Kant makes and elaborates upon a distinction between active citizenship and passive citizenship. Active citizens enjoy the right to vote and rights of political participation generally. Passive citizens do not, though they still enjoy the protection of the law as citizens. Kant’s examples have left commentators puzzling over how these distinctions follow from his stated rationale or justification for active citizenship, namely, that active citizens possess a kind of political and economic self-sufficiency. This essay focuses on one subset passive citizenry (...) – that of traveling blacksmiths, barbers, and day laborers in order to examine Kant’s distinctions. I argue that these examples show that Kant’s concerns regarding dependence are, at least in some cases, pragmatic rather than political. (shrink)

Early Buddhist texts were first being composed and compiled during South Asia’s Iron Age, and thus contain many references to iron and other metal technologies. This article examines one metalworking image that came to play a special role in the imagination of early Buddhists: the red-hot iron ball. I argue that the iron ball, which comes to be a torture device in hell, force-fed by hell wardens, is a mimesis of the pi??ap?ta, or almsfood offered to monks and nuns by (...) the laity. Around iron ball imagery clusters a set of related Buddhist concerns: anxieties about undisciplined and deceitful monks and nuns, especially in relation to taking alms; the public perception of the sa?gha; the conceptualization of Buddhist hells as an unfortunate karmic result of lacking discipline; and the relationship between these hells and Indian juridical forms of punishment. (shrink)

The present-day dossier of the blacksmith in black Africa and elsewhere is made up of a considerable bulk of literature. The various documents are not homogenous: some are confined to providing us with raw information—a sort of implicit phenomenology; others tend to be in support of, for the most part, particular theories, and, in fairly rare cases, general theories. Engendered by the ambiguous status of this artisan at once manipulator of fire and of chtonic powers, this literature attempts to (...) put forward conclusive answers to situations which are, either in a real sense or in an apparent sense, contradictory. Thus it is that the blacksmith is at times the marginal citizen, something of an outcast who is despised above all else, and at others the equivalent of the figure holding the reins of power, if not this figure in person; in this way his image travels from one extreme of recognised social standing to the other. But in almost every instance he is recognised as possessing the technical knowledge which is the determining factor for the functioning of societies, whatever the category of social formation in which they may be included. (shrink)

This work investigates knowledge systems intrinsic to African civilizations to ascertain ways in which those systems can help validate or invalidate the argument pertaining to the existence of an African epistemology. This approach calls for a paradigm shift in conceptualizing and researching African epistemology free from Eurocentric and Afrocentric biases.

Preface: The Shameful face of Philosophy In fact, Socrates talks about laden asses, blacksmiths, cobblers and tanners1 Whether one looks for a ...

Aristotle holds that it was Socrates who first made frequent, systematic use of epagôgç in his elenctic investigations of various definitions of the virtues . Plato and Xenophon also target epagôgç as an innovative, distinguishing mark of Socratic methodology when they have Socrates' interlocutors complain that Socrates prattles on far too much about "his favorite topic" —blacksmiths, cobblers, cooks, physicians, and other such tiresome craftspeople—in order to generate and test general principles concerning the alleged craft of virtue. It is remarkable, (...) then, how little secondary literature exists on this subject—moreover, several of the few accounts we do have naively assume that epagôgç is the same as modern inductive generalization. Others are in conflict as to whether, for example, we can find any legitimate instances of probabilistic inductive epagôgç in the Socratic dialogues. This paper addresses these and other issues by offering a new, critical account of Socratic epagôgç—one tied to its occurrences in several key Socratic elenchoi. (shrink)

In this anthropological investigation of the nature of an underdeveloped peasant economy, Joel S. Kahn attempts to develop the insights generated by Marxist theorists, by means of a concrete case study of a peasant village in the Indonesian province of West Sumatra. He accounts for the specific features of this regional economy, and, at the same time, examines the implications for it of the centuries-old European domination of Indonesia. The most striking feature of the Minangkabau economy is the predominance of (...) petty commodity relations in agriculture, handicrafts and the local network of distribution. Dr Kahn illustrates this with material on local economic organization, which he collected in the field in the highland village of Sungai Puar, the site of a blacksmithing industry, and with published and unpublished data from other parts of Indonesia. Dr Kahn's book is unusual for its combination of a theoretical analysis of underdevelopment with a detailed regional study. It will appeal to those interested in South-east Asian studies, in development, and in neo-Marxist approaches in anthropology. (shrink)

On the developmental reading, Descartes first praised his method in the first instance of Rule VIII of the Regulae ad directionem ingenii, but then demoted it to provisional in the “blacksmith” analogy, and then found his discrete method could not resolve his “finest example,” his inquiry into the essence and scope of human knowledge, an event that, on this reading, resulted in him dropping his method. In this paper, I explain how Rule VIII can be read as a coherent (...) title and commentary that is a further development of the method of the Regulae. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Poems Ancient and Contemporary HELAINE L. SMITH On the cover of Like: Poems by A. E. Stallings is a double photograph of a double image: two ancient carved heads, in profile and facing each other, of the pole horses of a quadriga, a four-horse chariot, dated about 570 BC, and currently in the collection of The Acropolis Museum. The marble horse in profile on the right side of the (...) cover, looking to the left, has a longer neck and face, and is undamaged except for a hairline crack at the neck. Its counterpart has a broader cheek, with light chipping above the nostril and an ear broken off. But they so mirror each other, they are so “like,” that at first glance one might suppose the photographs to be the right and left sides of the same horse. The bottom half of the cover of Like is an exact replica of the top, but the tinting is different, the heads in the top band cream-colored, in the arion 27.1 spring/summer 2019 Like: Poems by A. E. Stallings was published in 2018 by Farrar, Straus and Giroux, New York. Stallings’s earlier books of poetry include Archaic Smile (1999), Hapax (2006), Olives (2012), and a verse translation of Lucretius’ The Nature of Things (2007). bottom a delicate ochre or sand. There is, then, on the very cover of Like a promise of complex correspondence and subtle variation within the volume itself. Stallings’s title suggests poetry as the art of locating and articulating likeness or as the act of finding one thing in another. And in Stallings’s delicate, robust, witty, and humane use of the past, “like” also and most significantly means that they—the figures of ancient myth—and we are alike in our shared experience and shared humanity. Stallings sometimes presents classical and mythological references glancingly, and that is part of the delight—catching the joke in Hermes’ epithet, “lord of florists,”1 finding in “The Rosehead Nail” that the local blacksmith in Monteagle, Tennessee, “was a god / Before... the tasks / That had been craft were jobbed out to machine.” Likeness is, of course, the mode of Homeric simile, and in “Selvage” Stallings turns the simile of Odyssey 22.468–73, in which Homer compares the hanged maids to thrushes caught in a net, into a different but contextually relevant parallel: “they hang... From the warp like a dozen ancient loom weights,” a likeness that evolves from Stallings’s double entendre in line seven describing the maids as “spinsters of their own doom,” an allusion both to the task, properly theirs, of weaving and to their disclosure to their lovers of Penelope’s secret unravelling. Stallings can expand as well as adapt Homeric similes. At Iliad 2.87–2.90 Homer likens the Achaians’ assembly at Agamemnon’s command to arm and attack Troy to bees leaving the hive: Like the swarm of clustering bees that issue forever in fresh bursts from the hollow in the stone, and hang like bunched grapes as they hover beneath the flowers in springtime fluttering in swarms together this way and that way so the many nations of men from the ships and the shelters along the front of the deep sea beach marched in order by companies to the assembly2 178 poems ancient and contemporary Homer finds likeness in the orderly setting forth—of bees, of men—to do what is required. This, on the other hand, is what Stallings does: Colony Collapse Disorder (Iliad, 2.87–2.90) Just as a swarm pours from a hollow rock In one long beeline for the wild thyme, Alighting in clusters on this purple and that, But is stricken with a mass amnesia That disorients the compass of the sun, And they forget the steps to traditional dances, And each helicopters into a different dimness Taking their saddlebags of sweetness with them, And the hive goes dark, the queen is left to starve, And the drones humbug the whimper of the world, And the palace falls to ruins, broken into By vandals who would loot the golden stores Left in the brittle wax hexameters, Just so... And “so” her... (shrink)

ABSTRACT This project seeks to put material culture, craft, and community in conversation with the long-standing American mythology of self-sufficiency referenced not only in elite discourse by the founding statesmen of the United States but also in contemporary popular iterations of the “Green” and urban homesteading movements. Indeed, many of the individuals involved in these movements identify not only as artists but also as advocates of a form of social activism referred to as “craftivism” that explicitly links this American iconographic (...) tradition of self-sufficiency to contemporary mandates for a politics of sustainability, particularly in urban life. Accordingly, I examine the ways in which urban craftivists are preserving and/or reintroducing traditional folkways ranging from subsistence farming to blacksmithing and welding, hand-sewing, knitting and crocheting, and film photography. Offering specific case studies related to these practices, I argue that practitioners of contemporary American craftivisms lean heavily on discourses of memory and tradition, as well as on the material practices and folkways associated therewith, but do so with the intention of creating a new world order that embraces both local and global perspectives as well as resources to support a politics of ethical production reconciling discourses of “tradition” and “sustainability” within the United States and abroad. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Way to Ethical CultureThe Meaning of Art as Oscillating between the Other, Il y a, and the ThirdRossitsa Varadinova Borkowski (bio)Who can suppose that a poet capable of effectively introducing into his scenes rhetoricians, generals and various other characters, each displaying some peculiar excellence, was nothing more than a droll or juggler, capable only of cheating or flattering his hearer, and not of instructing him?Are we all (...) agreed that the chief merit of a poet consists in his accurate representation of the affairs of life? Can this be done by a mere driveller, unacquainted with the world?The excellence of a poet is not to be measured by the same standard as that of a mechanic or a blacksmith, where honor and virtue have nothing to do with our estimate. But the poet and the individual are connected, and he only can become a good poet who is in the first instance a worthy man.— Strabo, The Geography of StraboAfter Emmanuel Levinas showed the need for radically positing the Ethical as the original structure of human inwardness and as art is a fundamental aspect of being human, a reexamination of the meaning of the Artistic and its relation with the Ethical is necessary.1 Throughout [End Page 195] the history of Western thought and culture, the meaning of art has been regarded either as imitation of the world and nature (Plato and Aristotle), objective self-expression of the Absolute Spirit (Hegel) or Being (Heidegger), a subjective “free play of imagination” and judgment (Kant and the Romanticists), or as inevitable engagement with social issues and political position (the Marxists and Sartre). In spite of the variety of theories and views about the essence and value of art, it is unquestionable that the Artistic has transformational power over humans, which points to art’s connection with ethics. Therefore, following Levinas, instead of asking the general ontological questions about the gist of art “What is art?” or “Why is there art instead of something else?” we should seek an answer to the ethical question about the meaning of art: “How can the existence of art be justified?”The answers could be sought in two directions. The first already quite well beaten path explores Levinas’s own vision on art, which most critics find hesitant or even ambiguous.2 The impression of this hesitation is significant on the background of Levinas’s rigorous clarity about the Ethical. Overlooking this impression would lead to conclusions that would deviate our attention from the main question about how the existence of art can be justified. A possible explanation would be that Levinas’s seemingly fragmentary thoughts about art are woven into the fabric of his ultimate meta-ethical project — that is, his approach to art is instrumental, subjected to the Ethical. For example, commentators agree that Levinas’s early article “Reality and Its Shadow” (1948) is the only one exclusively focused on art and use it as a starting point to assemble the fragments of his aesthetic views into an aesthetic theory. Although this move might be justified methodologically, Levinas is clear that the discussion of art in this article is subordinated to the more general (and more serious) question about the nontruth of being (LR 132). Positing art as mythological and mystical, thus incapable of transmitting a meaningful message if separated from philosophical criticism (142), Levinas puts “in brackets” the discussion about the artistic and focuses on the reason qua knowledge (philosophy) and its relation with the Other. The impression of his hesitation about art’s [End Page 196] independent capability to dephase the instant, to breach the ontological gravity, and to expose the human spirit to the Ethical comes from those texts where Levinas applies his own vision about the integrative role of philosophical criticism — i.e., texts that work as philosophical criticism of art: “Transcendence through poetry — is this serious?”3 (PN 175n12), “if poetry can contain teachings” (165; emphasis added). Therefore, on one hand, Levinas exhaustively scrutinizes all possibilities of ethics of philosophy and comes to the clear position that in order for reason to function humanly it should be dethroned by the Other. He is... (shrink)

This study is aimed at evaluating the influence of the god of iron on ironworking communities in Ǹsúkkā cultural area. In the study area, the Supreme God – Chúkwú Òkìkè, Chínēkè or Chúkwú Ábíàmà is believed to control the affairs of humanity. He is worshipped through intermediaries such as Ányánwù [Sun God], Àmádíòhà, Áhàjīōkù [fertility goddess], Àlà [earth goddess] and the god of iron, which is called by different names in the study area such as Ékwéñsū-Úzù, Òkóró-Údùmè, Chíkèrè Àgùrù and (...) Áshéné. But, how effective is the god of iron in the study area? To provide answers to this question, ethnographic research method, involving in-depth structured interviews, field observation and photographic documentations, was used to gather data on the subject matter while data collected were analysed descriptively. This article is of the view that the influence of the god of iron in the study area is whittling down as a result of Westernisation and Christianity.Contribution: The study indicates an increasing resistance to the Euro-centrism, which has suppressed beliefs in the god of iron and the associated practices. (shrink)

Entre le XIIIe et le XVIIIe siècle, les allégories picturales de la musique mettent en scène de manière récurrente un couple énigmatique : une jeune femme à l’orgue et un forgeron frappant sur son enclume. Il s’agira, à travers un parcours en quelques images, de questionner les termes, a priori antagonistes, de cet appariement et, ce faisant, de poser les jalons d’une réflexion sur ces représentations qui, sur la longue durée historique, semblent bien former – ou forger – un système.