When do two sentences say the same thing, that is, express the same content? We defend two-component (2C) semantics: the view that propositional contents comprise (at least) two irreducibly distinct constituents, (1) truth-conditions, and (2) subject-matter. We contrast 2C with one-component (1C) semantics, focusing on the view that subject-matter is reducible to truth- conditions. We identify exponents of this view and argue in favor of 2C. An appendix proposes a general formal template for propositional 2C semantics.

The myth of generations of disengaged youth has been shattered by increases in youth turnout in the 2004, 2006, and 2008 primaries. Young Americans are responsive to effective outreach efforts, and this collection addresses how to best provide opportunities for enhancing civic learning and forming lasting civic identities. The thirteen original essays are based on research in schools and in settings beyond the schoolyard where civic life is experienced. One focus is on programs for those schools in poor communities that (...) tend to overlook civic education. Another chapter reports on how two city governments--Hampton, Virginia, and San Francisco--have invited youth to participate on boards and in agencies. A cluster of chapters focuses on the civic education programs in Canada and Western Europe, where, as in the United States, immigration and income inequality raise challenges to civic life. (shrink)

Drawing on implications from ethics, theology, law, politics, and education, this book argues that we can decide what is right by describing particular cases in detail, without the aid of ethical theories and principles.

This is a critique of Nietzsche's theory of culture that proposes an alternative paradigm allowing a defense of the humanities against such Nietzschians as Leo Strauss and Derrida.

This book combines contemporary ethical theory, literary interpretation, and historical narrative to defend a view of the humanities as a source of moral guidance. Peter Levine argues that moral philosophers should interpret narratives and literary critics should adopt moral positions. His new analysis of Dante’s story of Paolo and Francesca sheds new light on the moral advantages and pitfalls of narratives versus ethical theories and principles.

Aristotle claims that narrative can depict virtue and vice in particular cases, and that literature's moral meanings are not subject to philosophical paraphrase. He distrusts generalization in ethics, asserting that valid judgments rest on the perception of particulars. But this position is itself an unprovable generalization. If philosophy cannot prove the superiority of narrative over moral theory, perhaps literature can show it. In "Lolita", Nabokov reveals the moral hazards of theory while depicting one man's profound evil. Thus "Lolita" is an (...) illuminating example of pure Aristotelian fiction that serves a moral function without recourse to theory. (shrink)

A civic ideal is an ideal of deliberative self‐governance. People who participate in discussing what their own groups should do are being civic. Civic venues, institutions, and habits have waned since the mid‐1900s. In the 1990s, a movement arose to restore them, under the banner of “civic renewal.” This movement was carefully nonpartisan, often impartial about specific issues, and interested in creating alternative settings that could complement such basic political institutions as Congress and elections. As the condition of democracy has (...) worsened in recent years, this approach looks inadequate or irrelevant. The most promising sources of civic renewal now are parties and social movements that have substantive agendas, such as racial justice, and that improve civic life as a collateral benefit. [Correction added on 27 September 2021, after first online publication: In the abstract, “mid‐1990s” has been changed to “mid‐1900s”.]. (shrink)

These photographs, essays, drawings, and original texts document the rich agit-art legacy of the Situationist International, a group of European artists and writers who emerged from such avant-garde movements as COBRA, Lettrisme, and the Imaginary Bauhaus and from the breakup of surrealism to launch a strategy of art as cultural critique.

The contributors to The Moral of the Story, all preeminent political theorists, are unified by their concern with the instructive power of great literature. This thought-provoking combination of essays explores the polyvalent moral and political impact of classic world literatures on public ethics through the study of some of its major figures-including Shakespeare, Dante, Cervantes, Jane Austen, Henry James, Joseph Conrad, Robert Penn Warren, and Dostoevsky. Positing the uniqueness of literature's ability to promote dialogue on salient moral and intellectual virtues, (...) editor Henry T. Edmonson III has culled together a wide-ranging exploration of such fundamental concerns as the abuse of authority, the nature of good leadership, the significance of "middle class virtues" and the needs of adolescents. This collection reinvigorates the study of classic literature as an endeavor that is not only personally intellectually satisfying, but also an inimitable and unique way to enrich public discourse. (shrink)

This book taps the best American thinkers to answer the essential American question: How do we sustain our experiment in government of, by, and for the people? Authored by an extraordinary and politically diverse roster of public officials, scholars, and educators, these chapters describe our nation's civic education problem, assess its causes, offer an agenda for reform, and explain the high stakes at risk if we fail.

The spread of new information and communications technologies during the past two decades has helped reshape civic associations, political communities, and global relations. In the midst of the information revolution, we find that the speed of this technology-driven change has outpaced our understanding of its social and ethical effects. The moral dimensions of this new technology and its effects on social bonds need to be questioned and scrutinized: Should the Internet be understood as a new form of public space and (...) a source of public good? What are we to make of hackers? Does the Internet strengthen or weaken community? In The Internet in Public Life, essayists confront these and other important questions. This timely and necessary volume makes clear the need for a broader conversation about the effects of the Internet, and the questions raised by these seven essays highlight some of the most pressing issues at hand. (shrink)

Influenced by G. E. Moore, Russell broke with Idealism towards the end of 1898; but in later years he characterized his meeting Peano in August 1900 as ?the most important event? in ?the most important year in my intellectual life?. While Russell discovered his paradox during his post-Peano period, the question arises whether he was already committed, during his pre-Peano Moorean period, to assumptions from which his paradox may be derived. Peter Hylton has argued that the pre-Peano Russell was (...) thus vulnerable to (at least one version of) Russell's paradox and hence that the paradox exposes a pre-existing difficulty in Russell's Moorean philosophy. Contrary to Hylton, I argue that the Moorean Russell adhered to views which insulated him against the paradox. Further, I argue that Russell became vulnerable to his paradox as a result of changes in his Moorean position occasioned, first, by his acceptance of Cantor's theory of the transfinite, and, second, by his correspondence with Frege. I conclude with some general comments regarding Russell's acceptance of naïve set theory. (shrink)

In Community Matters: Challenges to Civic Engagement in the 21st Century, six distinguished scholars address three perennial challenges of civic life: the making of a citizen, how citizens are to agree , and how to define the rights and responsibilities of citizenship. These essays will encourage students, academics, and interested citizens outside the academy to go farther and dig deeper into these vital issues.

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

Can phenomenal consciousness be given a reductive natural explanation? Exponents of an ‘explanatory gap’ between physical, functional and intentional facts, on the one hand, and the facts of phenomenal consciousness, on the other, argue that there are reasons of principle why phenomenal consciousness cannot be reductively explained: Jackson, ; Levine,, ; McGinn ; Sturgeon, ; Chalmers,. Some of these writers claim that the existence of such a gap would warrant a belief in some form of ontological dualism, whereas others (...) argue that no such entailment holds. In the other main camp, there are people who argue that a reductive explanation of phenomenal consciousness is possible in principle, and yet others who claim, moreover, to have provided such an explanation in practice. (shrink)

While Hermann Levin Goldschmidt didn’t read Yiddish anarchists, there seems to have been a convergent evolution in their thinking. Goldschmidt’s looking up to Jewish lore as a source of liberating creativity is commonly encountered in Yiddish anarchist texts. His view of action as a constant response to internal and external challenges in the struggle for an open future is developed by Isaac Nachman Steinberg on the basis of nineteenth-century vitalism. Goldschmidt’s theory of anarchist individualism as willed self-limiting solidarity has a (...) compelling parallel in Hillel Solotaroff’s view of history. His use of impressionism and photography to eternalize the immediacy of human actuality is akin to Rudolf Rocker’s championing of decadent literature. In both cases, the goal of anarchism is not a dictatorship of the former downtrodden, but a continuous and contradictory evolution of freedom in ever-changing contexts. (shrink)

This essay extends Levins'' 1966 analysis of modelbuilding in ecology and evolutionary biology. Amodel, as the product of modeling, might bevalued according to its correspondence to reality. Yet Levins'' emphasis on provisionality and changeredirects attention to the processes ofmodeling, through which scientists select and generatetheir problems, define their categories, collect theirdata, compare competing models, and present theirfindings. I identify several points where decisionsare required that are not determined by nature. Thisinvites examination of the social considerationsmodelers are reacting to at the (...) sites of sociality.Modelers must weave socio-ecological webs so thatthe models can be seen to represent their subjectmatter at the same time as the modelers secure thesupport of colleagues, collaborators and institutions,and enjoin others to act upon their conclusions. Notonly do theory justification and theory generationmerge, but the joint project becomes simultaneouslyphilosophical and sociological. (shrink)

Fulda would solve the man-vs-animal problem by according animals rights of denumerable strength and men rights of nondenumerable strength. But the problem remains if there are sufficiently many animals and sufficiently few men in the universe. Fulda may have meant that human rights are (weakly) inaccessible and animal rights smaller. My objection to animal rights remains, and I note that even Peter Singer allows that the rights of slum children (but perhaps not others) may conflict with those of rats.

Books reviewed in this essay:Fred d'Agostino, Naturalizing Epistemology: Thomas Kuhn and the Essential Tension (London: Palgrave Macmillan, 2010)Edwin H.-C. Hung, Beyond Kuhn: Scientific Explanation, Theory Structure, Incommensurability and Physical Necessity (Hants: Ashgate, 2006)Hanne Andersen, Peter Barker, and Xiang Chen, The Cognitive Structure of Scientific Revolutions (Cambridge: Cambridge University Press, 2006)Forty-eight years after the publication of The Structure of Scientific Revolutions, fourteen since the death of its author, Thomas S. Kuhn, and ten since the publication of the posthumous Road Since (...) Structure (2000), the Kuhn cottage industry continues to produce. In preparing this essay review I .. (shrink)

One way to express the most persistent part of the mind-body problem is to say that there is an “explanatory gap” between the physical and the mental. The gap is not usually taken to apply to all of the mental, but to subjective experience, the mind’s “qualitative” features, or what is now referred to as “phenomenal consciousness.” The “gap” formulation is due to Joseph Levine. He acknowledged the appeal of intuitions of separability between physical facts, of any kind we (...) can envisage, and this aspect of our mental lives. Subjective experience seems not to be the sort of thing that is just the physical under another guise. The immediate focus of Levine’s discussion was a family of arguments due to Saul Kripke. Kripke argued that some influential claims of mind-body identity could not be, as materialists claimed, contingent. If these identities are real then they are necessary. But we can clearly conceive that the mental and physical could come apart—an intuition that “identity theorists” conceded. Given that the identity is necessarily present if present at all, from the fact it is not necessary we can see it is absent. Kripke concluded that physicalism is false. Levine wanted to resist this. (shrink)

Ecology has had a lower profile in Biology & Philosophy than one might expect on the basis of the attention ecology is given in public discussions in relation to environmental issues. Our tentative explanation is that ecology appears theoretically redundant within biology and, consequently, philosophically challenging problemsrelated to biology are commonly supposed to be somewhere else, particularly in the molecular sphere. Richard Levins has recognized the genuine challenges posed by ecology for theoretical and philosophical thinking in biology. This essay sets (...) the stage for appreciating his work; it was preceded by four articles published in Biology & Philosophy 15(2),and is followed by a personal reminiscent. (shrink)

Die psychoanalytische Debatte um unrepräsentierte psychische Zustände und die Grenzen der Behandelbarkeit schwerer seelischer Leiden ist theoretisch ebenso wie klinisch für die Psychoanalyse der Gegenwart zentral. Theoretisch gehaltvoll ist sie, weil das Verhältnis von verbalsprachlichen und infralinguistischen »Einschreibungen« sowie zwischen intrapsychischer und interpersonaler Erfahrung neu zu klären ist und einige enorm heterogen verwendete psychoanalytische Kernbegriffe zur Repräsentation neu zu sichten und voneinander abzugrenzen sind. Klinisch entscheidet sich an diesen Fragen, welche Leiden der psychoanalytischen Therapie zugänglich sind. Die vorliegende Arbeit will (...) einen sowohl theoretisch wie klinisch relevanten Beitrag zur Diskussion leisten. Sie geht aus von Sigmund Freuds Konzepten zu den unbewussten Vorstellungen, aus deren Perspektive die weiterführenden Gedanken neu gelesen und überprüft werden. Dabei stehen die Modelle von Green, Levine, Botella & Botella und Kristeva im Mittelpunkt. Sie kommt zu dem Ergebnis, dass es vorschnell ist, infralinguistische oder semiotische Erfahrungsschichten als »nicht repräsentiert« einzustufen. Vielmehr sollen die verschiedenen Darstellungsformen seelischer Zustände gewürdigt und aufeinander bezogen werden, die schließlich sprachlicher Repräsentation und so der Behandlung geöffnet werden. Ein ausführlicher Fallbericht und Hinweise auf die Behandlungsdynamik der Anorexia nervosa erläutern beispielhaft, wie das in der Kur gelingen kann. (shrink)

Richard Levins (1930-2016) was an outstanding ecologist, population geneticist, biomathematician, philosopher of science, complexity theorist, and Marxist. Key to all aspects of his work was a dialectical logic of process and change. His work provides a framework for the understanding of crises in environment and society and their analytic relationship with capitalism and imperialism, as well as the tools for the critique of biological determinist justifications for the existing structures of power. This anthology pays tribute to Levins by carrying forward (...) his work in the development of the understanding of the dialectics of nature and society. -/- The contributions are organized into four sections--Dialectics in Wholistic Research; Political Ecology and Health; Complex Systems; and Reminiscences and Tributes. The authors are as almost as hard to label as Levins; the fields they draw from range from biomathematics to NGO activism; environmental policy to island and aquatic ecology; eco-justice podcasting to biogeochemistry; reflective practice to science-in-society, agroecology to public health. (shrink)

The Vienna Circle was a group of scientifically-minded philosophers, many physicists by training, who in the 1920s and 30s developed the cluster of philosophical doctrines known as Logical Positivism. Among the Circle’s most distinguished members were Rudolf Carnap and Herbert Feigl, each of whom emigrated to America during the Nazi era. It is said that Feigl, the author of an important 1958 monograph defending a materialist approach to the mind-body problem, once gave a visiting lecture on the problem of consciousness (...) at UCLA, where Carnap was teaching. Feigl argued that although there were good reasons for believing that the mind is fundamentally physical, the physical explanation of the ‘qualia’ of sensory experience – the ineffable sensory qualities involved in, say, smelling coffee – was still a mystery to science. Now the story becomes apocryphal. Carnap is supposed to have interrupted, ‘But Feigl, there is something missing from your lecture. Science is beginning to explain qualia in terms of the alpha factor!’. We can imagine Feigl somewhat alarmed by this interjection from the great Carnap: ‘But Carnap, please tell me: what is the alpha factor?’. ‘Well, Feigl’ Carnap replied ‘if you tell me what qualia are, I’ll tell you what the alpha factor is’. (shrink)

A book symposium on Peter, Carruthers. Phenomenal Consciousness: A Naturalistic Theory. Cambridge: Cambridge University Press, 2000. -/- Contents: Author's précis Colin Allen, Evolving Phenomenal Consciousness - Carruthers's reply. José Luis Bermúdez, Commentary - Carruthers's reply - Reply to Carruthers: Properties, first-order representationalism and reinforcement. Joseph Levine, Commentary - Carruthers's reply. William Seager, Dispositions and Consciousness - Carruthers's reply.

Darwin the writer -- Learning to see : Darwin's prophetic apprenticeship on the Beagle voyage -- The prose of On the origin of species -- Surprise and paradox : Darwin's artful legacy -- Darwinian mind and Wildean paradox -- Hardy's Woodlanders and the Darwinian grotesque -- Coda : the comic Darwin.