an essay on monsters, science and categories from Diderot to Baudelaire.

Beatrice Han has argued that the theories of subjection (determinism: structure) and subjectivation (freedom: agency) are the “the blind spot[s] of Foucault's work.” Furthermore, she continues, as historical and transcendental theories, respectively, Foucault left them in a state of irresolvable conflict. In the Scientific Temptation I have shown that, as a practicing researcher, Foucault encourages us to situate the theories of the subject in the context of his un-thematized search for a metaphysics of realism, the purpose of which was to (...) ground his complementary reach for a possibility of naturalism. In Returning to Kant I now argue that it is this fundamental feature of “Foucault's Foucault” that drives his returns to Kant, the purpose of which was to resolve the conflicting theories of the subject and thereby solve his Giddensian problem of structure and creativity. Locating the returns and their purpose in the context of my own arguments for the recovery of human agency, I argue that Foucault's attempts to solve his Giddensian problem led to two unfortunate solutions. In the first return, his resort to Baudelaire's aesthetic subject is a regression to a pre-noumenal conception of the Kantian subject. With the second return, the reinstatement of the Kantian subject as causally empowered, minus the noumenalism, is nothing more than a reclamation of Kant's conception. I argue that only a reconstruction of Foucault's scientific realism permits us to understand that he could have moved beyond mere reclamation to the actual recovery of human agency. (shrink)

Beatrice Han argues that the theories of subjection (determinism: structure) and subjectivation (freedom: agency) are the “the blind spot of Foucault's work:” to the very end of his life, in being transcendental and historical theories, respectively, they were in irresolvable conflict. In part I, I have argued that Foucault encourages us to situate the theories of the subject in an un-thematized reach for a metaphysics of realism which, in effect, was to ground his uncertain complementary reach for a naturalist conduct (...) of research. In part II I also argue that it is this fundamental feature of Foucault's Foucault that drives his returns to Kant, the purpose of which is to resolve the conflicting theories of the subject, and thus to solve his Giddensian problem of structure and creativity. Locating the returns and their purpose in my context of Science for Humanism and the recovery of human agency, I ultimately argue that Foucault's two special returns to Kant in order to solve his structure/agency problem led to two unfortunate solutions. The resort to Baudelair's aesthetic subject is a failed solution in so far as it regresses to being a pre-noumenal conception of the subject. The subsequent mere reinstatement of Kant's subject as causally empowered, minus the noumenalism, is nothing more than a reclamation of Kant's conception. Only the reconstruction of Foucault's realism permits us to assert that he could have moved beyond the reclamation of human agency to its recovery. (shrink)

Moving from the grand tradition of Delacroix to the images of modern life made by Constantin Guys, this movement from "high" to "low," from the unified world of correspondances to the fragmented images of contemporary city life, motivates Baudelaire's equivalent to the post-1968 turn away from formalist art criticism.

In Charles Baudelaire’s poetry there is only one direct reference to Plato. The French poet juxtaposes the joy of the senses to the ascetic, as he perceives it, pursuit of the Platonic Good. This juxtaposition is taking place not only with the aid of ethical terms, but principally through their transformation into aesthetic ones. For Baudelaire, the absence of the metaphysical or symbolical light is tautological to beauty, but also a firm ground where the poet stands upon (...) for his artistic creation. Human existence without light, although bordering to the cold safety of death, is also an affirmation of its emptiness when without pleasure and passion. (shrink)

This article presents how the act of falling has been used as a metaphor for invention within avant-garde art and aesthetics. It takes Lars von Trier’s documentary The Five Obstacles (2003) as its point of departure and seeks to historically contextualize the figure of falling by discussing Charles Baudelaire’s essay ‘De l’essence du rire et généralement du comique dans les arts plastiques’/‘On the Essence of Laughter’ (1955 [1855–1857]). The article also discusses the fascination with falling in early cinema, (...) stressing how cinematic representations of the fall highlight the new medias potential for grasping general modern conditions like motion, speed and contingency. To think of art in terms of falling makes it possible to see a link between cinematic popular culture and so called high modernism. The article concludes with a discussion of the relationship between control and contingency within film aesthetics in the digital age. I will also discuss the aesthetics of Oulipo writers like George Perec and Raymond Queneau, and artists like Jackson Pollock and John Cage as exponents of what can be called an aesthetics of contingency. (shrink)

Resumen: En el presente artículo buscaremos analizar los diversos tratamientos que Walter Benjamin ha realizado a lo largo de su obra acerca de la crítica como temática eminentemente filosófica. Para ello abordaremos, en primer lugar, su acercamiento a la poesía del Romanticismo alemán, luego a la poesía barroca y, finalmente, a la obra de Baudelaire con el objetivo de justificar que una comprensión acabada de la crítica implica necesariamente para el filósofo alemán recuperar la actualización como clave de lectura (...) de la historia. En efecto, si actualizar presupone para Benjamin la asunción de la no coincidencia del tiempo consigo mismo, esto es, la supervivencia del pasado en el presente y el potencial significante de sus emergencias, buscaremos mostrar cómo la noción de crítica benjaminiana descansa en ese diferencial temporal y encuentra allí su fuente de sentido.: In this article we intend to analyze the different considerations that Walter Benjamin carried out in his work on the problem of critique as an eminently philosophical subject. To do this, we will address, first, his approach to German romantic poetry, then baroque poetry and, finally, Baudelaire’s work, in order to explain how a full comprehension of critique means, for the German philosopher, to recover the idea of “actualization” as a key for reading History. In fact, if the actualization presupposes, for Benjamin, the assumption of the non-coincidence of time with itself, that is, the survival of the past within the present and its potentiality to signify, we try to show how Benjamin’s notion of criticism rests on that temporal difference and finds there its source of meaning. (shrink)

O artigo examina a interpretação feita por Walter Benjamin dos poemas de Charles Baudelaire marcados pela noção de ideal, a qual se opõe ao spleen. Benjamin encontra aí o esforço de rememoração de uma experiência plena, a qual constituiria, por sua vez, um elemento essencial à compreensão da modernidade como impossibilidade desta forma de experiência. Com as noções de beleza e de aura, o artigo busca ainda salientar a importância da categoria da distância para a configuração desta forma (...) de experiência. (shrink)

The article intends to retrace, from a historical-philological point of view, the main steps of Walter Benjamin’s unfinished research and works, conducted during his later years, dedicated to Charles Baudelaire. Setting Benjamin’s translation of the Ta-bleaux parisiens as the first result of his interest for the poet, the text delves into the composition process of The Arcades Project, from which the idea of a book on Baudelaire then takes shape. The article examines the crucial stages of this (...) second project’s development through the correspondence between Benjamin and Theodor Adorno and Max Horkheimer especially: from the 1935 exposé for The Arcades Project to The Paris of the Second Empire in Baudelaire, to the 1939 essay On some Motifs in Baudelaire. The focus is set, in particular, on the dialectical-constructive method that guides Benjamin in the composition both of the Passagen-Werk as of the Baudelaire-Buch and the essays. Finally, the article looks back over the transmission history of the project on Baudelaire, intimately bound to the one of the Passagenarbeit: the vicissitudes and findings of various manuscripts, of which the complete restitution of the Kritische Gesamtausgabe is soon expected. Therefore, the peculiar relationship between philology and philosophy of Benjamin’s experimental method is then examined further in depth; the configuration of the research object’s monadic structure according to a historical perspective, albeit in the context of a work that remained unfinished. (shrink)

Many strategies for incorporating poetry into non-poetry classes, especially outside of English and associated disciplines, appear to make poetry subservient and secondary in relation to the prose content of the course. The poet under consideration becomes a kind of involuntary servant to one or more prose authors, forced to “speak only when spoken to,” and effectively prevented from challenging the ideas of the course’s prose writers, and thereby the instructor. Fortunately, this is not the only strategy for incorporating poetry into (...) prose-dominated courses. In this chapter, I will suggest an alternate approach which recognizes and facilitates the agency of poets and poetry per se, which I term “empowering poetic defiance.” In brief, this approach consists of the following four steps: (1) challenge one’s own poetic self-loathing (2) position the course’s poetry’s content to challenge the course’s non-poetic contents (3) position the course’s poetry’s forms to challenge your class’s non-poetic forms (4) comport oneself as interlocutor toward the poets featured in the course as the intellectual equals of oneself and the course’s prose writers. My first section will elaborate on these four steps, and my second section will flesh out the method further with a new reading of one of the most powerfully defiant poets in the Western canon, the nineteenth-century French Symbolist poet Charles Baudelaire, in dialogue with one of the most formidable challengers to the power of poetry, the eighteenth-century Prussian philosopher Immanuel Kant. (shrink)

Neste artigo pretendemos analisar a maneia pela qual o filósofo francês Jean-Paul Sartre modaliza, a partir da psicanálise existencial elaborada em L’être et le néant, sua biografia existencial sobre o poeta Charles Baudelaire. Em Baudelaire, seremos capazes de localizar os prolegômenos a toda biografia existencial sartreana futura, isto é, o modus operandi de investigação/escrita biográfica de Sartre.

This paper will take up the work of Charles Baudelaire, poetic and critical, in order to present the Baudelairean aesthetic and to make a case for its relevance in our judgments about art today. Baudelaire was the first poet of the modern built environment and is known as the father of modern poetry. While his poetry is still admired, his aesthetic has been historicised: deemed to belong to that time and place in which Baudelaire wrote. This (...) paper will argue that this historicisation by subsequent aesthetic theory and philosophy is a suppression of something integral to art and artists, without which art is liable to lose what is true about it and sink into a morass of irrelevance and triviality, or (as will be argued has partly happened) may become devoid of any value beyond the business interests that control it. In this regard, it will be suggested, Baudelaire’s aesthetic has important redeeming qualities. (shrink)

Am şlefuit materia pentru a afla linia continuă.Und das Problem ensteht: was is das, was übrigbleibt, wenn ich von der Tatsache, daß ich meinen Arm hebe, die abziehe, daß mein Arm sich hebt?Acknowledged to have launched modern poetry with Les Fleurs du mal, Charles Baudelaire was also a prolific and influential art critic, a close friend of Edouard Manet, and an early champion of Eugène Delacroix. At one time decidedly not a friend of sculpture, Baudelaire published a (...) critique of this art form in a section of his Salon de 1846 titled “Pourquoi la sculpture est ennuyeuse” :3Sculpture has several disadvantages inherent in the medium itself. Crude and direct like nature, sculpture is.. (shrink)

The aim of this article is two-folded. First, I wish to situate Baudelaire in the midst of 19th-century media, bring attention to the way he explored the new media of his day, and suggest that he developed his own media aesthetics. Second, I wish to examine Baudelaire’s relation to photography more specifically, emphasizing his love of commonplaces and clichés. I begin by contextualizing Baudelaire’s notorious attack on photography in the Salon de 1859 and then examine three poems (...) in light of the photographic culture of Baudelaire’s day. Central here is the experiment on the notion of identity that was carried out with the spread of portrait photography: the notation of a unique identity was undermined, processes of multiplication were explored, and the poetic discourse of the “soul” was radically changed. (shrink)

O poeta francês Charles Baudelaire (1821-1867) foi também tradutor, ensaísta e crítico de arte. Em relação à produção poética, é considerado o precursor do simbolismo, a partir da sua obra LesFleursdu mal, de 1857; na figura do ensaísta, elaborou o conceito de modernidade, referência para a criação artística, os Estudos Literários e a Filosofia. O presente trabalho explora a influência da linguagem poética no seu trabalho de ensaísta e crítico, e vice-versa, buscando compreender a noção das "Correspondências" exposta (...) no poema homônimo do livro de 1857. Analisaremos, com ênfase nos textos sobre a obra do pintor EugèneDelacroix (1798-1863), de que maneira as correspondências e transposições entre pintura, poesia e música já estavam presentes no olhar do jovem crítico de arte.Palavras-chave: Poesia. Pintura. Correspondências. Sinestesia. (shrink)

Este articulo explora los temas de las correspondencias y la alegoría en las reflexiones de Walter Benjamin sobre la poesía de Charles Baudelaire. Compara dichas reflexiones con otros enfoques críticos de la época y pone de relieve la relación, que Benjamin consideraba esencial, entre la forma de la obra baudeleriana y las transformaciones históricas de mediados del siglo XIX. This paper explores the presence of correspondances and allegory in Walter Benjamin's thoughts on the poetry of Charles (...) class='Hi'>Baudelaire. It compares these thoughts with other contemporary critical approaches and points up the relationship, which Benjamin considered essential, between the form of Baudelaire's work and the historical changes of the mid-nineteenth century. (shrink)

ABSTRACT This article examines Oscar Wilde’s liberal socialist tract, ‘The Soul of Man Under Socialism’. It posits three discrete arguments. It argues, firstly, that in ‘The Soul of Man’ Wilde was deeply engaged with the socialist theory of William Morris. It claims that Wilde not only repudiated Morris’s aesthetic philosophy, rejecting Morris’s views about co-operation, usefulness, and tradition, and pouring scorn on the notion of dignity in manual labour, but that Wilde also echoed Morris’s utopian romance, News from Nowhere, in (...) two important respects: namely, in his account of crime and punishment on the one hand, and in his treatment of the notion of human nature on the other. Secondly, this article argues that, in ‘The Soul of Man’, Wilde drew on both Ralph Waldo Emerson and John Stuart Mill. It shows how Wilde plagiarised and repurposed ideas drawn from Emerson’s essay, ‘Self-Reliance’. But, in addition, it demonstrates how Wilde duplicated Mill’s view of democracy, individuality, and progress as set out in On Liberty. Finally, then, this article argues that, in his treatment of thrift, gratitude, discontent, and rebellion, Wilde was strongly influenced by Charles Baudelaire’s dramatisation of ‘true philanthropy’ in the narrative prose poem, ‘Let’s Beat Up The Poor!’. (shrink)

Este artículo estudia la conexión de Foucault con Charles Baudelaire, auténtica inspiración en los escritos de Foucault. Rara vez aparece, pero es muy influyente en su obra. Apenas es mencionado cuando se reflexiona sobre la relación entre literatura y locura. Sin embargo, Baudelaire aparece de forma magnífica en la interpretación norteamericana, realizada por Foucault, de “What is Enlightenment? de Kant. Allí, Baudelaire irrumpe para los límites del conocimiento de la Ilustración. Baudelaire se identifica más con (...) la tradición del visionario Swedenborg que con la reflexión de Kant, duro crítico del autor sueco. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drinking Rules! Byron and BaudelaireJoshua Wilner (bio)This essay 1 takes up two nineteenth-century texts on the theme of intoxication in which the poetic word can no longer, if it ever could, stably figure itself as the metaphoric other of the drug, that is, as a legitimate means of imaginative transport, and in which the writer’s enthrallment by the transporting substance of words shows us its addictive and, one might (...) say, prosaic face.The first of these pieces is a pair of stanzas from Canto II of Byron’s Don Juan, the other, Baudelaire’s brief prose poem “Enivrez-vous,” pieces that Jean Pommier [341] and, following Pommier, Robert Kopp [314–15] have suggested may be connected, though neither reader enters into much more detail than to note that both bits of writing, in Kopp’s words, “chant[e] l’ivresse.” Now the praise of drunkenness is of course a poetic commonplace, and the mere fact of its appearance in these two bits of text argues about as intimate a bond of kinship as that involved in pointing out that you and I are both Noah’s children. But there are, I would argue, compelling reasons for looking at these pieces in relation to one another and to which I believe Pommier was responding.That Byron mattered to Baudelaire is attested to by a number of references scattered throughout the latter’s work and letters, references which, while faulting Byron for garrulousness, praise him for having the thing that makes poets: “une diabolique personnalité” [OC 2: 232]. Perhaps the most interesting of these references occurs in a well-known letter that Baudelaire wrote to his mother in July 1857, shortly after Les fleurs du mal had been published and while the storm of controversy that was to culminate in the prosecution and expurgation of the collection for obscenity was rapidly gathering:On me refuse tout, l’esprit d’invention et même la connaissance de la langue française. Je me moque de tous ces imbéciles, et je sais que ce volume, avec ses qualités et ses défauts, fera son chemin dans la mémoire du public lettré, à côté des meilleurs poésies de V. Hugo, de Th. Gautier et même de Byron.[CP 1: 411][They deny me everything, the spirit of invention and even knowledge of the French language. I could care less about all these imbeciles, and I know that this volume, with its qualities and its faults, will make its way in the memory of the [End Page 34] lettered public, along with the best poetry of V. Hugo, of Th. Gautier, and even of Byron.]The pride of place Baudelaire reserves for Byron in this list was somewhat dated even in its time 2 and odd in other ways, especially given the more qualified expressions of admiration we meet elsewhere in his writings. But it becomes more understandable if one considers that for Baudelaire’s mother, who was of Byron’s generation and had early ties to England 3 (in fact, she apparently taught Charles English during his childhood [E. Crépet 30], making it, strangely enough, part of his “mother tongue”), Byron’s would have been the emblematic case of a writer for whom a reputation for depravity was overtaken by poetic honor, perhaps at the cost of his death in a noble cause.Apart from this evidence of a felt affinity, there are specific formal grounds for associating the two pieces. Since they are fairly brief, allow me first of all to cite them both. Here are the stanzas from Canto II of Don Juan: 179 Man, being reasonable, must get drunk; The best of life is but intoxication: Glory, the grape, love, gold, in these are sunk The hopes of all men, and of every nation; Without their sap, how branchless were the trunk Of life’s strange tree, so fruitful on occasion! But to return, - Get very drunk; and when You wake with head-ache, you shall see what then. 180 Ring for your valet - bid him quickly bring Some hock and soda-water, then you’ll know A pleasure worthy Xerxes the... (shrink)

This essay considers 'modern' poetry and music as interrelated signifying practices in the works of Charles Baudelaire and Theodor Adorno through a focus on their approach to understanding dissonance. For Baudelaire, dissonance depends on consonance in order to be perceived at all, a fact which allows us to read the modern not just in terms of a break with the past but also as dependent on it. This essay demonstrates the mutually constitutive nature of consonance and dissonance (...) by placing Baudelaire and Adorno’s writings on dissonance, with reference to the music of Beethoven, into a constellation that allows for insight into the function of ‘modern’ dissonance. It argues that Baudelaire’s approach is both new and dependent on long-standing understandings of dissonance and harmony, and that Adorno’s writings, in conjunction with Baudelaire’s, can make us attentive to the dissonance that operates within harmony rather than standing opposed to it. (shrink)

Near the beginning of Charles Baudelaire’s Salon of 1846—one of the most brilliant and intellectually ambitious essays in art criticism ever written—the twenty-five-year-old author states that “the critic should arm himself from the start with a sure criterion, a criterion drawn from nature, and should then carry out his duty with a passion; for a critic does not cease to be a man, and passion draws similar temperaments together and exalts the reason to fresh heights.”1 It may be (...) the emphasis on passion, indeed on strong personal feeling of every kind, not only here but everywhere in the Salon, that has prevented commentators from taking wholly seriously the possibility that a single criterion is in fact at work throughout it. But what if that criterion operates in the realm of feeling, if it is itself a feeling or complex of feelings, and if, moreover, as Baudelaire as much as says, no conflict between the claims of reason and of passion exists within his conception of the critical enterprise? Not that scholars have failed to recognize either the brilliance or the ambitiousness of the Salon of 1846; on the contrary, it is widely regarded as the major extrapoetic text of Baudelaire’s early career and especially in recent years has received extensive commentary. But by and large, those who have written about it have focused primarily on topics, such as Baudelaire’s conception of nature, his vision of the creative process, and the relation of his ideas to those of other critics, that seem to me, if not quite pseudoproblems, at any rate concerns that lead us to ignore what the text may be saying about its own manner of proceeding.2 I acknowledge, too, that certain features of that manner—the mixture of irony and seriousness in the opening dedication to the bourgeois, the many abrupt fluctuations of tone in the body of the essay, the seeming breaks in the argument from section to section, the texture and movement of the prose—could hardly be less systematic in effect. And yet it would not be hard to show that the Salon as a whole is the product of a remarkable effort, not merely to ground the judgment of individual works of art in a single experiential principle but also to bind together a number of diverse concerns—pictorial, literary, political, philosophical—in an intellectually coherent structure every part of which is meant to be consonant with every other. No wonder the last sentence of the Salon apostrophizes Balzac: the sheer inclusiveness of Baudelaire’s undertaking recalls nothing so much as the scope of the Comédie humaine. 1. Charles Baudelaire, Salon of 1846, Art in Paris 1845-1862: Salons and Other Exhibitions, ed. and trans. Jonathan Mayne , pp. 101-2. All further references to the Salon of 1846 will be included parenthetically in the text . I have also consulted the recent edition, Baudelaire: “Salon de 1846,” ed. David Kelley , which includes a useful introduction and bibliography.2. See, for example, Margaret Gilman, Baudelaire, the Critic , pp. 12-53 and 77-111; F. W. Leakey, “Les Esthétiques de Baudelaire: Le ‘Système’ des annés 1844-1847,” Revue des sciences humaines, n.s., fasc. 127 : 481-96, and Baudelaire and Nature , pp. 73-88; and Kelley, “Deux Aspects du Salon de 1846 de Baudelaire : La Dédicace aux bourgeois et la couleur,” Forum for Modern Language Studies 5 : 331-46, and introduction to Baudelaire: “Salon de 1846,” pp. 1-114. Michael Fried, professor of humanities and the history of art and director of the Humanities Center at the Johns Hopkins University, is the author of Morris Louis and Absorption and Theatricality: Painting and Beholder in the Age of Diderot. He is currently at work on a book on Gustave Courbet. His most recent contribution to Critical Inquiry, “The Structure of Beholding in Courbet’s Burial at Ornans,” appeared in the June 1983 issue. (shrink)

In his essay "What Is Enlightenment?" Foucault compares the role of modernity in the work of the decadent Parisian poet Charles Baudelaire with that of the austere Prussian philosopher Immanuel Kant. He claims that the relationship between these two strange bedfellows can be found in the value each writer accords to the present in contrast to the past and future. Each writer claims, in his own style, that each individual must render his or her existence meaningful by cultivating (...) what Foucault calls in this essay a philosophical ethos. This conception of the philosophical form of life forms the conceptual basis of Foucault's later work. I briefly interpret Foucault's discussion of Kant and Baudelaire in "What Is .. (shrink)

The present edition provides a detailed and accessible discussion ofhis theories and adds an account of the immediate responses to the book on publication.

Charles Darwin's On the Origin of Species is unquestionably one of the chief landmarks in biology. The Origin (as it is widely known) was literally only an abstract of the manuscript Darwin had originally intended to complete and publish as the formal presentation of his views on evolution. Compared with the Origin, his original long manuscript work on Natural Selection, which is presented here and made available for the first time in printed form, has more abundant examples and illustrations (...) of Darwin's argument, plus an extensive citation of sources. (shrink)

At the very beginning of L’Homme-Machine, La Mettrie claims that Leibnizians with their monads have “rather spiritualized matter than materialized the soul”; a few years later Pierre-Louis Moreau de Maupertuis, President of the Berlin Academy of Sciences and natural philosopher with a strong interest in the modes of transmission of ‘genetic’ information, conceived of living minima which he termed molecules, “endowed with desire, memory and intelligence,” in his Système de la nature ou Essai sur les corps organisés. This text first (...) appeared in Latin in 1751 under the title Dissertatio inauguralis metaphysica de universali naturae systemate, with the pseudonym Dr Baumann; it was translated by Maupertuis in 1754 as Essai sur la formation des corps organisés and was later included in his 1756 Œuvres under the title Système de la nature. Now, it is clear that Maupertuis was a kind of Leibnizian; and that his molecule possessed higher-level, ‘mental’ properties. In that sense he falls under the first category described by La Mettrie. But he was also involved in a debate on this issue with Diderot, who put forth a sustained critique of Maupertuis’ theory of the molecule in the additions to his 1753 Pensées sur l’interprétation de la nature. Where Maupertuis attributes higher-level properties to his living minima, Diderot argues that these properties are ‘organizational’, i.e., they can only be properties of the whole. At issue here is the degree of commitment to a form of materialism. (shrink)

In his Philosophical Inquiry concerning Human Liberty (1717), the English deist Anthony Collins proposed a complete determinist account of the human mind and action, partly inspired by his mentor Locke, but also by elements from Bayle, Leibniz and other Continental sources. It is a determinism which does not neglect the question of the specific status of the mind but rather seeks to provide a causal account of mental activity and volition in particular; it is a ‘volitional determinism’. Some decades later, (...) Diderot articulates a very similar determinism, which seeks to recognize the existence of “causes proper to man” (as he says in the Réfutation d’Helvétius). The difference with Collins is that now biological factors are being taken into account. Obviously both the ‘volitional’ and the ‘biological’ forms of determinism are noteworthy inasmuch as they change our picture of the nature of determinism itself, but my interest here is to compare these two determinist arguments, both of which are broadly Spinozist in nature – and as such belong to what Jonathan Israel called in his recent book “the radical Enlightenment,” i.e. a kind of underground Enlightenment constituted by Spinozism – and to see how Collins’ specifically psychological vision and Diderot’s specifically biological vision correspond to their two separate national contexts: determinism in France in the mid-1750s was a much more medico-biological affair than English determinism, which appears to be on a ‘path’ leading to Mill and associationist psychology. (shrink)

Kierkegaard’s ideal supports a radical form of “deep diversity,” to use Charles Taylor’s expression. It is radical because it embraces not only irreducible conceptions of the good but also incompatible ones. This is due to its paradoxical nature, which arises from its affirmation of both monism and pluralism, the One and the Many, together. It does so in at least three ways. First, in terms of the structure of the self, Kierkegaard describes his ideal as both unified (the “positive (...) third”) and plural (a “negative unity”). Second, he affirms a process which brings together unity, as implied by the linear notion of “stages”, with plurality, in the form of “spheres of existence” (aesthetic, ethical, and religious). And third, the culmination of the process implies that we should embrace both a unified dialectic (“Religiousness A”) alongside the plural remnants of the ethical/aesthetic, that is, both the infinity of the former and the finitudes of the latter. Unsurprisingly, while Kierkegaard describes those who are able to exemplify his ideal in practice as “always joyful,” he also considers the ideal to be “extremely hard, the hardest task of all.” This is why those such as Hubert L. Dreyfus are wrong to claim that it provides an experience of bliss; on the contrary, those who realize it “are always in danger.” As I shall show, one form this danger takes is that it threatens to dirty the hands of those who manage to uphold Kierkegaard’s ideal. Moreover, it does so in ways that, I claim, tend to be missed by Kierkegaard himself. Nevertheless, the danger is also essential to the creativity of his approach, and I conclude by pointing out how this creativity makes it capable of tackling one of the profoundest challenges in contemporary ethics: that arising from what just war theorists call a “supreme emergency.” . (shrink)

This book provides a novel interpretation of the ideas about language in Ludwig Wittgenstein's Philosophical Investigations. Travis places the "private language argument" in the context of wider themes in the Investigations, and thereby develops a picture of what it is for words to bear the meaning they do. He elaborates two versions of a private language argument, and shows the consequences of these for current trends in the philosophical theory of meaning.