representation ofBuddhism finds support in Buddhist texts, doctrines, and ritual practices, which often advocate ahimsa, nonharming or non-violence. The historical record, however, belies the (...) portrayal of Buddhism as a "religion of nonviolence." By reinterpreting early doctrines of ahimsa, Buddhist thinkers have legitimated violence in particular situations, practitioners have committed acts of violence, and Buddhist institutions have lent support to other institutions—social, political, and governmental —engaged in violence. In this paper I will examine Buddhist perpetration andjustifications ofviolence,1 with particularfocus on Japan, arguing that, historically, Buddhists' desire for institutional security has taken precedence over total rejection of violence. 1 I have restricted my discussion to the killing of other human beings. I do not consider suicide andthe killing ofnon-human animals. For a discussion ofBuddhism, (self-)sacrifice, and suicide in relation to Girard's theory, see Charles D. Orzech, '"Provoked Suicide' and the Victim's Behavior." 152Christopher Ives Non-violence The doctrine of ahimsa figures prominently in early and Theravadan Buddhism. The first ofthe five moral precepts (panca silani) in Buddhism is ahimsa, and in the Dhammapada the historical Buddha purportedly states, All are afraid of the rod. Of death all are afraid. Having made oneself the example, One should neither slay nor cause to slay. (Ross 202) The Buddhaalso sketches the consequences ofhurting orharming (himsa): Who with a rod does hurt Beings who desire ease [of nibbana], While himself looking for ease— He, having departed, ease does not get. Theravadan monastic codes and practices, such as the uposatha biweekly confession of moral transgressions and recitation of the 227 rules in the Patimokkha (Skt. Pratimoksa), are closely tiedto ahimsa. One ofthe Patimokkha's four "offenses of defeat" (parajika dharmas), for which the punishment is immediate expulsion of the monk or nun from the order, is killing another human being (Prebish 11). Mahayana texts continue this exhortation against violence. For example, in the Dasabhimika-sutra we read that a Buddhist "must not hate any being and cannot kill a living creature even in thought."2 Early Buddhist texts include depictions ofthe ideal Buddhist king, the cakravartin-raja or "monarch who turns the wheel [of the Dharma],"3 as an exemplar of nonviolence. Contemporary Buddhist activist Sulak Sivaraksa expresses it, this king is a "an ideal ruler, a world-conquering monarch, who subdued the earth through righteousness rather than war" (Sulak 129), and whose ten main duties include striving for peace and ruling with nonviolent benevolence (129). For well over 2000 years 2 Cited in Har Dayal, The Bodhisattva Doctrine, p. 199; quoted by Kraft, 5. In much ofthe first section of this paper I am indebted to Ken Kraft's introduction to his volume. 3 The metaphor ofturning the wheel refers to the historical Buddha's teaching ofthe Dharma and the later propagation of it by others. Dharma and Deconstruction153 Buddhists have lifted up Indian king Ashoka (c. 272-236) as an instantiation of this ideal. The early Buddhist doctrine of ahimsa should not, however, be construed as compassionate altruism. Luis Gómez and other scholars have delineated how ahimsa at first did not express some sort of underlying altruistic concern for the well-being of others. Vegetarianism and other ways of avoiding himsa, harming or violence, derived from ancient Indian ritual taboos againstblood and otherbodily liquids (Gómez 36). Buddhists ethicized and psychologized earlier notions of physical pollution, and advocated abstention fromviolenceprimarily as ameans ofself-cultivation, as a way to keep the mind pure, like an unstained cloth (36). (Scholars have even argued that the positive expression oíahimsa, the practice ofdirecting metta (loving-kindness) to others, originally had as much or more to do with the spiritual benefits accrued by the person directing the metta as it did with the well-being of the person receiving it. Only later was ahimsa furtherreinterpreted as positive regard forothers, as seen in the bodhisattva ideal of Mahayana Buddhism. Violence in Buddhist History At numerous times over... (shrink)

The multiplicity of demands and claims in ultra-pluralistic societies complicates the search for justice. Furthermore, the normative force of competing ideals gives rise to an aporia at the heart of the idea of justice’s federating force. In this article, I argue that exemplary moral and political acts evince these ideals by reason of their fittingness with respect to the demands of the situations to which they respond. As such, these acts lay claim to their normative value by exemplifying the “rule” (...) that each act summons. Drawing upon aesthetic experience’s lateral transposition onto the planes of ethics and politics, I show how imagination is operative in practical judgments. Accordingly, I relate the search for justice to an eschatology of non-violence, which for Paul Ricœur takes the place of the critique of ideology in its opposition to an ontology of lingual understanding. (shrink)

Problem: The question of the moral and social effects of non-dualism has not yet been clarified to the necessary extent. The relation of truth claims, power and violence has been simplified; critical questions of non-dualist practises have not yet been addressed. Approach: By discussing relevant philosophy and political theory, this paper draws the attention of non-realists towards the issues of power, conflict and discourse rules and asks to rethink the issue of the pragmatic justification of non-realist epistemology. Findings: (1) (...) Constructivists, as well as the non-dualist Josef Mitterer, are critical of the discursive effects of truth claims. Yet, neither constructivism nor non-dualism solve the power issues that are ascribed to realism by constructivists and dualism by Mitterer. Even if participants abstained from truth claims in discourses, many of the power issues would still be prevalent. (2) The question arises of whether a practical difference between non-dualism and dualism exists. (3) There is a tendency in constructivist and non-dualist theory to regard any form of influence on others as illegitimate. This tendency is not sound. Instead, the distinction between legitimate and illegitimate power is necessary in non-dualism as well. Implications: Constructivist and non-dualist theory need to scrutinise statements about the moral implications of the respective theories and to emphasise power issues not solely by extrapolating from epistemology, but by acknowledging the social dynamics of discourses and conflicts. Non-dualist social scientists could contribute to the discussion through empirical analyses of the effects of the use and the debunking of truth claims. (shrink)

The article made an attempt to understand the nature of jus, going from an analysis of its genesis and the primary simplest forms, the formation of which constituted the transition from the pre-social to the social world. In line with the hypothesis of Levi-Strauss of the beginning of society, the author considers dual-group unions to be the first social formations, halfs of which, in relation to and through each other, acquired the quality of historically original subjects of jus – the (...) space of freedom jointly built by them, based on the consensus of non-violence of the parties, rational coordination of wills and judicial resolution of conflicts. Subsequent social evolution gives rise to fundamentally new forms of both deploying the essence of jus and obstructing it. Among the latter, the most important is the state that does not need coordination and is able to impose its will on so­ciety by violence. History develops mechanisms for curbing state authority by jus, based on its high axiological status, which ensures the readiness of society to defend legal val­ues, among which freedom of speech plays a key role, which, firstly, acts as the main form of concordance of wills in society that forms the jus, and secondly, it allows contin­uous control over the state and in the threat of its going beyond the framework of the jus to initiate social activity that prevents this. (shrink)

Though for the Western political tradition violence is usually deemed merely instrumental, and thus neither essential to, nor constitutive of, the bios politikos, Walter Benjamin ’s “Zur Kritik der Gewalt” [“Critique of Violence,” 1921] and Georges Sorel ’s RØflexions sur la violence [Reflections on Violence, 1908] constitute an exception. 1 In very different ways, both texts put forward a notion of violence which comes to coincide with pure praxis, that is, with pure political action, in (...) great contrast with a political tradition which rather identifies in violence a non-political or anti-political form of action. In Benjamin ’s case, the ambiguity of the term Gewalt is not secondary to the argument: in German, it can mean force, power, might and violence, depending on the context; it reunites thus potestas and violentia in a dialectics that Etienne Balibar values as positive and fructuous. The French violence, on the contrary, presents a univocal connotation, though Sorel, as we will see, redefines it to his own purposes. 3 However, the explanation cannot be limited to the terminology, but must rather be pursued in their notion of praxis. (shrink)

Martin Luther King Jr. cannot be said to have addressed the problem of terrorism in general because he proposed his philosophy of non-violence resistance within the context of the oppression, injustice, segregation, violence and discrimination suffered by the African Americans. Nevertheless, his philosophy captured ways by which we can fittingly address the problem of terrorism. Many of the methods of non-violence given by Martin Luther King Jr. are of paramount importance in the face of terrorism. His philosophy (...) is basically important today in Nigeria owing to the fact that our unity as a country is threatened by the recurring activities of terrorism and as such we are at a cross road in the history of our country, where drastic decisions have to be taken to address this perilous trend. The philosophy of non-violent resistance as proposed by Martin Luther King Jr. is a veritable step towards a working solution, as it is not only an outcry against terrorism of any sort, but also an ideology that frowns against any form of action that results in the taking of human life or the carnage that comes with violence. His non-violent resistance theory which he developed after a deep study of Mahatma Gandhi’s theory of non-violence, is a radical approach towards the fight against violence of any sort inflicted on the African Americans of his time, an action borne of a passionate fight against racism. So, to aptly address the problem of terrorism in Nigeria, it is necessary we consult and apply some principles of the philosophy of non-violence resistance as postulated by Martin Luther King Jr. (shrink)

Pacifism is not a principle, but an attitude of egalitarian responsiveness to every individual person. Engaging in dialogue with Emmanuel Levinas and Simone Weil, whose approaches are both shaped through the experience of war, I explore a pacifist attitude that highlights the responsiveness to each human being's refusal to suffer violence. The Other in Levinas and the Impersonal in Weil are interpreted as a fundamental resistance of every human being against violence. This resistance is rooted in human vulnerability. (...) This vulnerability and the corresponding resistance against violence are understood as the sources of a pacifist attitude. Pacifism is expressed in a sensitivity to the demands of those involved in war and in the responsibility for every individual, which demands of us, above all, escape aid for refugees and humanitarian and medical support. However, this attitude might also oblige us to provide violent support. If another person is attacked, I might be obliged to support this person exclusively and to fight against the attacking person – yet, without being allowed to ignore the claims of the attacker not to be hurt herself. Even in the midst of a politically necessary counterviolence, pacifism shows itself in a wavering certainty and the ethical unease about the harm my support will do. Accordingly, counterviolence might be politically necessary, but remains ethically ambiguous. Thus, pacifists cannot be concerned about principles or convictions, because facing the violence that another is threatened to suffer, one's own claims are outdone by the claims of this other. The explored pacifist attitude then leads to contemporary pacifist positions of Judith Butler and Adriana Cavarero, who might help to politically contextualise the ethical dictums of Levinas and Weil. Following Butler and Cavarero, pacifism is understood as an attitude that expresses the ethical within the political realm, but which has to be politically enabled itself. Hence, pacifism is also directed against a military-industrial complex and a militaristic spirit in general that force us to close off against claims of the other person and to take unconquerable and unambiguous positions in war times. Pacifism, hence, calls for a fundamental social transformation. (shrink)

The paper considers how Mahatma Gandhi?s Law of Ahimsa (or non-violence) can be reconciled with the necessity of violence; some of the strategies that Gandhi adopts in response to this problem are critically examined. Gandhi was willing to use (outward) violence as an expedience (in the sense of necessity), but he was opposed to using non-violence as an expedience. There are two versions of Gandhi?s doctrine. He makes a distinction between outward violence and inner (...) class='Hi'>violence. Both versions grant that outward violence is often necessary and must be administered with compassion. On the more demanding version, outward version is never justified, not even when it is necessary; it is at best excused or pardoned. On the less demanding version, outward violence under certain conditions is justified. (shrink)

You 遊 is a crucial term for understanding the Zhuangzi . Translated as “play,” “free play,” and “wandering,” it is usually defined as an ideal, playful Zhuangzian way of being. There are two problems with this definition. The first is logical: the Zhuangzi cannot consistently recommend playfulness as an ideal, since doing so vitiates the essence of you —it becomes an ethical imperative instead of an activity freely undertaken for its own sake. The second problem is performative: arguments (...) for playful Zhuangzi as exemplar resemble those of the logicians and philosophers who appear to come in for Zhuangzian criticism. This essay addresses these tensions by demonstrating how the Zhuangzi ambiguates the nature and value of you . Apparent endorsements of you are not freestanding, instead occurring in grudging replies of teachers to overly zealous students. In light of this recontextualization, a new version of you is offered that accommodates “non-playful” ways of being. (shrink)

Islam is a religion of vast dimensions which has inspired great civilizations and today offers many men and women comfort and ethical guidance. In this paper I suggest that the tension between the Qur'an accepted as the perfect timeless word of God and the encultured dynamic Islam of nearly a quarter of the world's population results in contending perspectives of women's role and rights. The Qur'an gives men and women spiritual parity, but there are verses in the Qur'an that some (...) feminists find difficult to reconcile with the modern rights of women. Most Islamic feminists make a clear distinction between cultural practices and the pure word of God. 1 There are profound differences in the status of women within and between predominantly Muslim countries. In some countries it is illegal for women to drive a car, or to move freely outside the home, in others women have become heads of state. The decision to wear the veil, often a sign of empowerment in Europe, is in parts of the Islamic world obligatory. Voices representing an exclusivist, literalist understanding of Islam have entered the mainstream of Muslim lives due in part to the fact that Wahhabism imposes a narrow, sectarian view of Islam, and the Saudi government with its massive oil wealth propagates this puritanical form of Islam across the world. Some traditionalist maulanas and maulvis are concerned above all with women's modesty and enforce customs that refine, purify and protect their chastity. They, like some Islamic feminists, position Islamic rights and roles for women with regard to the exoticized and eroticized `other' — in this case Western civilization, Western imperialism and the rise of Western feminism. `The West' becomes for traditional interpreters a kind of contemporary jahilya. There are also many progressive Muslim scholars who seek to articulate a historically accurate, non-idealized, now challenged, now challenging, view of Islam with an uncompromising emphasis on social justice, equality and pluralism. This paper argues that the ongoing, postcolonial battle against Western `imperialism' demands epistemological humility. Nevertheless, women are fighting for basic human rights and freedoms in parts of the Islamic world where the State, religious authorities and the patriarchal family assume the right of legal and moral surveillance. In considering the nature of violence to Muslim women in Pakistan and the UK, I hope to show that accusations of orientalism should not deter us from recognizing the courage of women activists who themselves risk imprisonment and of the struggle of women victims of rape and domestic violence to overcome feelings of shame and dishonour. I argue that both the private and public spheres need to be made safe for all Muslim women, and not just a professional elite. This can only be achieved by a fuller recognition of women's rights encapsulated in law and all aspects of public life. (shrink)

I argue that the romantic notion of “understanding better,” as the ideal of interpretation according to Schleiermacher and Schlegel, is not a “meliorative” understanding, retrospectively situating the work in a broader conceptual or historical context and thus surpassing what the original author meant. The qualification “better” is ethical insofar as it indicates a future-oriented task of responding for the authors and contributing to the continued life of their work. What guides interpreters in such an ethical task is benevolence or (...) love, both toward the object of interpretation—the work—and the author of the work. Love is a hermeneutic imperative that has two sides: first, interpretation “augments” the work or brings it to its “second power;” and, second, interpreters need to put themselves in a certain attitude of non-understanding so that the work will not be constricted in pre-established categories and, instead, susceptible to challenge interpreters. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE ROLE OF AN ULTIMATE AUTHORITY IN RESTORATIVE JUSTICE: A GIRARDIAN ANALYSIS Sara Osborne I. Restorative or Retributive Justice South African Episcopal Archbishop Desmond Mpilo Tutu's account of the gritty practicality of reconciliation versus retribution in his book, No Future Without Forgiveness, focuses long overdue attention on Restorative Justice, a law reform movement probably better known in international than in American legal circles. A persuasive assertion of Restorative Justice (...) advocates in their critique of increasingly retributive practices such as mandatory minimum sentencing, mandatory arrest, death penalty, juvenile incarceration, "three strikes" legislation, no parole, diminished prisoner services, to name a few, is that reintegrating offenders back into a community is a much more effective deterrence to anti-social violence than punishment alone. They have also observed that communitarian ideals and practices, more visible in traditional cultures1 are more conducive to Restorative goals ofreconciliation and reintegration than are practices of retributive justice rooted in ideals of individual rights. Therefore, such adjudicatory practices should serve as models for preferable alternatives. 1An examination ofrestorative justice under code-based systems of law (European, Roman Law) might also reveal more affinities since the focus ofthese systems is to define the permissible, rather than the impermissible. Code-based law begins with the commons; rightsbased law begins with the individual. 80Sara Osborne However, Western-style retributive justice remains the primary model for international law and Restorative Justice is the prophetic "outsider" voice. So, it is appropriate to ask to what extent and under what conditions are Western retributive justice systems able to incorporate or accommodate adjudicatory practices ofnon-Western or traditional cultures? How critical a factor is religion? These questions will appear wherever Western Law struggles to bring more cultural diversity under a unifying umbrella and they deserve close scrutiny. René Girard's insights into the relationship between law, religion, culture and violence are helpful in identifying practical implications ofthe restorative vision and systemic weaknesses ofretribution, and perhaps illuminating a third way. The metaphor of an organ transplant may be useful: without a genetic match between host and donor both risk destruction. It is the thesis of this paper that that genetic material is a very inclusive conceptualization of "religion" which I have named "Ultimate Authority," drawing on Girard's mimetic theory for the theoretical analysis. In other words, "religion" is indeed, always and everywhere, a critical factor in culture-specific institutions ofjustice. A Girardian understanding ofthe relationship between Ultimate Authority and criminaljustice systems indicates that while there are valuable lessons to be learned from trans-cultural dialogue, wholesale transplants may not be possible, or even advisable because conditions essential for comparable success do not exist in Western legal culture. This paper first presents some background about Restorative Justice, followed by an outline ofRené Girard's mimetic theory to define "Ultimate Authority." The second half of the paper describes alternative adjudicatory processes which have attracted the attention of Restorative Justice advocates and concludes with suggestions about future directions for criminal justice policy discussion. Restorative Justice is a movement which drew its initial energy from Civil Rights era non-violent social action. It has found avid supporters among those whose activism for socialjustice is faith-based as well as those whose activism is rooted in more secular communitarian ideologies. Perhaps because of its international following, a significant contribution ofthe movement has been to initiate trans-cultural dialogue about criminal justice, fostering an increased use of alternative dispute resolution techniques, primarily mediation. Restorative Justice doctrine insists that all crime is personal, evidence ofa broken relationship between victim, offender, and community. Restoring "right relationship" between all parties is both a moral and legal obligation; "justice" to be just must go well beyond addressing the specifics of the act which effected the break. In contrast, the focus of The Role ofAn Ultimate Authority81 retributive justice appears abstract, procedural, and narrow in pursuit of impartiality or neutrality, the ideal of Blind Justice.2 Howard Zehr, a consultant on criminal justice and a Canadian Mennonite who wrote the classic Restorative Justice primer, Changing Lenses: A New Focusfor Crime andJustice, describes the retributive criminaljustice process as "a drama between two abstractions," meaning a criminal and a victim, where the "victim" is even further abstracted... (shrink)

This paper aims to address the manner in which the protester’s opposition, or what I consider as the protester’s being-there-against, “profiles” itself in the no-man’s-land between non-violence and violence. My focus is therefore to unfold some of its constitutive layers, relying on the conceptual tools prominently provided by Ricoeur’s hermeneutical phenomenology. The first constitutive layer concerns the protester’s bodily presence, seized first of all as a specific “here” and “there,” and then as an expressive body that is communicating (...) through gestures. Within the interpretation of one of these gestures—the fist raised in the air—I highlight the anamnestic nature of the protester’s being-there-against as it appears in the relationship with a state whose legitimacy comes from taking over the monopoly on violence. The second constitutive layer is related to the linguistic dimension of the protester’s presence: here special attention is paid to the way language and violence connect, having as background an analysis devoted to the surplus and the deficit of meaning attached to the slogans chanted by the protesters. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward a Non-Cartesian Psychotherapeutic Framework: Radical Pragmatism as an AlternativeLouis S. Berger (bio)AbstractPostmodern criticism has identified important impoverishments that necessarily follow from the use of Cartesian frameworks. This criticism is reviewed and its implications for psychotherapy are explored in a psychoanalytic context. The ubiquitous presence of Cartesianism (equivalently, representationism) in psychoanalytic frameworks—even in some that are considered postmodern—is demonstrated and criticized. The postmodern convergence on praxis as a desirable (...) alternative to Cartesianism is reported, and its relevance for psychoanalysis is considered. The severe conceptual difficulties entailed in formulating such an alternative are discussed, as are those difficulties that would be encountered were psychoanalysis to attempt the shift from explanatory mental science to praxis. The principal psychoanalytic problematics explored are: the paradoxical relationships between theory and therapeutic technique; the therapeutic action; and validation of clinical practices. Initial, nontraditional suggestions for addressing these problems are offered.Keywordspsychoanalysis, therapeutic action, representation, state space, praxis, hermeneutics, Descartes, Heidegger, Wittgenstein“But the inability to bring one’s subject under conceptual control, fixing it propositionally, is not the end of thinking; on the contrary, it were better to say that the breakdown of concepts and the failure of words is an opening that takes us out of the realm where representation and calculation are all that matter to thinking.... [T]his is what happens in the Socratic dialogue where the negativity in which one ends up at a loss for words is at the same time that which sets thinking free.”Bruns 1989, 9“To evolve theory as though our methods and processes of study were essentially the same, or could be the same, as those of other sciences, or could be disregarded when it comes to theory, implies a view of reality that is no longer tenable, least of all in that ambiguous area which we call psychic reality. Nevertheless, all of us are still more or less captives of an erroneous understanding of objectivity and objective reality....”Loewald 1970, 45 [End Page 169]CartesianismCartesianism still underlies and dominates much of today’s thought. It is the label for a network of interrelated ideas and themes:the ontological duality of mind and body; the subjective individualism implicit in the ultimate appeal to direct personal verification; the method of universal doubt which was supposed to lead us to indubitable truths; the doctrine that language and signs are an external disguise for thought; the doctrine that vagueness is unreal and that the philosophic endeavor is one of knowing clearly and distinctly a completely determinate reality; and most fundamentally, the doctrine that we can break out of the miasma of our language or system of signs and have direct intuitive knowledge of objects. (Bernstein 1971, 5–6)[The Cartesian assumptions] constitute a picture of science and the world somewhat as follows: there is an external world which can in principle be exhaustively described in scientific language. The scientist, as both observer and language-user, can capture the external facts of the world in propositions that are true if they correspond to the facts and false if they do not. Science is ideally a linguistic system in which true propositions are in one-to-one relation to facts, including facts that are not directly observed because they involve hidden entities or properties, or past events or far distant events. These hidden events are described in theories, and theories can be inferred from observation, that is, the hidden explanatory mechanism of the world can be discovered from what is open to observation. Man as scientist is regarded as standing apart from the world and able to experiment and theorize about it objectively and dispassionately.(Hesse 1980, vii)Hesse goes on to say that “almost every assumption underlying this account has been subjected to damaging criticism,” a view echoed by others: “Most contemporary philosophers have been in revolt against the Cartesian framework” (Bernstein 1971, 5); “A rejection of the Cartesian view is a central theme for both of the giants of twentieth-century philosophy, Heidegger and Wittgenstein” (Sass 1992, 444n 77); and “The notion of alternative conceptual frameworks has been a commonplace of our culture since Hegel” (Rorty 1982, 3).These criticisms arise... (shrink)

Christian thought on the resolution of conflicts rests on a strong predisposition against violence and a determination to discourage outbreaks of violence, limit the means used, and bring the conflict to as speedy an end as possible. Less attention has been given to the psychological and social roots of violence, the moments of transition from violence to diplomacy and reconciliation, and alternative ways of conflict resolution. These three areas are explored with special reference to the use (...) of sanctions, the WCC’s Programme to Overcome Violence, the Truth and Reconciliation Commission in South Africa, Gandhian Satyagraha, and the Northern Ireland Peace Process. Such measures should be judged against the same criteria as are used in relation to violence and war. (shrink)

In the wake of the non-ideal theory turn in political philosophy, few have paused to ask: Is non-ideal theory a form of ideology? And perhaps even fewer have paused to ask: Is the debate between ideal/non-ideal theorists itself a form of ideology? To the first question, I argue that non-ideal theory is ideological in virtue of the fact that it rules out more utopian ways of theorizing by methodological fiat, and in so doing, risks entrenching (...) an unjust status quo. To the second question, I argue that the debate between ideal/non-ideal theorists is itself a form of ideology, one which serves to reinforce the status quo by convincing political philosophers/theorists that the most pressing problems are problems about what we should think about what we are doing. But this is false. An upshot of my argument is that we ought to abandon the ideal/non-ideal theory debate and address the pressing problems of political philosophy head-on in pluralist fashion, oscillating back and forth between these two modes of theorizing without a decision procedure to tell us when we should take up one perspective or the other. (shrink)

The first half of the paper consists of a philosophical reflection upon a historical exchange. I discuss Buber’s famous letter, and another letter by J. L. Magnes, to Mahatma Gandhi, both challenging the universality of the principle of ahiṃsā. I also touch on Buber’s interest and acquaintance with Indian philosophy, as an instance of dialogue de-facto across cultures. Gandhi never answered these letters, but his grandson and philosopher extraordinaire Ramchandra Gandhi ›answers‹ Buber, not on the letter but about the (...) class='Hi'>ideal of dialogue at large, and the interconnection of dialogue and ahiṃsā. The second half of the paper focuses on the work of Daya Krishna, another ›philosopher of dialogue.‹ from within Daya Krishna’s vast philosophical corpus, I underscore one of his last projects, in which he sketches the outlines of what he refers to as »knowledge without certainty,« contrary to common and traditional ways of perceiving the concept of knowledge. I argue that the pramāṇa, means and measure of knowledge, in the intriguing case of »knowledge without certainty,« depicted by Daya Krishna as open-ended, dynamic, constantly evolving, is inevitably dialogue, and I aim to disclose the meaning and salience of dialogue in Daya Krishna’s oeuvre. However, not just the content, but also the form, or the ›how,‹ matters in my paper. I use different materials across genres and disciplines to rethink, in dialogue with Buber and Daya Krishna, the possibilities and impossibilities of dialogue. These ›materials‹ include Milan Kundera and Richard Rorty, Krishna and Arjuna, Vrinda Dalmiya who works with the notion of care as bridging between epistemology and ethics, Wes Anderson on seeing through the eyes of the other, and Ben Okri on hospitality in the realm of ideas. As author of the present paper I am moderating an imagined a multi-vocal dialogue between these ›participants‹ on dialogue as concept, as craft and especially, as a great necessity in the world in which we live. (shrink)

Focusing on the basic structure as the subject of justice has tended to lead theorists to make a choice: either there is no global basic structure and therefore obligations of justice remain domestic only or there is sufficient institutional basis at the global level to warrant affirming a basic structure global in scope, meaning that duties of justice must also be global. Recent literature, however, has pointed out that this might be a false choice between denying and asserting the existence (...) of a global basic structure. There are two main claims that I make in this paper. First, I claim that on a Rawlsian understanding of the basic structure, justice does not require one before its demands arise, but rather that under certain conditions, justice can require that a basic structure be established as an essential part of fulfilling its demands. This has the benefit of not restricting the scope of justice to the domestic sphere. Thus, the second claim is about determining, from a practice-dependent, non-ideal starting point, what those “certain conditions” are. Specifically, I argue that when currently existing global institutions begin impacting on the freedom of individuals to interact against a fair backdrop and pervasively impact on life chances, then the demands of justice will arise and we will need to establish a global basic structure. This paper, then, also has implications for the ideal/non-ideal theory debate, because I argue that the best way to globalize the basic structure is to begin from a non-ideal starting point.Article first published online: 9 NOV 2015. (shrink)

Archaeology for Today and Tomorrow explores how cutting-edge archaeological theories have implications not only for how we study the past, but also how we think about and prepare for the future. Ranging from how we understand migration or political leadership to how we think about violence or ecological crisis, the book argues that archaeology should embrace a "future-oriented" attitude. Behind the traditional archaeological gaze on the past are a unique and useful collection of skills, tools, and orientations for rethinking (...) the present and future. Further, it asserts that archaeological theory is not only vital for how we conduct our work as archaeologists, and how we create narratives about the past, but also for how we think about the broader world in the present and, crucially, how we envision and shape the future. Each of the chapters in the book links specific theoretical approaches and global archaeological case studies to a specific contemporary issue. It examines such issues as human movement, violence, human and non-human relations, the Anthropocene, and fake news to showcase the critical contributions that archaeology, and archaeological theory, can make to shaping the world of tomorrow. An ideal book for courses on archaeology in the modern world and public archaeology, it will also appeal to archaeology students and researchers in general and all those in related disciplines interested in areas of critical contemporary concern. (shrink)

Jainism is characterized by an observance of non-violence (ahimsa) and asceticism (tapas). In the field of philosophy, it is marked by the doctrine of manifold aspects (anekantavada). The purpose of this study is to explore the inseparable connection between Jainism as a religion and as a philosophy. The first chapterdescribes the position of philosophical thinking in Jainism, while the second examines the doctrine of manifold aspects, which has become synonymous with Jainism. These exploration makes it clear that most of (...) Jaina philosophers have not moved beyond their religious framework into the realm of pure philosophy, even though they have developed philosophical doctrine called the doctrine of manifold aspects. Finally, I introduce Haribhadra’s statement that could becalled an ideal form of the doctrine of manifold aspects. He deals with Kapila (thought to be the founder of the Samkhya school) impartially, and he deals with Mahavira, who founded Jainism, critically. It is interesting that such an idea was stated by a philosopher who was placed in a religious framework. Though thismay be a rare case, it shows the possibility that the philosophical thinking of Jainism has the potential to go beyond its own religious framework. (shrink)

The purpose of the article is to study the influence of Nazi experiments on the formation of ideas about the ethos of science in the field of biomedicine. It is shown that the idea of discrediting a value-neutral science was often confronted with the resistance of the scientists themselves, who, in different contexts of condemning Nazi crimes, appealed to the fact that they acted for the good of science, and even of all mankind. The article discusses the strategy of American (...) lawyers adopted at the Nuremberg Trials aimed at demonstrating the perversity of Nazi crimes in the field of biomedicine both ethically and scientifically. In addition, an analysis of individual materials of the Nuremberg process was carried out, which made it possible to give an idea of the scientific and linguistic design of the human body (name correction strategy) as a “correct” scientific object with desired properties. The article considers the influence of the data obtained on Nazi crimes on the formation of the content of the Nuremberg Code and the design of the principle of informed consent in biomedicine. Ethical aspects related to the further use of Nazi scientific data are also considered. In conclusion, the problem of the formation of scientific knowledge in non-violence mode is articulated. (shrink)

Jacques Maritain is widely recognized as one of the foremost Catholic philosophers of modern times. He wrote groundbreaking works in all branches of philosophy. For a period of about 10 years, beginning in 1933, he discussed matters relating to war and ethics. Writing initially about Gandhi, whose strategy of non-violence he sought to incorporate within a Christian conception of political action, Maritain proceeded to comment more specifically on the religious aspects of armed force in “On Holy War,” an essay (...) about the civil war then ongoing in Spain. After the outbreak of World War II in September 1939, Maritain penned a series of essays that sought to explain why the Anglo–French declarations of war were warranted on Christian just war principles. While the secondary literature on Maritain’s thought is extensive, thus far there has been little systematic exploration of his writings on war. In what follows I seek to remedy this lacuna, by examining how he conceptualized just war in the three phases outlined above. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

Recently, there has been growing interest in methodological issues of non-ideal theoretical philosophy. While some explicitly commit to non-ideal theorising, others doubt that there is anything useful about the ideal/non-ideal distinction in theoretical philosophy. The aim of this paper is twofold. On the one hand, I propose a way of doing non-ideal theoretical philosophy, once we realise how limited certain idealised projects are. Since there is a big overlap between projects that are called non-ideal (...) and applied, the second aim is to distinguish between these categories in order to show that applied theoretical philosophy is only worth pursuing if it operates in a non-ideal framework. I argue that we should be pluralistic about possible non-ideal theories and view the ideal/non-ideal differences as a matter of degree, rather than kind. As an example, I show how my version of non-ideal theory is useful to a concrete debate in philosophy of language. My proposal allows us to identify already existing non-ideal approaches to linguistic meaning and encourages us to further engage in the debate on non-ideal theoretical philosophy. (shrink)

This article argues that non-ideal theory fails to deliver on its promise of providing a more accurate account of the real world by which philosophers can address problems of racism, sexual violence, and poverty. Because non-ideal theory relies on abstractions of groups which are idealized as causes for social phenomena, non-idealists imagine that categories like race or gender predict how groups behave in the real world. This article maintains that non-idealist abstractions often result in inaccuracy and makes (...) the case that empirically informed theories and group-based analyses are needed to correct the course of race-gender theory. (shrink)

This paper considers whether eudaimonism is necessarily an idealizing approach to ethics. I argue, contrary to what is implied by Christine Swanton, that it is not, and I suggest that a non-ideal eudaimonistic virtue ethics can be useful for feminist and critical race theorists. For eudaimonist theorists in the Aristotelian tradition, the claim that one should aim to live virtuously assumes that there will typically be good enough background conditions so that an exercise of the virtues, in conjunction with (...) these favorable external conditions, will suffice for someone to flourish both in the sense of living virtuously and in the sense of living well or living the good life. However, under some forms of oppression the background conditions will not be good enough, and thus an exercise of the virtues will often be insufficient to constitute a flourishing life. It may seem that eudaimonism, with its foregrounding of the concept of flourishing and its assumption of a tight connection between living virtuously and living well, may function as a form of ideology that elides the ways in which non-ideal and oppressive conditions can separate virtue from well-being and can make the state of flourishing (in its dual senses) unattainable. I point out that eudaimonism can be revised to incorporate the claim that virtue and flourishing may typically be unlinked, and I advocate retaining flourishing as an unattainable end, exercising the virtues even with a sense of their absurdity, and confronting the existential states of frustration and disappointment that may result. (shrink)

This paper discusses non-ideal theory as guidance for making bad situations better by morally permissible means. It distinguishes constructive theorizing, which suggests ways of improving specific kinds of bad situation, from cautionary theory, which concerns moral risks of actions under bad conditions. Reflective moral judgment yields cautionary precepts, identifying presumptively unjustifiable modes of action. The paper illustrates the application of precepts cautioning about coercion and the exposure of others to significant risks, by considering the 1955–1956 bus boycott in Montgomery, (...) Alabama, and the ‘Children’s Crusade’ of the 1963 Birmingham desegregation campaign. All such campaigns involve coercive elements, but the paper argues that coercion was not a morally significant factor in either case. Endangerment is another matter: given the violent, sometimes lethal, reactions to civil rights actions under Jim Crow, those two campaigns’ endangerment of innocent persons must be taken very seriously, especially as it concerns Birmingham. And, in fact, potentially lethal anti-reform violence occurred during each campaign. Relevant factors include the preparation and understanding of young participants and the difference in risk that is assumed by engaging in peaceful, nonviolent public actions. (shrink)

This article problematizes the republican reliance on contemporary ‘states as they are’ as protectors and guarantors of the republican notion of freedom as non-domination. While the principle of freedom as non-domination constitutes an advance over the liberal principle of freedom as non-interference, its reliance on the national, territorial, legal-technical and extra-economic contemporary state prevents the theoretical uncovering of its full potential. The article argues that to make the most of the principle of freedom as non-domination, a strong Athenian element is (...) required. The democratic confederalist project that is being experimented with by Syrian Kurds in the cantons of Rojava, it is maintained, can contribute theoretically and practically to this republican ideal through its democratic and participatory mechanisms, despite fundamental challenges it has to face. (shrink)