Traditional Chinese landscape painting serves as a profound cultural and spiritual expression, reflecting the Chinese people's reverence for nature through symbolic representation, aesthetic philosophy, and artistic craftsmanship. Since its emergence during the Tang Dynasty, landscape painting evolved into a distinct art form characterized by spiritual contemplation and cultural symbolism. Its development through the Song, Yuan, Ming, and Qing dynasties led to the establishment of northern and southern schools, each with its unique techniques and philosophical underpinnings. In modern (...) society, technological advancements and the influence of Western art have posed new challenges and opportunities for landscape painting. This study explores the philosophical and spiritual dimensions of landscape elements in traditional Chinese art while examining innovative techniques that merge classical aesthetics with modern artistic expressions. Through analyzing the works of key landscape painters, the study highlights advancements in thematic representation, stylistic innovation, and symbolic meaning, offering insights into how traditional landscape painting can be revitalized in contemporary art while preserving its cultural and spiritual heritage. (shrink)

An innovative contribution to the literature of cultural geography, this book explores the evolution of landscape--both material and symbolic--from the standpoint of the populations, cultures, and human decision-making processes that shape and give it meaning. Focusing on evolution, behavior, symbolism, and ecology, Norton offers a critique of the literature of cultural and social geography and articulates a framework of central issues that connect a wide range of theoretical approaches. In the first four chapters, Norton gives detailed consideration to (...) both traditional and contemporary literature and methodologies and to the links between cultural geography and other social science concepts and analytical methods. The remaining chapters are concerned with the causes and consequences of cultural landscape evolution and the variables affecting it, including language, religion, politics, society, economy, and the physical environment. In addressing these areas of cultural geography, Norton promotes an approach that integrates the contributions of geography with those of anthropology, sociology, psychology, and history. His analysis provides a useful synthesis of the conceptual and empirical content of cultural geography and suggests promising new directions for research in the field. Norton's work will prove a valuable classroom and library resource for students and scholars in cultural and social geography and related areas of sociology and anthropology. (shrink)

El presente articulo intenta determinar las razones por las que el santuario de Sant Miquel de Llíria, uno de los más importantes de la actual provincia de Valencia, se consagró al arcàngel guerrero. Se estudia para ello la historia de su culto en Occidente, haciendo hincapié en aspectos como su relación con los lugares elevados y la frecuente proximidad de sus santuarios con aquellos dedicados a la Virgen. Atenderemos también a aspectos fundamentales del contexto histórico, como los movimientos de renovación (...) espiritual medievales, la influencia del médico y teólogo Arnau de Vilanova en la Valencia de principios del siglo XIV y las profecías escatológicas vinculadas a la llegada del Anticristo. (shrink)

Arthur Rimbaud, a prominent figure in the late 19th-century literary scene, is often celebrated for his groundbreaking contributions to modernist poetry. His work, characterized by its experimental form and vivid imagery, embodies many of the philosophical tenets of modernism. This essay explores how the philosophy of modernism manifests in Rimbaud's poetry, focusing on themes of rebellion against tradition, fragmentation, subjectivity, symbolism, and alienation. -/- 1. Rebellion against Tradition -/- One of the hallmark features of modernist poetry is its defiance (...) of traditional forms and conventions. Rimbaud was a pioneer in this regard, rejecting the rigid structures of classical poetry in favor of free verse and unconventional rhythms. In works such as "A Season in Hell" ("Une Saison en Enfer"), Rimbaud employs a prose-poetic style that eschews the constraints of meter and rhyme, allowing for a more fluid and dynamic expression of thought. This rebellion against tradition reflects a broader modernist impulse to break free from the past and explore new artistic possibilities. -/- Fragmentation and Juxtaposition -/- Modernist poets often use fragmentation and juxtaposition to create complex layers of meaning and challenge readers' perceptions. Rimbaud's poetry is replete with abrupt shifts in imagery and tone, resulting in a disjointed yet evocative narrative. In "The Drunken Boat" ("Le Bateau Ivre"), for example, Rimbaud presents a series of vivid, seemingly unrelated images that collectively convey a sense of disorientation and liberation. This technique mirrors the fragmented nature of modern existence, as well as the modernist desire to capture the multiplicity of human experience. -/- 2. Subjectivity and Inner Experience -/- A key aspect of modernist philosophy is its emphasis on subjectivity and the inner workings of the mind. Rimbaud's poetry delves deeply into the realm of personal experience, exploring themes of identity, perception, and self-discovery. His work often blurs the line between reality and imagination, reflecting the modernist interest in the unconscious and the fluidity of human consciousness. In "A Season in Hell," Rimbaud's introspective journey becomes a vehicle for examining the complexities of the self and the elusive nature of truth. -/- Exploration of Identity and Self-Discovery -/- Rimbaud's poetry is marked by a profound introspection and a quest for self-discovery. In works such as "A Season in Hell" ("Une Saison en Enfer"), Rimbaud embarks on a journey of inner exploration, grappling with questions of identity and the nature of existence. The poem is a confessional and autobiographical narrative that delves into the poet's inner turmoil and existential angst. Through vivid and often surreal imagery, Rimbaud articulates the fragmented and fluid nature of the self, reflecting the modernist emphasis on the subjective experience of the individual. The theme of self-discovery is also evident in Rimbaud's famous assertion, "I is another" ("Je est un autre"), which encapsulates his belief in the multiplicity and fluidity of identity. This notion challenges the conventional understanding of a stable and coherent self, suggesting instead that identity is constantly shifting and evolving. Rimbaud's exploration of identity resonates with the modernist preoccupation with the inner life of the individual and the complexities of human consciousness. -/- Perception and the Unconscious Mind -/- Rimbaud's poetry often blurs the line between reality and imagination, reflecting his interest in the workings of the unconscious mind. His use of rich and evocative imagery invites readers to engage with his work on a deeply emotional and intuitive level. In "Illuminations," Rimbaud's prose poems are filled with dreamlike visions and hallucinatory landscapes that evoke the fluid and elusive nature of perception. The modernist fascination with the unconscious is evident in Rimbaud's exploration of altered states of consciousness. His poetry frequently delves into themes of intoxication, madness, and visionary experience, suggesting a desire to transcend the limitations of ordinary perception and access deeper layers of the mind. This exploration of the unconscious reflects the modernist belief in the power of art to reveal hidden truths and to illuminate the mysteries of the human psyche. -/- 3. Symbolism and Imagery -/- Rimbaud's use of rich, often surreal symbolism and imagery is a defining feature of his modernist sensibility. His poems are filled with metaphors and symbols that invite multiple interpretations and resonate on an emotional level. The imagery in "The Drunken Boat" is particularly striking, as Rimbaud conjures a kaleidoscopic vision of the natural world that transcends ordinary perception. This reliance on symbolism reflects the modernist belief in the power of art to evoke profound, often ineffable experiences. -/- Innovative Use of Imagery -/- Rimbaud's poetry is renowned for its striking and unconventional imagery, which often challenges readers to see the world in new and unexpected ways. In "The Drunken Boat" ("Le Bateau Ivre"), Rimbaud presents a series of vivid and hallucinatory images that evoke the disorienting experience of a boat adrift on the sea. The poem's imagery is rich and evocative, capturing the tumultuous and ever-changing nature of the protagonist's journey. For example, Rimbaud writes: > "I have seen the low-hanging sun spotted with mystic horrors, > Lighting up long violet coagulations > Like performers in very ancient dramas! > Waves rolling back the horizons and breaking forth in light." Through this kaleidoscopic vision, Rimbaud creates a sense of both wonder and disorientation, reflecting the fluid and unstable nature of reality. The imagery in "The Drunken Boat" serves to transport readers into a world of heightened perception, where ordinary experiences are transformed into extraordinary and often surreal visions. -/- Symbolism and Emotional Resonance -/- Rimbaud's use of symbolism is central to his poetic vision, allowing him to convey deep emotional and psychological truths through metaphor and allegory. In "A Season in Hell" ("Une Saison en Enfer"), Rimbaud employs a range of symbols to explore themes of suffering, redemption, and self-discovery. The poem's title itself is symbolic, suggesting a period of intense inner turmoil and transformation. -/- Throughout "A Season in Hell," Rimbaud uses symbolic imagery to represent his emotional state and spiritual journey. For example, the recurring motif of fire serves as a symbol of both destruction and purification. Rimbaud writes: > "I firmly intend to possess the truth and to behold the justice of victory! That will, is a ray of light! – Pride is the flame that devours me." Here, fire symbolizes the intense passion and inner conflict that drive the poet's quest for truth and self-understanding. The symbolic imagery in Rimbaud's poetry resonates on an emotional level, inviting readers to connect with the poet's inner experience and to reflect on their own journey of self-discovery. -/- . (shrink)

Within the sporting landscape much has changed from the proliferation and integration of new technologies, for example, the practice of mixed martial arts (MMA) has developed on the fringes of modern sport. It combines several martial arts, is practised in a cage, and allows ground strikes. MMA is presented here within a framework inspired by Norbert Elias’s theory of civilizing of aggressive impulses through sport. We reviewed more than 20 years of literature, with 785 international references and a triple (...) analysis of the discipline, those being physical violence, symbolism, the play impulse. (shrink)

This collection brings together a selection of writings on art by the internationally acclaimed novelist, historian and critic Marina Warner. For 30 years Warner has published widely on a range of art-world subjects and objects, from contemporary installation and film works to paintings by Flemish and Italian Renaissance masters, through Victorian photography and twentieth-century political drawings and prints. Warner's extraordinary curiosity in art and culture is conveyed in writing that is at once poetic and playful, elegant and rigorous, training our (...) eyes on the smallest of details while painting a broad-brushstroke landscape of art past and present. Themes familiar to Warner's readers--myth and fantasy, psychic and sexual experience, the vast and marvelous expanse of the human imagination--are treated in the lectures and articles, stories, interviews and essays contained here, some of which are published for the first time or republished from out-of-print sources. For the first of two volumes, editor Vivian Sky Rehberg has assembled themed sections titled "Playing in the Dark," "Telling Tales" and "Phantom Technologies." Texts include interviews with Tacita Dean and Paula Rego; catalogue essays on Leonora Carrington, Henry Fuseli, Zarina Bhimji, Tony Oursler and Fischli/Weiss; articles on Tracy Emin, Marlene Dumas, Louise Bourgeois; stories for artist's books by Kiki Smith and Helen Douglas; and lectures on Francis Bacon, Hieronymous Bosch and William Kentridge. "The Symbol Gives Rise to Thought" invites us to explore new ways of seeing and engaging with the traces of our artistic heritage. Marina Warner is a writer of fiction, criticism and history. Holder of 12 honorary degrees and two honorary fellowships, Warner is a Fellow of the British Academy and of the Royal Society of Literature. She has judged the The Jerwood Drawing Prize and the Turner Prize; she is a regular broadcaster on the BBC, and has taught and given lectures worldwide, including the National Gallery and ICA, London and the Prado in Madrid; she has delivered the Presidential Lecture at Stanford University and the Carpenter Lecture at Harvard. She has been awarded a CBE, Chevalier de l'Ordre des Arts et des Lettres, France and Commendatore dell'Ordine della Stella di Solidareità, Italy. Warner is a winner of the Aby Warburg Prize and a Getty Scholar. Vivian Sky Rehberg is an art historian and critic based in Paris and Rotterdam. A founding editor of "Journal of Visual Culture," she is a contributing editor of "Frieze," and has written for numerous contemporary art publications. Previously Chair of the department of Critical Studies at Parsons Paris School of Art + Design, where she taught modern and contemporary art, Rehberg is currently Course Director for the Masters in Fine Art at Piet Zwart Institute in Rotterdam.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 142-154 [Access article in PDF] Critical Discussions The Fortunes of Avant-Garde Poetry Mary Anne O'Neil Invisible Fences. Prose Poetry as a Genre in French and American Literature, by Steven Monte; xii & 298 pp. Lincoln: University of Nebraska Press, 2000, $50.00. Modern Visual Poetry, by Willard Bohn; 321 pp. Newark: University of Delaware Press, 2000, $47.00. The situation of French poetry at the turn (...) of the twenty-first century is far different from what it was during the last fin de siècle. In 1900, poetry was a booming art, and France was home to numerous poets of varied inspiration and expression. The religious verse of Claudel and Péguy shared the attention of the reading public with the philosophical poetry of Valéry and the futuristic celebrations of Paris and modern life found in Apollinaire's Alcools and Calligrammes. Long poems, short poems, poems written in standard verse, free verse, prose, and even published as drawings, suggested that the golden age of poetry begun in the early nineteenth century by the Romantics and continued after 1850 by Baudelaire, Verlaine, Rimbaud, and Mallarmé, would not soon come to an end. This indeed proved to be the case, for the heirs of the Symbolist tradition of the first decade of the twentieth century were soon followed by the Surrealist revolutionaries of the 1920s and 1930s, many of whom directed their talents to the composition of political verse at the time of the Second World War. Political poetry by and large disappeared from France after 1950, only to be [End Page 142] succeeded over the next two decades by two very different types of verse. On the one hand, writers like St. John Perse and Pierre Jean Jouve produced difficult works whose appeal was limited to a sophisticated audience, while lyricists, such as Jacques Prévert and even the songwriter Georges Brassens, made poetry more accessible to the general public, often through popular songs. The fact that, during the days of May 1968, students scrawled verses of the Surrealist-Communist poet Paul Eluard on the walls of the Sorbonne to encourage efforts to bring down the social order attests to the power exerted by poetry on the intellectual life of France well into the second half of the twentieth century. Such, however, is no longer the case today. There are only two well-known living French poets, Francis Ponge and Yves Bonnefoy. While reviews dedicated to original poetry do still exist, especially in the south of France where the poetic arm of the French Resistance was most active in the 1940s, poetry attracts many fewer readers--and fewer writers--than it did even fifty years ago.Such a radical change merits some reflection. What has happened to French poetry since the mid-twentieth century? In a sense, all good things must come to an end sometime, and a century and a half of inventiveness and poetic energy may simply have run its natural course. French publishing houses, well aware that prose sells better than verse, have done little to encourage young poets. However, certain trends in the subject matter and form of contemporary French poetry have probably contributed to the current lack of interest. Since the end of the Second World War, French poets have concerned themselves almost uniquely with everyday life--common objects, geographical locales, and ordinary people. This obsession with the ordinary has produced some excellent poetry, especially René Char's evocations of Provençal landscapes and Yves Bonnefoy's treatments of childhood. Yet, this concentration on everyday life has severed poetry from the traditional subjects that have sustained it ever since classical antiquity, such as the celebration of heroic figures and heroic deeds, philosophical and religious inquiry, love, loss, prophetic vision. This very narrow range of subject risks consigning poetry to the status of a minor art. At the turn of the twenty-first century, French poetry also finds itself at the end of a very long period of formal experimentation that began in the second half of the nineteenth century and which includes... (shrink)

SummarySir William Willcocks (1852–1933) was a prominent British irrigation engineer who served in various British colonies. Best known as the chief designer of the Old Aswan Dam, Willcocks was born and trained in India, achieved prominence with his contribution to the development of centralized and perennial irrigation in Egypt, and was hired at the end of his career by the Ottomans to restore the ancient irrigation works of Mesopotamia (which was then on the verge of being acquired by the British). (...) In this article, I follow Willcocks' voyages across the British Empire and show how hydraulic science moved from one colonial centre to another, and how this movement contributed to the construction and maintenance of colonialism on the ground. Often sent to newly acquired territories with ambitious projects to redesign the landscapes of property and agriculture, Willcocks and other engineers who gained their expertise in the colonies relied on lessons from their day-to-day struggle with the land and other social actors' competing agendas to develop the daily techniques that helped establish colonial rule. As the reception of Willcocks' work in London illustrates, it was in the metropole that engineers' practices were translated into a colonial symbolism that had large-scale technical systems as the right tools for the job of subordinating unruly waters and Nature writ large. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Continental Divide: Heidegger, Cassirer, DavosSebastian LuftPeter E. Gordon. Continental Divide: Heidegger, Cassirer, Davos. Cambridge, MA: Harvard University Press, 2010. Pp. 448. Cloth, $39.95.Much ink has been spilled on the dispute between Ernst Cassirer and Martin Heidegger that took place in the Swiss resort town Davos in 1929—famous since Thomas Mann staged his Magic Mountain there—and which has since been referred to as the “Davos Dispute.” While the debate (...) itself and accounts accompanying it have been widely known to historians [End Page 508] of philosophy, Harvard historian Peter E. Gordon shows in this marvelous new book how memory has shaped the event into something much larger than anyone could have foreseen. It is, Gordon claims, the silent work of memory that has made this debate, rather innocuous at the time, into what can be retrospectively be considered the truly earth-shattering philosophical event of the twentieth century.In hindsight, the symbolism of the debate between a German who became a leading Nazi philosopher in 1933 and a Jew who, in the same year, was dismissed from his professorship and forced to flee Germany, could not be greater. It only grows if one connects the historic events with their respective philosophies: on the one side the liberal modern Cassirer, whose philosophy allegedly glorified the Weimar stalemate, and on the other side the radical Heidegger, whose call for “authentic existence” took on a bone-chilling reality as he embraced Hitler in 1933 as the führer to lead Germany back to its authentic roots.Two volumes—the 1999 collection, 70 Jahre Davoser Disputation, edited by E. Rudolph and D. Kaegi, and, in 2000, A Parting of the Ways by Michael Friedman—were the first to delve into the debate’s symbolic meaning. It was Friedman’s thesis that the fateful “parting of the ways” between Continental and Analytic philosophy could be traced to this meeting, which was also attended by Rudolf Carnap. Despite these studies, there has until now not been a comprehensive treatment that pulls together all threads into one narrative, covering the entire intellectual, historical, cultural, and philosophical landscape of the time. Gordon’s book achieves just that and will be, for years to come, the landmark work on this encounter.The book begins from the background in post-World War I philosophy in Germany, which was perceived, along with culture, as being in crisis (ch. 1), to “set the stage” on the “Magic Mountain” (ch. 2). It proceeds to summarize the individual lectures by Cassirer and Heidegger, giving a detailed interpretation of the protocol prepared by students of the interlocutors (chs. 3–4). The author then takes a deep breath in chapter 5 to place the debate in the larger context of Cassirer’s and Heidegger’s philosophies. But the story does not end there, as chapter 6 examines the relation between both thinkers after the debate. Finally, in chapter 7, Gordon assesses the newer debates concerning this dispute up to the debate between Bourdieu and Habermas concerning Heidegger’s Nazi involvement, though it does not re-engage with Friedman’s thesis, as might have been desired.Regarding his interpretation, Gordon juxtaposes Cassirer’s and Heidegger’s philosophies along the Kantian distinction between spontaneity and receptivity, where both paradigms make different claims on the “normative image of humanity” (5 ff.). Whether humanity is interpreted as spontaneous and world-creating, in optimistic Enlightenment terms (Cassirer), or as receptive and open to the world, i.e. as the “shepherd” rather than the “lord of being” (Heidegger), both are answering the fourth of Kant’s questions, “What is man?” While this distinction is useful for understanding the basic relation between them, it is also—as the author would concede—somewhat too coarse to do justice to their mutual differences and commonalities. Were one to assert a systematic critique, Gordon does not really make up his mind as to the true significance of these paradigms: are they mutually exclusive oppositions or, as he implies elsewhere, two alternative versions of philosophical modernism with a common ground? There is evidence for both readings. This question, however, is for the philosopher to answer—the philosopher who wants to push... (shrink)

Understanding a work of representational art involves more than simply grasping what it represents. We can distinguish at least three types of content that representational works may possess. First, all representational works have explicit representational content. This includes the literal content of a linguistic work and the depictive content of a pictorial work. Second, they often have a conveyed content, which outstrips their explicit representational content, including much that is merely implicit in the work, and may exclude certain aspects of (...) explicit representational content, as when explicit representational content is used for nonliteral forms of representation such as irony, metaphor, symbolism, or allegory. It is part of the conveyed content of Bruegel's The Fall of Icarus (c. 1560) that Icarus has just fallen from the sky, although the landscape does not depict his fall. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Idealization of Contingency in Traditional Japanese AestheticsRobert Wicks (bio)In many popular writings that date from the initial decades of the twentieth century, and also in recent scholarly studies, "Japanese aesthetics"—insofar as we can speak sweepingly of a complicated, multidimensional, and dynamic historical phenomenon—is characterized with a set of adjectives whose present linguistic entrenchment is clearly evident. Specifically we read that traditional Japanese aesthetics is an aesthetics of imperfection, (...) insufficiency, incompleteness, asymmetry, and irregularity, not to mention perishability, suggestiveness, and simplicity.1 Given this collection of qualities, we are presented with a matching set of paradigmatic Japanese aesthetic experiences and objects, both as illustrations and as legitimations of this close-to-standard portrait. Examples include the suggestive moon covered by drifting clouds, the irregularly formed ceramics of ceremonial teacups, the simple and asymmetrical arrangement of unpolished rocks in the dry landscape garden, the bold and dashing monochromatic strokes typical of Zen calligraphy, transient cherry blossoms, serene and cloud-capped mountain summits, lonely thatched huts, sunsets in the foggy twilight, the call of a crane that breaks through the silence, and the light autumn rain that drizzles upon a secluded pond.Upon further reflection, it becomes noticeable that some familiar Japanese aesthetic objects do not easily conform to this standard picture, and this raises doubts about the typical characterization of Japanese aesthetics. The quintessentially Japanese shōji screens and tatami mats, for instance, are uniformly rectangular rather than irregular in form. They are, moreover, neither asymmetrical, nor imperfect, nor incomplete, nor insufficient. How then, can these perfectly regular screens and mats—items crucial to the aesthetics of Japanese domestic architecture—fit neatly into the usually encountered portrait of traditional Japanese aesthetics, if it is said to be fundamentally "the worship of imperfection"?2 Or similarly if "imperfection" is [End Page 88] the keynote of this aesthetics, how does one explain the meticulously raked surfaces of the dry landscape garden or the impeccably perfected movements requisite for performing the Japanese tea ceremony?3Since such examples do not obviously fit into an "aesthetics of imperfection and insufficiency," some reconsideration of the prevailing characterization of Japanese aesthetics is needed to accommodate these, along with other examples of "perfected" items and arrangements. In short, the main difficulty is that the concept of "perfection" has been underthematized.4 To develop a revaluation of the presently submerged status of "perfection" in most scholarly discussions of Japanese aesthetics, I will highlight the familiar principle of aesthetic complementarity but contextualize the experiential foundations of this principle in a specifically Japanese-philosophic manner, namely, in reference to a fundamental feature of time-consciousness, as described by Dōgen (1200-53). This historical grounding will align the principle of complementarity with some of the acknowledged Zen Buddhist sources of traditional Japanese aesthetics.5 The upshot will be that the above-cited collection of adjectives typically used to describe the prevailing atmosphere of Japanese aesthetics—imperfection, asymmetry, incompleteness, suggestibility, etc.—presents only half of the aesthetic and philosophic story and, moreover, tends to pass over what can be appreciated as a more consequential underlying concept, namely, the idea of "contingency."In what follows, basic reflections on the phenomenology of time-consciousness will lead to the claim that, in many paradigmatic instances of traditional Japanese aesthetics, we have before us a situation that is aptly describable as "the idealization of contingency." This involves the assertion of a philosophic proposition through an aesthetic presentation (i.e., the proposition is expressed using metaphor, symbolism, or analogy). In the case of traditional Japanese aesthetics, the main proposition is the Buddhist-associated one that the foundation of things is contingent, conditional, and nonabsolute (i.e., there are no absolute foundations). The aesthetic presentation of this proposition will, as we shall see, make ample room for "perfection" in understanding Japanese aesthetics: By means of juxtaposing contingent, perishable individuals (which usually have an "imperfect" appearance) against a perfected, polished, and idealized background, the contingency of the individuals is thereby aesthetically highlighted and made more readily appreciable.The resulting criticism of the standard characterization is thus a simple one: The typical group of concepts used to describe traditional Japanese aesthetics has neglected to give due... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Popular Culture in the Houses of Poe and CortázarDaniel Bautista (bio)"[…]at the age of nine I read Edgar Allan Poe for the first time. That book I stole to read because my mother didn't want me to read it, she thought I was too young and she was right. The book scared me and I was ill for three months, because I believed in it."…—Julio Cortázar1In interviews and essays, (...) Julio Cortázar, the famous Argentine author, often expressed a lifelong fascination with Edgar Allan Poe (Berg 227–32). Moreover, as a young man Cortázar spent two years translating the American author's prose into Spanish, making irresistible the search for traces of Poe in his own work. His description of Poe as a youthful and guilty pleasure reflects a common reaction to the American author that has led some critics to rue Poe's influence. Jonathan Elmer points out that "Poe's connection with juvenile tastes, and hence with a time when reading and acquiring 'culture' were actually enjoyable […] has been insistently and disapprovingly stressed by the Anglo-American literary-historical tradition" (3). Although Poe himself often liked to "advertise [his work] as ethereal and otherworldly, or avowedly timeless," critics who found elements of the vulgarly popular in his writing regarded the author as a true "stumbling block" in the American literary landscape (Rosenheim and Rachman xii; Eliot 205). In a similar vein, Elmer observes,It has puzzled many critics, sometimes to the point of vituperation, that Poe stands simultaneously as the germinal figure of a central modernist trajectory (leading via Baudelaire to French Symbolism and thence to the high modernism of Eliot and others) and as the much-acknowledged pioneer of several durable mass-cultural genres: detective fiction and science fiction, as well as certain modes of sensational or gothic horror, which are today, to use one of Poe's coinages, "omniprevalent."(2)In the past, such critics tended to dismiss Poe to the fringes of the American canon for what they saw as his highbrow pretensions and lowbrow taste. More recently, critics like Elmer and others have argued that Poe's ability to straddle the high/low cultural divide is precisely what makes him such a perennially fascinating writer and one of the most revealing about American culture in general.Considering Poe's high standing in Latin America, one might assume that the question of his low or popular status was not as much of a stumbling block there.2 Cortázar himself blamed American discomfort with Poe on his use of "baroque" language, an issue that Cortázar's own background as a native Spanish speaker allowed him to ignore: [End Page 1] "since I'm neither English nor American, I see it with another perspective. I know there are aspects which have aged a lot, that are exaggerated, but that hasn't the slightest importance next to his genius" (Weiss 73). The idea that an author's "genius" could rise above the demands of his countrymen was important to Cortázar. Questions about his own cultural status also significantly affected the reception of Cortázar's work, though in many ways he suffered from just the opposite charges made against Poe. The style and themes of his work, and the political context in Argentina during the early part of his career (characterized most conspicuously by the rise of Perónism), led some in the literary establishment of his own country to accuse Cortázar of being too European or elitist.3 Looking at Poe and Cortázar together, this essay compares how both authors negotiated such cultural issues in their writing and the way that Cortázar reworks some of Poe's particular strategies in a modern Argentine setting. Focusing on two of these authors' most well-known stories, "The Fall of the House of Usher" (published in 1839) and "Casa tomada" ("House Taken Over") (published in 1946), I argue that they both reflect some of the ways that Poe and Cortázar grappled with the rise and attraction of a popular culture that threatened to reconfigure their particular literary landscapes.In Keywords, Raymond Williams traces the... (shrink)

While different groups of viewers may have sought different values in Cézanne's art, the artist's manner of painting and personality both contributed to the ambiguity of his work. Until the last decade of his life he seldom exhibited, and even then his paintings seemed unfinished. He was generally regarded as an "incomplete" artist and often as a "primitive," one whose art was in some way simple or rudimentary, devoid of the refinements and complexities of his materialistic, industrialized society.1 He was (...) seen as an isolated man who lived apart from other painters and found human relationship and communication difficult. Yet for some symbolists it was this alienation and mystery which made Cézanne's art so attractive. As early as 1891, Fénéon found it appropriate to refer to "the Cézanne tradition," a designation which indicates the influence of the legendary account of the artist promulgated by Gauguin and his associates.2 Gauguin had painted landscapes with the reclusive artist during the summer of 1881, was impressed by his odd style, both personal and pictorial, and in a letter to Emile Schuffenecker of 14 January 1885 described Cézanne as embodying the mysticism of the Orient.3 Such a characterization held special meaning for those like Gauguin who had come more and more to search for an ultimate truth in the experience of the mystical, the transcendental, the intensely real. For the symbolist painter or writer, primitives lived in harmony with the real world; they had an intuitive, mythic understanding of their environment. Most modern Europeans, in contrast, viewed the world through false and short-sighted analytic reason and thus saw only immediate causes and effects, not eternal universal principles. They were Christians who could not see the truth of Buddhism; they were socially indoctrinated Parisians who could not see the purer structure of human society in provincial Brittany; they were refined painters of nature who could not see the expressive power of a flat area of color surrounded by a broad outline. For Gauguin and the symbolists, Cézanne, living in isolation in his seemingly unsophisticated native Provence, qualified as an enlightened contemporary, an inspiring force, a primitive artist. · 1. For Cézanne as "incomplete," see, e.g. Thadée Natanson, "Paul Cézanne." Revue blanche 9 , p. 496; and Gustave Geoffrey, "Paul Cézanne" , in La Vie artistique , p. 218. For Cézanne as "primitive," see, e.g., Georges Lecomte, L'Arte impressionniste , pp. 30-31; and Maurice Denis, "Cézanne" , in Théories, 1890-1910: Du symbolisme et de Gauguin vers un nouvel ordre classique, 2d ed. , p. 246. The late nineteenth-century notion of the "primitive" artist was very broad. Included in the category of primitives were artists of the ancient Orient, artists of the earlier stages of development of various Western styles , provincial or uneducated European artists, and those of contemporary non-European societies. With regard to the negative evaluation of modern Western European society, see, e.g., Victor de Laprade, Le Sentiment de la nature chez les modernes, 2d ed. , pp. 483-88; and Albert Aurier, "Essai sur une nouvelle méthode de critique" , "Le Symbolisme en peinture: Paul Gauguin" , and "Les Isolés: Vincent van Gogh" , in Oeuvres posthumes , pp. 202, 216, 262-63.· 2. Félix Fénéon, "Paul Gauguin" , in Oeuvres plus que complètes, ed. Joan Halperin, 2 vols. , 1:192.· 3. Lettres de Gauguin à sa femme et à ses amis, ed. Maurice Malingue , p. 45. Félix Fénéon, André Mellerio, and Emile Bernard also associated Cézanne's style with mysticism. Richard Shiff is an associate professor of art at the University of North Carolina at Chapel Hill. He has written a related article, "The End of Impressionism: A Study of Theories of Artistic Expression". His contributions to Critical Inquiry are "Art and Life: A Metaphoric Relationship" and, with Carl Pletsch, "History and Innovation". (shrink)

During the IAEA’s Mobile Radioisotope Exhibition (1960–1965) through the eventful roads of five Latin American countries (Mexico, Uruguay, Argentina, Brazil, and Bolivia), a variety of photographs were taken by an unknown Mexican official photographer, and by Josef Obermayer, a staff driver from Vienna. The exhibition carried not only bits of nuclear sciences and technologies, but also the political symbolism of the ‘friendly atom’ as a token of modernization. The photographs embarked on different trajectories, though all of them ended up (...) at the training and exchange official’s desk in charge of the exhibition, Argentinian physicist Arturo Cairo. The ones taken in Mexico also had a local circulation as propaganda intended to promote radioisotope applications. The two sets of images were intended to show the contrast between modernity and traditional society, but they did it from different gazes. Our paper argues that, in the case of Mexico, the photographer reinforced representations of the country which were already popularized by Hollywood for foreign and local audiences. On the other hand, the Viennese photographer’s gaze delivers an autoethnography of his dutiful journey. We also argue that Obermayer’s projection is one of what Roger Bartra has conceptualized as the ‘salvage on the mirror’. (shrink)

This study employs online archival and interview methods to understand how people on X (formerly Twitter) interpret and construct the ‘No Gree for Anybody’ tweets as a form of digital protest. ‘No Gree for Anybody,’ translating to ‘Do not compromise for anyone’ in Nigerian Pidgin English, became a sort of national anthem on social media, especially on Twitter, amid the socioeconomic challenges in Nigeria. The adoption of this slogan, despite concerns from the Nigerian Police, underscores its influential role as an (...) alternative protest form advocating systemic reform and confronting entrenched power structures. The qualitative data analysis constructed four key themes: Language and Identity, Digital Protest/Mobilization and Collective Identity, Multiple Symbolism of Defiance, and Protests Continuum in Nigeria’s socio-political landscape. These themes provide a nuanced understanding of ‘No Gree for Anybody’ and how its subtleness and non-episodic features shape digital activism and socio-political discourse in Nigeria, highlighting its position in contemporary protest dynamics. (shrink)

The Monumental is an interdisciplinary collection of original, cutting-edge contributions by international researchers pursuing the epistemology and ontology of monuments over time and geography. The contributors are specialists in geography, architectural theory and history, prehistoric, Greek and Roman archaeology, modern art, Byzantine studies, landscape theory and heritage reception. Against the global climate of flux and uncertainty in the present turbulent world, the durability of monuments as "urban permanences" emerges as one of the few remaining spatial and mental anchorages. As (...) such it is needed, maintained, enhanced, imitated, landscaped and even invented. In particular, the monumental as a spatial and aesthetic phenomenon of perpetual importance has recently acquired major new meanings. It now emerges as a key political, spatial, aesthetic, symbolic, architectural and archaeological manifestation or entity, open to constantly new, even contradictory forms and expressions. This collection addresses the urgent need for relevant research. It breaks new ground by posing fresh questions on the ontology, temporality, purpose, politics, scale, place, contestations and aesthetics of and around the monumental, from prehistoric time to the present, as well as in both Eastern and Western geographies. Monuments are explored as bearers of the urban majestic, extraordinary and sublime. The Monumental poses questions about changing perceptions, the evocative power of representation, identity construction, ideology and symbolism, the vital necessity for a communicative and active public space around monuments, imitation processes across geographical space-time, as well as the powers that construct, deconstruct or identify the monumental but also the anti-monumental as such. Geographies of reference are the European space, the United States and Asia. Wide-ranging theorizations alternate with in-depth analyses of paradigmatic cases. Conventional as well as alternative forms of the monumental in the present shifting world are also pursued. The Monumental is of great value and interest to scholars, students and professionals in the fields of architectural theory, history and design, archaeology, art theory and history, Byzantine studies, restoration, urban design and planning, human, urban and cultural geography, cultural studies, social anthropology, Asian studies, as well as those in wider subdisciplines. (shrink)

Resumen En las siguientes páginas, se ofrece por primera vez una edición crítica en español del ensayo de Georg Simmel “Böcklins Landschaften”, publicado en 1885 en el semanario Die Zukunft, que editaba en Berlín Maximilian Harden. Estas reflexiones sobre los paisajes del pintor suizo Arnold Böcklin fueron para Simmel el punto de partida de una rica y variada producción teórica en los dominios de la estética y la filosofía del arte. Palabras clave: Filosofía del Arte; Estética de la pintura; Obra (...) de arte; Intemporalidad; InespacialidadOn the following pages, it is offered for the first time a critical Spanish translation of Georg Simmel’s “Böcklins Landschaften”, an essay published in 1885 in the weekly magazine Die Zukunft, edited in Berlin by Maximilian Harden. These reflections on the landscapes painted by the Swiss symbolist artist Arnold Böcklin were for Simmel the starting point of a rich and varied theoretical production in the fields of aesthetics and philosophy of art. Key words: Philosophy of Art; Aesthetics of Painting; Artwork; Temporalness; Spatialness ARK: ark:/s18537960/fi88x96c9. (shrink)

The subject of the study is the cultural code of Judaism in the visual semiosis of the Crimea. The object of the study is the traditional symbolism in the decor of the Jews of the Crimea: Ashkenazi Jews, Karaites and Krymchaks. The article uses the methods of cultural (semiotic, ontological and hermeneutic) analysis in the continuum of signs of the traditional Jewish semiosis, the idiographic method in the concept of the totality of signs, the method of analysis of previous (...) studies, the method of synthesis in substantiating the morphology of signs. The following aspects of the topic are considered in the study: five main codes of Jewish culture are identified, their morphology and interrelationships are substantiated, as well as key meanings and the main central code. The main conclusions of the study are: 1. The multiethnic landscape of Crimea is made up of the cultures of numerous ethnic groups. The main feature of the identification and self-identification of cultures is religion. The Jews of Crimea include Ashkenazi Jews, Karaites and Crimeans. A single source for cultural codes in the Jewish semiosis is the Torah (the Mosaic Pentateuch) for all three ethnic groups, and for two of them (Jews and Krymchaks), the interpretation of the Torah is also the Talmud. 2. Based on the studied material, five main codes of the Jewish visual semiosis of the Crimea are identified, each of which unites a certain group of symbols: skewomorphic, phytomorphic, zoomorphic, numeric. The unifying code and the primary source of all codes is the code Book (Torah). The interrelationships between the codes, the key meanings – symbols of Creation, Paradise, Torah persons and Messianic aspirations are revealed. The semantic center of all codes is the repository of the Torah – Aron Hakodesh, and the Torah itself. Thus, the ring pattern "from Torah to Torah" is revealed. 3. A special contribution to the research of the topic is the systematization of the cultural codes of the Jewish semiosis of the Crimea. The scientific novelty consists in the fact that for the first time a culturological analysis was carried out and the interrelationships of cultural codes in the visual semiosis of the Crimea were structured. (shrink)

Public art, distinguished from museum-bound art by its integration into communal spaces, engages directly with the broader public. It thrives on a foundational understanding between the artist and the community, often mediated by public leaders who represent the area's cultural and spiritual values. Funded by government resources and shaped under its oversight, public art not only enhances the aesthetic and functional qualities of urban environments but also embodies and reflects collective beliefs and religious symbolism. This study investigates the role (...) of sculptures as religious symbols in public spaces, exploring how such artworks contribute to the creation of "excellent" public places. By examining three major public sites in Dunedin, each hosting distinct sculptural works, this paper delves into the interplay between public art and communal religious identities. It considers how sculptures in public spaces serve not merely as art but as pivotal elements that influence communal spirituality, inclusivity, and engagement. The research aims to uncover how public sculptures, beyond their visual appeal, act as cultural and religious touchstones that enhance and define public spaces, thereby fostering a deeper interaction with the sacred in everyday life. Through this lens, the paper seeks to articulate the nuanced ways in which public art contributes to and shapes the spiritual landscape of public environments, enhancing the vibrancy and purpose of communal areas through the integration of religious symbolism and philosophy. (shrink)

This Special Issue comes at a time when African countries and the Global South in general are facing unprecedented crises in securing energy to power their economies. The crises are necessitated largely by the developed Western countries exerting enormous power and pressure upon the developing world to move away from fossil fuels, while at the same time the West is increasing its uptake on fossils. However, with critical self-reflection we are able to understand that a crisis of this nature is (...) not without historical precedence, as it is preceded by a series of other forms of injustices meted out upon the formerly and still colonized peoples. And not long ago, the COVID-19 pandemic on the health front, and the handling thereof, showed just how skewed and divided the world still is and laid bare race-laden inequalities both at local and global levels. So to be sure, the current crises are part of the history of struggle against race-based social injustices and demonstrate Western desire to continue its stranglehold over its former colonies. And although the energy transition is dubbed the “Just Energy Transition,” for those in the developing world who are negatively affected, there is clearly nothing “Just” about it. So whereas we generally tend to speak of social or historical injustices such as the energy crises and COVID-19, at an epistemological front we find cognitive injustice. Accordingly, the articles in this issue contribute to a series of responses by the anticolonial movement (broadly defined) in relation to injustice, particularly its epistemological ramifications on knowledge and knowledge production in the relation between the colonizer and the colonized, the center and the periphery. Furthermore, the historical exclusion of African and other non-European peoples from participation in reason had the effect that Africans in particular were precluded from philosophy itself, a phenomenon that African philosophy and associated disciplines are today still grappling with in the academy. So in a word, the articles make an important contribution insofar as reckoning with the impact that race and the history of racism has had in philosophy in particular, both as a discipline and as a human mental activity.It should be remembered that the exclusion of Africans from reason and eventually from philosophy is preceded by an earlier one, the exclusion of Africans from recognition at a human level, qua rational beings. One can talk of a history of depersonalizations and dehumanizations; of massacres and deracination inflicted upon the oppressed owing to the colonial encounter. This is why for a scholar and a philosopher of the periphery, to use Enrique Dussel’s term, philosophical inquiry cannot and ought not be divorced from human reality. In fact, scholars of the periphery often stress the need for philosophy not to abstract too much from reality; and for philosophy to confine itself with liberatory human ends, among other things. There are a number of thinkers of the periphery who famously harp upon this point. For instance, Lewis Gordon has introduced the concept of “disciplinary decadence” by which he laments the fetishization of methods and whereby disciplines become an end in themselves, thus not necessarily serving human needs. Other thinkers in this school of thought include the likes of Enrique Dussel, Charles Mills, Cornel West, Angela Davis, and George Yancy to mention but a few. Yancy speaks of the “Density project” with which he has a normative injunction upon Black philosophers. In a similar vein, Dussel remarks in the Philosophy of Liberation that “Philosophy, when it is really philosophy and not sophistry or ideology, does not ponder philosophy. It does not ponder philosophical texts, except as a pedagogical propaedeutic to provide itself with interpretive categories. Philosophy ponders the nonphilosophical; the reality.”1 This reality, as is averred, is in existential phenomenology, not merely objective reality or perhaps something out there existing on its own accord, but rather it is what Jean-Paul Sartre associates with “human reality,” which is reality as lived by people of flesh and blood. So in a world demarcated between center and periphery, human beings and subhumans, whites and Blacks, the anticolonial thinker cannot afford not to raise questions relating to social existence, “the reality.” Thus for those in the academy, one must be able to come to terms with the reality of non-Western and “non-scientific knowledges” (after Boaventura De Sousa Santos) not being recognized as credible knowledge, coupled with the possibility of being forgotten, of being completely wiped out from history. And, as we see with Bernard Matolino’s article in particular, this is the battle that African philosophy has vigorously had to deal with in the previous two or three decades.In the Western canon, philosophy is generally taken to begin with the Greeks and this, as is observed, is no historical accident but forms part of a project to relegate previous philosophical traditions to relative obscurity, and to preclude the rest of humanity from participation in reason. The idea is that for Western modernity to be a viable project, oppressed cultures must out of necessity be denied reason. On this very point, Frantz Fanon would remark in Black Skin White Masks in the following manner: “That victory [on the rational front] played cat and mouse; it made a fool of me. As the other put it, when I was present, it was not; when it was there, I was no longer.”2 In this regard Mogobe Ramose’s article notes how the Aristotlean concept of man as a rational animal becomes a misnomer insofar as this relates to the Black person. With this sleight of hand, previous civilizations such as the African (Egyptian) and Arab traditions in philosophy are supposed to vanish from history and from the epistemological landscape. In this regard, Mills’s insights will continue to haunt philosophy well into the future, long after his passing. Mills had noted that a typical philosophy program in the Westernized university will normally start off with the two Greek philosophers, namely Plato and Aristotle. From here it moves to cover the Middle Ages and probably end with theories on liberalism. And although this period covers a history of more than two thousand years of Western philosophy, there will be little or no mention of traditions that shaped philosophical thought prior to the Greeks.The above notwithstanding, the articles in this issue show, however, that not only are Africans and oppressed peoples endowed with reflective reason, but that they also possess a unique brand of philosophy. By and large, the articles not only affirm the epistemological standpoint of African philosophy but show its own genealogy, discourse, and objectives among other things.With these short remarks, the following articles cut across these thematic areas: metaphysics of race, epistemic racism, racial ontology, feminism, and decolonial literature. Accordingly, the article by Bernard Matolino begins by delving into the metaphysics of race and notes that while there is no proof that there are distinct races (after Kwame Appiah), race as a matter of social life is alive and relevant. Further, his article goes on to demonstrate how African philosophy emerged as a form of protest and native philosophers’ need to show that indigenous peoples always had a philosophy. In a similar vein, Edwin Etieyibo’s article discusses epistemic racism, and how color prejudice historically translated to other forms of racial injustices such as epistemic racism. His article makes use of the works of such thinkers as Anibal Quijano and Ramon Grosfoguel to trace the genealogy of such injustices in the modern period.Siphiwe Ndlovu’s article looks into the problem of Black marginality, particularly in the modern period. He locates his musings within the social contract tradition but suggests a reading of contemporary marginality through the lens of Mills’s racial contract. Accordingly, instead of seeing Black marginality as a function of exclusion or being cast outside the contract, the article argues that such marginality is due not from exclusions per se but rather from inclusion albeit only as junior—and therefore inferior—partners in the racial contract.Mogobe Ramose’s article begins by endorsing Kwasi Wiredu’s view that there is nothing wrong with African philosophy being preoccupied with questions that are not exactly identical to those of non-African philosophies. Furthermore, his article traces, through D. M. Goldenberg, the roots of anti-Black racism from “colour symbolism” among the Arabs in the classical world, through the Rabbinic era, and later taking the form of race prejudice in Christianity. At the crux of his article is the argument that the prevailing practice of fragmenting the human race into multiple bits and pieces is against the pursuit of justice and peace in human relations.The article by Zinhle ka’Nobuhlaluse considers Anika Mann’s arguments on race and feminist standpoint as an existential standpoint and foundation. She takes up Mamphela Ramphele’s initial autobiography, Mamphela Ramphele: A Life, to critically reflect on what the actions of “non-subservient Blackwomen” reveal about the lived experience of being Black and a woman under Apartheid South Africa.The article by Siseko Kumalo infuses decolonial and literary criticism as projects that may allow for a recognition of the “ontological legitimacy” of amaqaba (those who rejected colonial influences and education). Through a close reading of S. E. K. Mqhayi’s Intshayelelo: Imbali, the article engages with the question How does a model of inclusive national identity in South Africa, once established, get us to the point of recognition for the Indigene? (shrink)

Addressing one of the most difficult conceptual topics in the study of classical Hinduism, Ariel Glucklich presents a rigorous phenomenology of dharma, or order. The work moves away from the usual emphasis on symbols and theoretical formulations of dharma as a religious and moral norm. Instead, it focuses on images that emerge from the basic experiential interaction of the body in its spatial and temporal contexts, such as the sensation of water on the skin during the morning purification, or the (...) physical manipulation of the bride during the marriage ritual. Images of dharma are examined in myths, rituals, art, and even the physical landscape of the Hindu world. The varied and contingent experiences of dharma infuse it with a meaning that transcends a false analytical distinction from adharma, or chaos. Glucklich shows that when dharma is experienced by means of living images, it becomes inescapably temporal, and therefore inseparable from adharma. (shrink)

Is the history of man perhaps of such nature that it gives him no grounds for hope? What becomes of our hopes if we must die after all? Where is the historical process as a whole going? These are the questions Josef Pieper (1904–97) asked decades ago in his Hoffnung und Geschichte (1967). Initially translated into English by Richard and Clara Winston as Hope and History in 1969, decades later in 2020 Cluny Media has reprinted the Winstons' translation, beautifully covered (...) with symbolist George Frederick Watts's (1817–1904) oil on canvas titled Hope. As such, this book review has two goals. The first is to explain the argument of Pieper's rich text made available for the second time in English. The second is to explain the status of his argument within the landscape of the philosophy of hope, and the significance of Cluny's efforts to reinvigorate Pieper's Hope and History into the English-speaking world. (shrink)

In this article, we explore the worldview of the pilgrim and how it relates to the drama of human existence. The worldview of the pilgrim is the starting point in our explorations of the postmodern conundrum and interrelated subjects such as epistemology, ethics, religious symbolism, hospitality and practical life strategies from a narrative and confessional perspective. These elaborations will serve the ultimate goal of this article, which is to contribute to the philosophy of education (including educators and educationists) and (...) consequently to equip individuals with skills and substantial knowledge that would allow them to understand, define and pursue their own life goals as well as to participate with integrity in their community as full-fledged, responsible citizens. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Holocaust Visions: Surrealism and Existentialism in the Poetry of Paul CelanVéronique M. FótiHolocaust Visions: Surrealism and Existentialism in the Poetry of Paul Celan, by Clarise Samuels; x & 134 pp. Columbia, South Carolina: Camden House, 1993, $53.50.Samuels’s thesis is that Celan’s poetic work in its entirety can and should be understood as a comprehensive and unified philosophical system, in which each poem is assigned its place. This system (...) is not outlined in terms of its organizing principles, but rather in its topography of three superimposed layers. The top layer (which an empiricist would consider foundational) mirrors an “objective” reality and is informed by finehoned observation, whereas the middle layer constitutes an “ideological program” that “attempts to establish a socio-political value system” (p. 2), while the supporting bottom layer offers an “existentialist epistemology.”Despite her stress on systematicity (obsolete since Hegel), Samuels identifies surrealism (particularly the strand deriving from Breton) and existentialism as the formative influences on Celan’s poetics; and she carefully explores the interrelations of these movements of thought with the heritage of French symbolism, and with Dadaism and Marxism. She does not, however, use guiding concepts, such as “epistemology” or “ideology,” in any precise philosophical sense. By “epistemology” she seems to mean a fundamental concern for reality and truth, coupled with the belief that truth is accessible beyond [End Page 382] social constructions of meaning, whereas “ideology” is used in the various senses of revolutionary program, utopian vision, structure of ideas, or even just ideation (as in “On the ideological level, the Holocaust fulfills the surrealist intention of entering the individual’s subconscious,” p. 108).On the basis of her analyses of surrealist and existentialist thought, Samuels examines Celan’s poetry and poetics with a view to his search for an “alter reality” that would transcend, but not negate, the “Holocaust universe.” She first researches Celan’s syntactic structures, such as the “genitive phrase,” the elliptical sentence, or the fragmentation (and recombination) of words, to move on to a discussion of his tropes, which she arranges broadly into “representations of space, time, persons, and actions” (p. 39). Her discussion of Celan’s spatial tropes, particularly of his devastated imaginary landscapes and places of loss (unfortunately “space” and “place” are not distinguished), is especially compelling. It is further enriched, in the final chapter, which seeks to elucidate Celan’s notion of utopia and to locate utopia in art, by reference to the visual work of Tanguy, Ernst, and Magritte.The book as a whole is meticulously researched and includes extensive discussions of the secondary literature, with a slant toward Germanistik rather than philosophy, and with perhaps a particular debt to Marlies Janz. Its weakness is, in a way, tied to its strength: in her discussions of philosophical concepts and movements, Samuels seems to rely largely on (somewhat dated) secondary literature, so that her philosophical understanding is frequently a confused amalgam. For instance, she links Sartre’s in-itself to the Kantian noumenon (p. 20) and goes on to locate it, not only in the “universe,” but also “at the core of the human self,” so that the for-itself contrasts with it as a “superficial” construction, a sort of artifact that needs to be “controlled.” She assimilates the nihilating character of Sartrean consciousness to a “principle of nihilism” that supposedly characterizes existentialism, while nevertheless interpreting Sartre’s humanism as a turn toward “the eternal aspect” of mankind. Heidegger is cast as an existentialist in search of a literalized authenticity, while his critique of Sartrean humanism is simply ignored.In treating Celan’s poetry as systematically coherent and as, in some sense, ideological, Samuels not only disregards the striking stylistic changes that characterize its various phases, but she also does not try to unravel its intricate textual fabric of allusions (notably to Hölderlin and Trakl), to analyze textual structures such as the displaced re-inscription of the date (notably Büchner’s Jänner), or to respond to its unleashing of the semantic energies that lie latent beneath the surface of ordinary language. Sometimes she overlooks her own inchoate interpretive insights, as in her two discussions of parts of... (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 225 Seiten: 293-311.

A wide range of archaeological finds is rapidly expanding our knowledge of the pre-Islamic cultural milieu and the political structures of the Arabian Peninsula during Late Antiquity, and thereby of the Qurʾān’s cultural context. This material can offer a complementary reading to the literary accounts on pre-Islamic Arabia, which were mostly composed outside of Arabia or long after the late antique period. There is a growing need to make the recent exciting discoveries of scholars working on the Qurʾān and Arabia (...) more widely accessible to historians who may not have a solid background in archaeology and epigraphy. As such, the ERC project “The Qur'an as a Source for Late Antiquity” (QaSLA) organized a conference, titled “Epigraphy, the Qur'an, and the Religious Landscape of Arabia”, which took place in Tübingen on 8 – 10 September 2022. The three-day international conference brought together specialists in epigraphy as well as scholars of the Qurʾān to explore how recent epigraphic and archaeological findings and research have been changing our understanding of the Qurʾān and the Arabian religious, cultural, and political landscape. Accordingly, the conference sought to integrate new archaeological finds with ongoing studies on the genesis of the Qurʾān, its Arabian background, and the broader cultural milieu of pre-Islamic Arabia with a special focus on the dawn of Islam. The conference also featured an important contribution by Peter Webb on pre-Islamic poetry, another neglected corpus of inquiry into the history of pre-Islamic Arabia. Aiming to foster discussion between scholars, each panel was paired with a specialist on the Qurʾān or the wider history of Arabia. (shrink)

Since the 1970s, prenatal testing has been integrated into many health care systems on the basis of two competing and largely irreconcilable rationales. The reproductive autonomy rationale focuses on nondirective counseling and consent as ways to ensure that women's decisions about testing and subsequent care are informed and free of undue pressures. It also represents an easily understandable and ethically convincing basis for widespread access to prenatal testing, since the value of autonomy is well established in Western bioethics and widely (...) recognized by funders of health care. In contrast, the public health rationale approaches prenatal testing as designed to reduce the incidence of certain conditions in the population to reduce the burden of disease. This rationale emphasizes the societal consequences of reproduction and the aggregate impact of women's individual reproductive decisions on the overall health of future populations. In this essay, I argue that, despite what could be seen as a persistent failure to meet the ideals of reproductive autonomy, resisting the public health rationale as a basis for prenatal screening is ethically and pragmatically crucial. I recommend policy mechanisms that can enhance reproductive autonomy at a societal level to support choice at the individual level. (shrink)

This article outlines and compares current and proposed global institutional mechanisms to increase equitable access to COVID-19 vaccines, focusing on their institutional and operational complementarities and overlaps. It specifically considers the World Health Organization's (WHO’s) COVAX (COVID-19 Vaccines Global Access) model as part of the Access to COVID-19 Tools Accelerator (ACT-A) initiative, the WHO’s COVID-19 Technology Access Pool (C-TAP) initiative, the proposed TRIPS (Trade-Related Aspects of Intellectual Property Agreement) intellectual property waiver and other proposed WHO and World Trade Organization technology (...) transfer proposals. We argue that while various individual mechanisms each have their specific individual merits—and in some cases weaknesses—overall, many of these current and proposed mechanisms could be highly complementary if used together to deliver equitable global access to vaccines. Nonetheless, we also argue that there are risks posed by the proliferation of proposals in this context, including the potential to disperse stakeholder attention or to delay decisive action. Therefore, we argue that there is now a clear need for concerted global multilateral action to recognise the complementarities of specific models and to provide a pathway for collaboration in attaining global equitable access to vaccines. The institutional infrastructure or proposals to achieve this amply exist at this point in time—but much greater cooperation from industry and clear, decisive and coordinated action from states and international organisations are urgently needed. (shrink)

Biological conservation practices and approaches take many forms. Conservation projects do not only differ in their aims and methods, but also concerning their conceptual and normative background assumptions and their underlying motivations and objectives. We draw on philosophical distinctions from the ethics of conservation to explain variances of different positions on conservation projects along six dimensions: (1) conservation ideals, (2) intervention intuitions, (3) the moral considerability of nonhuman beings, (4) environmental values, (5) views on nature and (6) human roles in (...) nature. The result is a map of the moral landscape of biological conservation, on which these six dimensions are layered. This map functions as a heuristic tool to understand conceptual and normative foundations of specific conservation projects, which we will illustrate with four paradigmatic examples: the Pisavaara Strict Nature Reserve, Predator Free New Zealand, the Oostvaardersplassen Nature Reserve and the Great Green Wall Project. With this map as a heuristic tool, we aim to conceptually illuminate disagreement and clarify misunderstandings between representatives of different environmental protection strategies and to show that the same project can be supported (or criticised) on different grounds. (shrink)

Local opposition to infrastructure projects implementing renewable energy (RE) such as wind farms is often strong even if state-wide support for RE is strikingly high. The slogan “Not In My BackYard” (NIMBY) has become synonymous for this kind of protest. This paper revisits the question of what is wrong with NIMBYs about RE projects and how to best address them. I will argue that local opponents to wind farm (and other RE) developments do not necessarily fail to contribute their fair (...) share to producing a desirable public good (clean energy). In fact, with landscape concerns being at the heart of much protest, the question of fair burden distribution becomes sidelined: landscape impacts cannot be distributed nor compensated for. Protests may be attempts to express a true conflict of (incommensurable) values. Understanding them as such will help us better address NIMBY concerns and overcome such opposition through ensuring procedural justice. (shrink)

When we speak about different interpretations of quantum mechanics it is suggested that there is one single quantum theory that can be interpreted in different ways. However, after an explicit characterization of what it is to interpret quantum mechanics, the right diagnosis is that we have a case of predictively equivalent rival theories. I extract some lessons regarding the resulting underdetermination of theory choice. Issues about theoretical identity, theoretical and methodological pluralism, and the prospects for a realist stance towards quantum (...) theory can be properly addressed once we recognize that interpretations of quantum mechanics are rival theories. (shrink)

The nineteenth-century museum and auction house are seemingly distinct spaces with opposing functions: while the former represents a contemplative space that accumulates objects of art and science, the latter provides a forum for lively sales events that disperse wares to the highest bidders. This contribution blurs the border between museums and marketplaces by studying the Berlin Zoological Museum's duplicate specimen auctions between 1818 and the 1840s. It attends to the operations and tools involved in commodifying specimens as duplicates, particularly the (...) auction catalogue. The paper furthermore contextualizes the museum's sales in a broader history of duplicate auctions across Berlin's collection landscape. (shrink)

: The Millennium Ecosystem Assessment Report issued in April 2005 shows how severely our civilisation is degrading and overstressing the natural systems that support human life and all other lives on earth. An important critical challenge, especially for the eco-humanities, is to help us understand the conceptual frameworks and systems that disappear the crucial support provided by natural systems and prevent us from seeing nature as a field of agency. This paper considers the currently popular concept of a cultural (...) class='Hi'>landscape as an example of a concept that downplays natural agency, and discusses the epistemology of nature scepticism and nature cynicism that often accompanies its vogue in the humanities. Can some philosophical disentangling of senses of nature (often considered the most complex term in the language) allow sceptics their main points without placing them on such a strong collision course with the requirements of commonsense and survival? (shrink)

Some individuals facing dementia contemplate hastening their own death: weighing the possibility of living longer with dementia against the alternative of dying sooner but avoiding the later stages of cognitive and functional impairment. This weighing resonates with an ethical and legal consensus in the United States that individuals can voluntarily choose to forgo life‐sustaining interventions and also that medical professionals can support these choices even when they will result in an earlier death. For these reasons, whether and how a terminally (...) ill individual can choose to control the timing of their death is a topic that cannot be avoided when considering the dementia trajectory. With a focus on the U.S. context, this landscape review considers the status of provisions that would legally permit people facing dementia to hasten death with appropriate support from medical professionals. This review can be used to plan and guide clinical and legal practitioner discussion and policy development concerning evolving questions not fully covered by existing medical decision‐making provisions. (shrink)

On one influential view, metaphysical fundamentality can be understood in terms of joint‐carving. Ted Sider has recently argued that (i) some first order quantifier is joint‐carving, and (ii) modal notions are not joint‐carving. After vindicating the theoretical indispensability of quantification against recent criticism, I will defend a logical result due to Arnold Koslow which implies that (i) and (ii) are incompatible. I will therefore consider an alternative understanding of Sider's metaphysics to the effect that (i) some first order quantifier is (...) joint‐carving, and (iii) intensional notions are not joint‐carving. Another result due to Koslow entails that (i) and (iii) are also incompatible. I will argue that this second result is inconclusive. Nevertheless, (iii) is incompatible with another tenet of Sider's metaphysics, namely that (iv) ‘being joint‐carving’ is itself joint‐carving. In order to resolve the inconsistency, I will tentatively argue that condition (iv) should be renounced. (shrink)

In this text, I discuss the environmental education project "Legible Landscape ", which aims to teach inhabitants to read their landscape and develop a closer, more engaged relationship to place. I show that the project's semiotic perspective on landscape legibility tends to hamper the understanding of the moral dimension of reading landscapes, and argue that a hermeneutical perspective is better suited to acknowledge the way that readers and texts are intimately connected.