Summary Attitudes to poetry teaching in schools are investigated and relevant studies are shown to highlight reluctance to teach poetry. The study reports an exploratory questionnaire of middle school teachers which reaffirms teachers? lack of confidence in encouraging classroom work on poetry. A sample of 100 middle school pupils, on the other hand, indicate interest and receptiveness towards poetry despite its neglect by their schools. Implications are raised for in?service training and for the implementation of National (...) Curriculum requirements. (shrink)

Coleridge and the Crisis of Reason examines Coleridge's understanding of the Pantheism Controversy - the crisis of reason in German philosophy - and reveals the context informing Coleridge's understanding of German thinkers. It challenges previous accounts of Coleridge's philosophical engagements, forcing a reconsideration of his reading of figures such as Schelling, Jacobi and Spinoza. This exciting new study establishes the central importance of the contested status of reason for Coleridge's poetry, accounts of the imagination and later religious (...) thought. (shrink)

This essay concerns Heidegger’s assertion that the biography of the poet is unimportant when interpreting great works of poetry. I approach the question in three ways. First, I consider its merits as a principle of literary interpretation and contrast Heidegger’s view with those of other Trakl interpreters. This allows me to clarify his view as a unique variety of non-formalistic interpretation and raise some potential worries about his approach. Second, I consider Heidegger’s view in the context of his broader (...) philosophical project. Viewed this way, Heidegger’s decision to neglect the poet’s biography seems quite reasonable and consistent with his inquiry into the being of language. Finally, I consider Heidegger’s suggestion that Trakl is a kind of mad genius. I recast this paradigmatic figure in terms of what I call the ‘wretched prophet’ and consider some ways in which its appeal sheds light on the crisis of modernity and the aestheticization of politics. (shrink)

The twentieth century began with the deconstruction of the image, as it is ending with the effort to restore it. Cubism, dada, and abstract expressionism took apart what, in their various ways, pop art, magic realism, and neoexpressionism have tried to put back together. Tonality in music and narrative in literature have undergone similar change.1 What has been at stake in each case has been the redefinition of a center, a normative or ordering principle as such. Yeats intuited this general (...) phenomenon in his famous observation that “the center cannot hold,” and though whether one applauds or, with Yeats, condemns the result, it is undeniable that the crisis of contemporary culture has been in large part experienced as a deprivation of norms.This sense of deprivation has been most apparent in the plastic arts. The fashioning of images has been one of the primary impulses of human art. It has been the basis of most systems of visual representation and constitutes the earliest record we have off art itself. Its loss or abandonment has been in good part responsible for the bewilderment and hostility much of the general public continues to express toward modern art.The experience of this loss, however, has not been confined to the public alone. For many artists, the sense of modern art’s expressive potential has been tempered by an anxiety about its ultimate direction.2 For these artists, the image had not been transcended but rather rendered inaccessible, and implicitly or explicitly they sought its restoration. At the same time, they were keenly aware that there could be no return to exhausted modes of representation, no looking back except as parody or quotation.3 1. Among the studies comparing changes across the arts in the early twentieth century are Georges Edouard Lemaître, From Cubism to Surrealism in French Literature , and Bram Dijkstra, The Hieroglyphics of a New Speech: Cubism, Stieglitz, and the Early Poetry of William Carlos Williams . More recently, visualization in cubist art and relativity theory has been compared in Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art . For a general overview, see Stephen Kern, The Culture of Time and Space, 1880-1918 . Marxist critics, notably Walter Benjamin, have long insisted on the relationship between modernism in the arts and the crisis of the traditional order.2. This is clearly visible in the work and writing of pioneers such as Kandinsky and Klee or, to take a later case, Adolph Gottlieb. The correspondence between Kandinsky and Schönberg is illuminating as well.3. Much of the neoimagistic art of the past twenty-five years falls into these categories, and thus signals a prolongation rather than a resolution of the crisis. Pop art was clearly an art of parody, while work of an artist such as Malcolm Morley might almost be taken as an illustration of Benjamin’s thesis about the work of art in an age of mechanical reproduction. His “imitations,” like those of Robert Lowell in verse, betray a deep anxiety about mastery and tradition. Much the same can be said for such musical compositions as Lukas Foss’ “Baroque Variations” and “Phorion” or Luciano Berio’s “Sinfonia,” to name but a random few among many. Robert Zaller is professor of history and head of the department of history and politics at Drexel University. He was formerly on the faculties of Queens College , the University of California at Santa Barbara, and the University of Miami. His books include The Parliament of 1621: A Study in Constitutional Conflict and The Cliffs of Solitude: A Reading of Robinson Jeffers. (shrink)

This essay concerns Heidegger’s assertion that the biography of the poet is unimportant when interpreting great works of poetry. I approach the question in three ways. First, I consider its merits as a principle of literary interpretation and contrast Heidegger’s view with those of other Trakl interpreters. This allows me to clarify his view as a unique variety of non-formalistic interpretation and raise some potential worries about his approach. Second, I consider Heidegger’s view in the context of his broader (...) philosophical project. Viewed this way, Heidegger’s decision to neglect the poet’s biography seems quite reasonable and consistent with his inquiry into the being of language. Finally, I consider Heidegger’s suggestion that Trakl is a kind of mad genius. I recast this paradigmatic figure in terms of what I call the ‘wretched prophet’ and consider some ways in which its appeal sheds light on the crisis of modernity and the aestheticization of politics. (shrink)

The central thrust of Platonic poetics - for Plato had no aesthetics - is not the outright abolition of poetry, nor merely a relocation of it in view of recent acquisitions in the scientific knowledge of the day. Rather it is the quest for an authentic poetry and for ways of differentiating true from false poetry. The experience of transcendence through poetic symbols - of insight into ultimate reality - cannot be explained on the basis of the (...) mimetic theory. The world as a totality, its origin, the gods in the heavens, the shades and shadows of Hades, the tragic Destiny of the dramatist, and their interplay: these are crucial to the Greek experience of reality as voiced by the poet, but for none of them is there any possible model in the visible world, natural or craft-produced.23 Consequently these can never be imitated, and thus too the traditional vocation of the poet as the namer of the holy is precisely what gets eliminated in the last book of the Republic, and in Aristotle's refurbishment of mimēsis.Plato takes poetry seriously both for the polis and in the polis because it poses a serious danger. Poetry threatens “the safety of the city which is within us” (Rep. 608). Yet with Hölderlin he could agree that “Where there is danger there also lies salvation,” and so recognize the veridicousness of poetry, its truth-bearing power. At the basis of every life-form, every political order, there lies a poetic projection. The work of philosophical criticism and dissent can therefore not but enter into the quarrel with poetry. For Aristotle on the other hand, poetry, its meaning transvaluated, has been removed from the precinct of conflict. To put the point dramatically: one could never imagine Aristotle expelling the poets from any state, real or ideal. That would be a category-mistake since the worst that poetry can do is to turn into a catharsis interruptus.Although we have no unmediated experience of Being, the theory of inspiration points in such a direction. Yet even for the poet, it must be stressed, poetic inspiration must not be torn from the process of its self-realizing production or technē. Nor is the Heraclean metaphor fully adequate to critical interpretation, for it emphasizes sensitive conformance to the word at the expense of the distance required for proper engagement. The missing dimension is hinted at in the interrogative approach of Socrates, in his concern for the discovery and preservation of truth. Poetic inspiration, but also poetic interpretation, will not be poetic unless it is, as Heidegger says, a coming-to-work, whether that means a work of art or work of thought. Poetic inspiration must be an eventuation of truth in the work; as distinguished from mystical inspiration, it seeks embodiment and mediation. In other terms, for there to be an artwork both the vertical dimension and the horizontal dimension of craft must intersect. The eventuation of truth in the work must be fitting, due and opportune; the intersection must have its proper measure (summetria, Phil. 643). This alone constitutes the genuine necessity of the work, and only when this character prevails can the eventuation of truth take place. (shrink)

In this essay, I elaborate a reading of the Buddhist allusions throughout T.S. Eliot's poetry as being not confessions of Buddhist faith or merely syncretic experiments, but rather ‘conceptual rhymes’ with the crisis of personal connection that preoccupies Eliot across multiple texts. In the Buddhist concepts of pratītya-samutpāda, śūnyatā, saṃsāra, and the pretas, Eliot finds thematic resonances with his own emotional and psychological concerns and so alludes to these concepts in ‘The Fire Sermon’ section of The Waste Land (...) and ‘Burnt Norton’ of Four Quartets as part of his characteristic poetic collage. By examining the connection between Eliot's personal poetic practice and the cross-cultural traditions upon which he drew, my argument intervenes in a long-standing debate regarding the meaning of Asian religio-philosophical influences in the poet's key texts. Moreover, by close reading the third movement of ‘Burnt Norton’ for Buddhist allusions, I attempt to refocus scrutiny of Buddhism in Eliot from the oft-discussed ‘Fire Sermon’ section of The Waste Land to Eliot's later Four Quartets, which remains under-examined for its Buddhist influences by scholars who instead attend to the latter text's more pronounced Vedic references. (shrink)

Short description: Part A : Philosophy, Literature, and Knowledge – Chapter I : Idealism and the Absolute – A. J. B. Hampton: “Herzen schlagen und doch bleibet die Rede zurück?” Philosophy, poetry, and Hölderlin’s development of language suffi cient to the Absolute – P. Sabot: L’absolu au miroir de la littérature. Versions de l’Hégélianisme’ chez Villiers de l’Isle Adam et chez Mallarmé – P. Gordon: Nietzsche’s Critique of the Kantian Absolute – Chapter II: Philosophy and Style – J.-P. Larthomas: (...) Le cas Kierkegaard (1813-1855) ou l’écriture comme dialectique de l’écoute – S. Hüsch: Style et signifi cation. Intériorité et communication indirecte chez Søren Kierkegaard – A. Milon: La question du style en philosophie: la grammaire non-style – C. Van Lerberghe: La question du style dans la phénoménologie asubjective de Jan Patocka – Chapter III: Poetry and Philosophy – J.-B. Dussert: Martin Heidegger en ses poèmes – C. de Roche: The poem and the monad: On the reception of Leibniz‘ monadology in Paul Celan’s poetics – M. de Jesus Cabral: Entre théâtre et philosophie : notes sur la poétique de Maurice Maeterlinck – Chapter IV : Literature, Philosophy, and (new) Mythology – A. Martinengo: La raison hors de soi. Herméneutique et mythe chez Paul Ricoeur – G. Boggio Marzet Tremoloso: Démythologisation comme acte mythopoïétique: le cas de Jason de Elisabeth Porquerol. – G. Coulter: Jean Baudrillard: The Literary / Poetic Philosopher – Chapter V : Literature and Ethics – J. Azoulai: L’Éthique de Spinoza dans Bouvard et Pécuchet: un vertige philosophique et littéraire – I. Vendrell: Can Literature be Moral Philosophy? A sceptical view on the Ethics of Literary Empathy – F. Picon: Envisager Todorov: Poétique, éthique et humanisme contemporain – Chapter VI : Philosophy and Textuality – E. Lecler: La littérature : la mort de la philosophie – J. A. Gosetti- Ferencei: Writing in Philosophy and the Literature and Philosophy of Writing (Plato, Mann, Blanchot) –W. Cristaudo: Bringing Back Character and Grammar: Freeing Literature from Excessive Reliance on Philosophy and Theory – C. Alfano: Parenthesising Cracks into the Ground of Philosophy: The Textuality of Stanley Cavell’s Philosophical Writing – Part B: Perspectives of a Dialogue between Philosophy and Literature: Philosophical Refl ections in Literary Creation – Chapter VII : Philosophical Dialogue and Literature – A. Baillot: Tieck et Solger, un dialogue philosophicolittéraire – V. Altachina: Le dialogue philosophique chez Diderot et chez Dostoïevski – Chapter XIII : Bergsonien Infl uences in Literature – C. Dewas: Bergson et Katzantzakis. Les limites du langage comme condition d’une métaphysique de la littérature – E. Pesenti Rossi: La philosophie à l’épreuve de la poésie : Bergson et Ungaretti – Chapter IX : Wittgenstein and Literature – G. Valdemarca: La revanche du sens commun : Wittgenstein, Musil et la chute de la certitude – A. Leaker: From the ‘numinous glow’ to ‘gut squalor’: Transcendence and the Ordinary in Wittgenstein and Don DeLillo’s Underworld – A. den Dulk: Wallace and Wittgenstein: Literature as Dialogue Concerning the Real World – Chapter X: Borges and Semprun: Writers and Philosophers – J.-F. Mattéi: Borges et la philosophie – T. Capmartin: Voyage au bout de la représentation dans Fictions: Quelques remarques ménardiennes sur Borges et le stoïcisme – V. Capdevielle- Hounieu: Jorge Semprún et l’hybridation du littéraire et du philosophique : pour une ‘fi ction essayistique’ – Chapter XI : Literary (Mis-) Readings of Philosophy – P. Lasarte: Misreadings of Arthur Schopenhauer in Sin Rumbo by Eugenio Cambaceres – S. Roldan: Qu’est-ce qui est fort comme la mort selon Maupassant? La détermination ultime d’Olivier Vertin vue sous l’angle de Schopenhauer – B. Nickel: L’infl uence de Ludwig Wittgenstein (1889–1951) sur la poésie concrète – Chapter XII: The Impact of Philosophy on 20th Century Literature and Poetry – B. Ertugrul: Walter Benjamin et Ingeborg Bachmann entre littérature et philosophie – J. Leclercq / M. Watthee-Delmotte: Michel Henry : pour un langage de la subjectivité. La pensée du roman Le Fils du roi – J. Hobus: “The happiness of the concentration camps”: Reading Imre Kertész’ Novel Fatelessness with Albert Camus’ Concept of the Absurd – S. Frogel: Man without God: Nietzsche, Kafka and Camus Der Herausgeber Sébastian Hüsch, Studium der Philosophie, Geschichte,. (shrink)

In chapter 5 of his Autobiography, John Stuart Mill recounts a crisis in his mental history. The details of Mill’s depression and eventual rehabilitation due to the salutary powers of lyric poetry are well known. But most scholars who have investigated the status of poetry in Mill’s philosophy have overlooked the fact that the story the Autobiography tells about poetry’s contribution to Mill’s spiritual convalescence and moral education raises several interesting interpretive issues and leaves many notable (...) questions unanswered. I begin with an overview of Mill’s psychological case history as presented in the Autobiography. After that I turn my attention to some exegetical difficulties surrounding Mill’s adulation .. (shrink)

Interpretations of Mill's response to literature are often placed within a larger analysis of the development of his ethical thought. Such interpretations commonly seek to describe the importance to Mill's intellectual development of the episode in his personal experience, recollected in Chapter V of his Autobiography, which awakened him to the value of poetry and to the need for an active cultivation of personal feeling. The connection between the two is usually made by demonstrating how his mature ethical thought (...) integrates ideas that were first brought home to him during this reaction against the logical rigour of his background and upbringing, a reaction that contrasts Mill's acceptance of the importance of personal culture and emotion with the scant regard afforded to these elements within Benthamite utilitarian thought. Thus the resolution of Mill's personal crisis is seen as shedding light on key limitations within the moral philosophy that he inherited from Bentham and from his father. (shrink)

Fabi and Goldberg raised important considerations regarding both research and funding priorities in the field of bioethics and, in particular, the field’s misalignment with social justice. W...

In 2009 the Roundtable on Sustainable Palm Oil established a conflict resolution mechanism to help rural communities address their grievances against palm oil companies that are RSPO members. This article presents the broadest ever comprehensive assessment of the use and effectiveness of the RSPO conflict resolution mechanism, providing both overviews and in-depth analysis. Our central question is: to what extent does the RSPO conflict resolution mechanism offer an accessible, fair and effective tool for communities in Indonesia to resolve conflicts with (...) companies? Our aim is not only to provide a ‘reality check’ of this mechanism but also to contribute to the wider debate on how communities can seek access to justice when engaged in intractable conflicts with palm oil companies. For data collection, we took three steps. First, we used our own database of 150 conflicts between communities and companies in Indonesia. We identified 64 conflicts that involved RSPO member companies, of which 17 prompted communities to convey their grievances to the RSPO’s conflict resolution mechanism. Second, we used the database of the RSPO, which handled 85 complaints against companies in Indonesia in the period 2009–2020. Third, we conducted fieldwork, in total, about 6 months of fieldwork and extensive interviews on three conflicts involving RSPO companies to identify mechanisms leading to both failed and successful instances of conflict resolution. For our assessment, we used three criteria to assess the conflict resolution mechanism of the RSPO: accessibility, procedural justice, and the outcomes of the process. We conclude that—on all counts—the conflict resolution mechanism is biased in favor of companies. The result of these biases is that the actual capacity of the RSPO’s mechanism to provide a meaningful remedy for rural communities’ grievances remains very limited. This unequal access to justice sustains conflicts between companies and communities over land. (shrink)

Important as they are in people’s mental and intellectual development and in their appreciation of the things around them, the Humanities remain a field that is, more often than not, frowned upon among people who firmly believe that the STEM fields are much more important, practical, and lucrative in a rapidly growing and competitive workplace. Besides, when scientific and technological breakthroughs have invaded every nook and cranny of our lives, the incessant comparison between science and the arts does not, and (...) actually should not strike us as new or even shocking. The present paper seeks to revisit the status of the Humanities nowadays, by shedding light on the crisis befalling this field nationally. The paper also aims at providing a reappraisal of the moment of poetry—one that substantiates Poet Meena Alexander’s famous line, “We have poetry / So we do not die of history.” This is achieved through readings of Sylvia Plath’s so-called hospital poems that highlight the deft interplay between poetry, science and ideology. (shrink)

_The Uprising_ is an Autonomist manifesto for today's precarious times, and a rallying cry in the face of the catastrophic and irreversible crisis that neoliberalism and the financial sphere have established over the globe. In his newest book, Franco "Bifo" Berardi argues that the notion of economic recovery is complete mythology. The coming years will inevitably see new surges of protest and violence, but the old models of resistance no longer apply. Society can either stick with the prescriptions and (...) "rescues" that the economic and financial sectors have demanded at the expense of social happiness, culture, and the public good; or it can formulate an alternative. For Berardi, this alternative lies in understanding the current crisis as something more fundamental than an economic crisis: it is a crisis of the social imagination, and demands a new language by which to address it. This is a manifesto against the idea of growth, and against the concept of debt, the financial sector's two primary linguistic means of manipulating society. It is a call for exhaustion, and for resistance to the cult of energy on which today's economic free-floating market depends. To this end, Berardi introduces an unexpected linguistic political weapon--poetry: poetry as the insolvency of language, as the sensuous birth of meaning and desire, as that which cannot be reduced to information and exchanged like currency. If the protests now stirring about the world are to take shape and direction, then the revolution will be neither peaceful nor violent--it will be linguistic, or will not be at all. (shrink)

Over the past 25 years, no religious institution in America has done more to explore the link between the environment and spirituality than the Cathedral of St. John the Divine. Now, for the first time, a selection of the finest of the Cathedral's ecological sermons appears in a single volume.

When humans are confronted with an epidemic situation or a continuous natural disaster, success depends largely on how critical information is conveyed to as many people as possible, how individuals' emotional experiences of the crisis are elicited, and how their behaviors are directed going forward. Efficient publicity is key to successful epidemic prevention and control. This study explores the role of creative publicity by comparing the influence of creative publicity and general publicity in different periods of the COVID-19 outbreak (...) in China. The effects of creative and general publicity differed across varying periods of the COVID-19 outbreak. Specifically, compared to general publicity, creative publicity had a significant impact on individuals' emotional arousal in the early period of the COVID-19 outbreak while it significantly promoted individuals' emotional arousal, behavioral regulation, and willingness to actively disseminate information in the middle period. In the stable period of the COVID-19 outbreak, creative publicity performed better than general publicity in regulating individuals' behavior. On the other hand, general publicity was more effective than creative publicity in regulating individuals' behavior and actively disseminating information about the epidemic in the early period of the COVID-19 outbreak. In conclusion, creative and general publicity had differing effects in different periods of the COVID-19 outbreak, which may relate to the characteristics of the publicity format and people's psychological conditions in different periods of the COVID-19 outbreak. (shrink)

The inclusion of ethics and politics into artistic creation process is for many contemporary creators/artists an essential motivation while they consciously act in an aesthetic space polluted with the realities of a world in crisis. Art, which produces visible and sensible forms, can reveal aesthetic ideas and fundaments through aesthetic objects: drawing, video-installing or poem/poetry. And artists can make someone feel with their creations—whether these are beautiful, sublime, tragic, or ironic—ethical contentions violated by human action or the exertion/exercise (...) of political power. Works of art that are not only guided by the categories signed by beauty, because in artistic languages, violence and suffering also make/create form. And times of crisis are the ideal sphere/dimension for an art that gives a vivid way of seeing/watching the uncertainty, the perversion, the terrible. In bringing these philosophical—ethical, aesthetic and political—topics, I do it from an approach that departs form artistic creations and curatorial research. I try to penetrate the narrow thread between an ethical topic and the plastic form in which it incarnates/embodies itself, or between a political action and the aesthetic structure of language as a creative, expressive consequence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Economy, Society, Tragedy: Moral Reflections in an Age of Crisis and Austerity LOUIS A. RUPRECHT JR. Precisely their tragedies prove that the Greeks were not pessimists... In this sense, I have the right to understand myself as the first tragic philosopher—that is to say, the most extreme antithesis and antipode of a pessimistic philosopher. —Nietzsche, Ecce Homo, “The Birth of Tragedy” Orgiastic religion leads most readily to song (...) and music; ritualistic religion inclines toward the pictorial arts; religions enjoining love favor the development of poetry and music. In all of this, the one important fact for us is the significance of the marked rejection of all distinctively aesthetic devices by those religions which are rational, in our special sense. —Max Weber, The Sociology of Religion tragedy and society The title of this review essay is taken from Max Weber’s posthumous magnum opus, Economy and Society,1 an ambitious and wide-ranging comparative sociological analysis of economic orders, social orders and the normative structures that both emerge from and lend meaning to the intersecting economic, political and religious spheres in which complex human arion 28.2 fall 2020 Kathryn A. Kozaitis, Indebted: An Ethnography of Despair and Resilience in Greece’s Second City (New York, NY: Oxford University Press, 2021), 248 pages. This book is the fifteenth in Oxford’s important series, “Issues of Globalization: Case Studies in Contemporary Anthropology,” edited by Carla Freeman and Li Zhang. 138 economy, society, tragedy societies take shape. To Weber’s grand and capacious sociological categories, economy and society, I have added a third literary and philosophical term: tragedy. Now, to be sure, Weber thought a great deal about tragedy,2 and was drawn to tragic themes in many of his most salient and influential sociological studies. One need think only of his account of the bureaucratic “routinization” of prophetic charisma in The Sociology of Religion,3 or his depiction of modern humanity’s self-imposed “iron cage” in the rousing final pages of The Protestant Ethic and the Spirit of Capitalism,4 a text to which I will return at the end of this essay.5 But tragedy entails far more than systemic collapse or self-inflicted disaster. In this essay, I want to explore some of the implications of combining close attention to the lived experience of concrete individuals to the highly theoretical, systems-level analysis inspired by such Weberian categories. Put another way, how may Cultural Anthropology, and more specifically Ethnography, deepen such a globally-oriented Sociology? Here, I intend to supplement Weber’s sociological dyad, economy and society, with a conception of tragedy drawn from the cognate social sciences of Comparative Religion and Cultural Anthropology; I will be using Attic Greek tragedy as a benchmark. More specifically, I wish to highlight some of the ways in which the first book-length ethnographic study of the Greek economic crisis may add vital nuance to Weber’s more theoretical, world-systems approach. That book is Kathryn Kozaitis’s Indebted: An Ethnography of Despair and Resilience in Greece’s Second City, an ethnographic study of the lived reality of Greeks experiencing the double -whammy of a sovereign debt crisis and externally imposed austerity regimes in the Greek city of Thessaloniki; the book is the fifteenth to appear inOxford’s “Issues of Globalization: Case Studies in Contemporary Anthropology” series, edited by Carla Freeman and Li Zhang. As Kozaitis demonstrates with sensitivity and eloquence, by zeroing in on the people, rather than the economic policies or the social and administrative structures, Louis A. Ruprecht Jr. 139 certain normative categories and ethical stances become more relevant, many of them implicated in ancient Greek tragedy, and drama more broadly. tragic crises appropriately to a work of cultural ethnography, Kozaitis links the personal to her profession; further still, she weaves her own personal story into the story of the people to whom she is attempting to give voice. This, she notes, constitutes “the auto-ethnography in this ethnography” (4–6). How, then, did this professor of Cultural Anthropology, based in the United States, find her way to Greece’s “second city”? The path was circuitous, and its destination unclear for quite some time. That Kozaitis’s personal... (shrink)

Virtually everyone knows that Aristotle sometimes lies. His account of the pre-Socratics in the first book of the Metaphysics leaves out of account everything that does not suit his scheme, the gradual disclosure of the four causes, compelled, as he says, by the truth itself. Heraclitus’ fire is there but not Heraclitus’ logos. Parmenides’ Eros is there but not Parmenides’ mind. This triumphant progress, however, comes abruptly to an end at the end of Book I, and Book II begins the (...) crisis of first philosophy. It is the very triumph of Book I that brings about the crisis of Book II, and it is Book II that is first philosophy: it consists of nothing but questions. These seventeen questions could not have been formulated had not Book I preceded it and confirmed that wisdom was the theoretical knowledge of cause. The knowledge of cause, however, does not establish first philosophy; it merely discloses what still must be known, being. Being emerges as the problem of first philosophy through the non-problematic status of the four causes. The emergence of being as the problem is not adventitious to the four causes. There lurks within the four causes one cause that is not an answer but a question, and the question is, What is? Formal cause is the only cause that appears among the categorial predicates, and of these it is the only one that is a question, and whose formulation includes in itself that which the question is about. To ask about being is to acknowledge belatedly that it has come to light as a question about which one asks questions. If, then, first philosophy is first only the second time around, where are we to begin? Aristotle has another name for first philosophy. He calls it theology. Theology is a tainted word. It is first used, as far as we know, by Plato, and he puts it in the mouth of Adimantus, whom Socrates is questioning about what myths are to be told the future guardians when young. Theology, then, is theomythy. It precedes any true account of the gods. Socrates’ theology is set in opposition to the stories of Homer and Hesiod. It is one set of myths against another. Hesiod’s myth, however, is not Hesiod’s but the Muses’, and the Muses tell Hesiod that they speak lies like the truth and they pronounce, whenever they wish, the truth. Before philosophy there are lies like the truth. Before philosophy, we say, there is poetry. Poetry has already divided lies from truth and put them together again. Poetry is not at the beginning but after the beginning, when the speaking about the speaking about things has become part of the speaking. This double speak puts things at a distance from us. The things the Muses speak about are the beginning. We are not at the beginning when we hear from the Muses about the beginning. At the beginning are the Muses who sing about the beginning. (shrink)

In The Uprising: On Poetry and Finance, Franco ‘Bifo’ Berardi unfolds a political and clinical diagnosis of contemporary society, stating that the crisis we experience today is a permanent state of absent social autonomy and political agency. This crisis is not solely economic but is caused by semio-capitalism impacting all spheres of human life, affecting sensibility in particular—the linguistic and physical-sensuous link between the individual and the world. Taking up the term sensibility as a bodily basis of (...) experience and as an aesthetic notion, in this article I will explore the relation between individual and collective bodies, the crisis as a suspension of change, and literature, focusing on the Danish poet Ursula Andkjær Olsen’s 2017 lunatic and fragmented novel of love and economy The Crisis Notebooks, but also with reference to some of her other work. I argue that the bodily experience of crisis, as expressed in this novel, leads to an inhibited social sensibility but also, paradoxically, to a radical openness towards the world. With reference to the Danish literary scholar Anne Fastrup’s interpretation of French vitalism’s idea of sensibility in The Movement of Sensibility, I suggest that a more ambiguous, material notion of both a constructive and a destructive sensibility is crucial for its understanding, and hence—for an understanding of the relationship between body and crisis as expressed in The Crisis Notebooks. Finally, I suggest that an aesthetic notion of sensibility can provide a prism through which relations between today’s financial mechanisms and a sociocultural experience of crisis are rendered visible—if not sensuous—and it is from here that alternatives to the crisis can be found, felt, formulated or fabulated. (shrink)

During the later 16th and 17th centuries, Scotland's elite, divided by the Reformation and afflicted by political upheaval, found consolation, and sometimes inspiration, in the teachings of ancient philosophy. The neo-Stoicism with which they especially engaged was a versatile and cosmopolitan body of thought which had developed in response to chronic instability across Europe. Influenced by its ideas about public and private life, which were discussed in poetry and drama as well as in letters, meditations and extended scholarly treatises, (...) they learned how to follow Stoic example - to prepare themselves for political duties, to confront the turbulence of their own world, and even to cultivate a justifiable retirement in the face of its irrational and uncontrollable furies. Examining figures as diverse as Buchanan, Drummond of Hawthornden, Hume of Godscroft, Gordon of Gordonstoun, the Marquis of Montrose, Alexander Ross, Robert Leighton and Sir George Mackenzie, this study traces the attempt made to educate Scots to transpose Roman morality onto early-modern society, providig at the same time an insight into the mental outlook and cultural horizons of the later Stuart elite. (shrink)

"This book is about the way shifting conceptions of ecology, biology and technology significantly alter what it means to write poetry about nature in a time of environmental crisis. It offers a radical re-reading of three major British poets, Ted Hughes, Derek Mahon and JH Prynne, and their aesthetic strategies for negotiating the complex feedbacks between organisms and their environments in a technological world. Their poetry not only provides ways of thinking and communicating about ecology and biology, (...) but shows how the unpredictable processes of thought and communication impact on organic life in the Anthropocene, providing a substantial challenge to aesthetics, ethics and politics" --. (shrink)

The financial crisis of 2008–2009 presents us with the opportunity to not only understand what has happened in the markets but also to reflect on the purpose of the marketplace. Drawing from expert economic analyses, we first assess the central lesson of the crisis—the failure of self-regulation by rational self-interest to moderate externalized risk in financial markets. Second, we ask the philosophical question occasioned by the crisis concerning the moral meaning of economic activity: Is market exchange solely (...) for the sake of self-interest? Reflecting on the poetry of Kahlil Gibran and engaging with the recent encyclical of Pope Benedict XVI, we turn our attention from political economy to moral economy: the relationships among market exchange, self-interest, and the common good—and, in particular, the prior conditions of market exchange and their moral significance for the present crisis. (shrink)

In Reflexivity and the Crisis of Western Reason Barry Sandywell outlined and defended a central place for reflexivity in the human sciences. In this second equally outstanding and challenging volume of Logological Investigations, he reconstructs the origins of "European" reflection. The author's central claim is that the world does not exist independently of us, but that it is constituted through the terms of our discursive categories. Rather than research being a triumphant exploration, it is more fully understood as agonized (...) self-reflection on the grounds of knowledge production. Sandywell argues that this approach has been inherent throughout Western philosophy and in so doing, he shows that the reflexive character of human experience in Western Culture can be traced through the desire for intelligibility that animated Greek drama, poetry, philosophy and science as explorations of the cosmos, body-politics and the soul. (shrink)

W. H. Auden, the sometimes Greta Garbo of twentieth-century poetry, once told Stephen Spender that he liked America better than England because in America one could be alone. Further, in his introduction to The Criterion Book of Modern American Verse Auden remarked that while in England poets are considered members of a “clerkly caste,” in America they are an “aristocracy of one.” Certainly it does seem to be the individual poet—Whitman, Williams, Olson, Plath, O’Hara, Ginsberg—who has altered the landscape (...) of American poetry and prosody, not the group. And most American literary “movements,” as Robert Creeley has pointed out, are simply comprised of a few people who on occasion drink together, and who are as likely as not to end the evening in violent argument over an aesthetic or political point. Yet the notion of schools or movements remains, in mainstream historical criticism at least, a vital one. How many introductions to anthologies of American poetry, for example, continue to use such rubrics as the Transcendentals, the Populists, the Black Mountain poets, the Beats, the New York group? And while established poets often rebel from any sense that they are part of a larger community, which by definition is self-limiting, they are often complicit in their initial categorization. For poets as well as critics the idea of a school is often a useful fiction serving as both a kind of protective hothouse and a platform for getting a hearing.The most recent “group” of American poets—the first since the anthology wars of the early sixties really to be of more than passing interest and perhaps to be actually capable of bringing about a major shift of attention in American poetry and poetics—is the so-called “Language” school. Individual volumes by poets often considered part of this group number well into three figures now and there have been important journals and anthologies produced in a serious and sustained fashion by these writers. Yet in part because of what seems the essentially hermetic character of the project , there has been little notice of this activity by academic critics or reviewers.1 What I’d like to do here is briefly map a few major aspects of the territory, describing some of the practical and theoretical questions which seem to occupy many of these writers in their ongoing critique of the “workshop poem.” 1. Two important exceptions are discussions of some of this work in Stephen Fredman, Poet’s Prose: The Crisis in American Verse and Marjorie Perloff’s review “The Word as Such: L=A=N=G=U=A=G=E Poetry in the Eighties,” American Poetry Review 13 : 15-22. All further references to Perloff’s article, abbreviated “WS,” will be included in the text. For a discussion of the various Language poetry journals and anthologies, see my chapter “American Poetry, 1940s to the Present” in American Literary Scholarship: An Annual/1983, ed. Warren French , pp. 349-74. Lee Bartlett, an associate professor of English, has directed the University of New Mexico’s creative writing program for five years. Coeditor of the critical journal American Poetry, his Talking Poetry: Conversations in the Workshop with Contemporary Poets will be published this fall. Currently he is writing a biography of William Everson. (shrink)

Early twentieth-century Italian poetry experiences a crisis in confidence concerning the expressibility of rhythm. Dino Campana's writings exemplify the processes the poet goes through in order to write rhythm. Rhythm is difficult to deal with because it is both sacred and tired. These two incarnations of rhythm lead Campana to different modes of expression; from more traditional definitions through to more fluid definitions. Two strands of analysis reveal themselves as central to understanding Campana's theoretical stance, namely fluidity and (...) movement. These point to a careful veiling of rhythm which opens up new spaces for the articulation of something that, whilst difficult, remains the essence of poetry. (shrink)

Questions could and should be raised about the political profile of English Romanticism both in particular and in general. Wordsworth’s poetry is especially useful to me here because of the way in which, through formal discontinuities, it dramatizes political conflicts. Reacting against these discontinuities, aesthetically minded critics have simply tended to leave out of the canon those poems which have the greatest capacity to help us become aware of a political poetics. In this respect it may well be that (...) Wordsworth is the most stylistically perverse of the Romantic poets. Not the most difficult to read, necessarily—Percy Bysshe Shelley’s breath-suspending songs and William Blake’s determination to produce “variety in every line” with the aim of unfettering poetry surely make more aggressive and obvious demands on the reader.1 But in these cases we can be reasonably sure that the difficulties are part of a conscious and coherent intention to set imagination to work in kindling sparks from ashes. Wordsworth also set out to do this, and we can agree that he did so with some success in some poems. But critics from Samuel Taylor Coleridge onward have rightly questioned the unity of Wordsworth’s canon in this respect. In Biographia Literaria, Coleridge notices the “inconstancy of the style,” an unevenness and a general inability to satisfy the demands of “good poetry” conceived as something possessing an organic form.2 This concern with a wholeness and consistency of artifice is more Coleridge’s than Wordsworth’s, and it seems to me that it is precisely the disjunctions in the poems that embody some of their most original and historically urgent meanings. The blemishes recorded by Coleridge—alternating and dissimilar states of feeling, overminuteness in description, and obsession with “accidental circumstances” , overuse of the dramatic mode, disproportion of thought to event, and so forth—can in fact serve as eloquent signals for discerning the complexities of the poems as they address a historical crisis in consensus embodied exactly in the unstable vehicle of the Wordsworthian speaker.3 3. I have explored the “formal” implications of this crisis in Irony and Authority in Romantic Poetry , and the terms of its historical discourse in Wordsworth and the Figurings of the Real . David Simpson is professor of English at Northwestern University. He is the author of Irony and Authority in Romantic Poetry , Wordsworth and the Figurings of the Real , and Fetishism and Imagination: Dickens, Melville, Conrad and editor of German Aesthetic and Literary Criticism: Kant, Fichte, Schelling, Schopenhauer, Hegel. (shrink)

. Science at the interface with society is regarded with mistrust among parts of the public. Scientific judgments on matters of practical concern are not infrequently suspected of being incompetent and biased. I discuss two proposals for remedying this deficiency. The first aims at strengthening the independence of science and suggests increasing the distance to political and economic powers. The drawback is that this runs the risk of locking science in an academic ivory tower. The second proposal favors “counter-politicization” in (...) that research is strongly focused on projects “in the public interest,” that is, on projects whose expected results will benefit all those concerned by these results. The disadvantage is that the future use of research findings cannot be delineated reliably in advance. I argue that the underlying problem is the perceived lack of relevance and reliability and that pluralism is an important step toward its solution. Pluralism serves to stimulate a more inclusive research agenda and strengthens the well-testedness of scientific approaches. However, pluralism also prevents the emergence of clear-cut practical suggestions. Accordingly, pluralism is part of the solution to the credibility crisis of science, but also part of the problem. In order for science to be suitable as a guide for practice, the leeway of scientific options needs to be narrowed – in spite of uncertainty in epistemic respect. This reduction can be achieved by appeal to criteria that do not focus on the epistemic credentials of the suggestions but on their appropriateness in practical respect. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Sacredness of Nature: Response to Six Objections to Religious NaturalismDonald A. Crosby (bio)The poet Mary Oliver speaks as a kind of religious naturalist when she writes in her book of prose and poetry Winter Hours, “I would not be a poet without the natural world. Someone else could. But not me. For me, the door to the woods is the door to the temple. Under the trees, (...) along the pale slopes of sand, I walk in an ascendent relationship to rapture, and with words, I celebrate the rapture. I see, and dote upon, the manifest.”1 She speaks as a poet and not as a philosopher or religious scholar, but she does so as one who is ardently in touch with the sacredness of nature. Her vocation as a poet is testimony to this constant attunement. Her daily walks in the woods and by the sea are her portals of access to the temple of the natural world. Her every step makes contact with holy ground.Oliver’s poetic vocation shows itself to be in deep sympathy with all of the living and nonliving aspects of nature, and thus with the imminent ecological crisis of our time, when she reflects later in this same book, “The farthest star and the mud at our feet are a family; and there is no decency or sense of honoring one thing, or a few things, and then closing the list. The pine tree, the leopard, the Platte River, and ourselves—we are at risk together, or we are on our way to a sustainable world together. We are each other’s destiny.”2Poet, philosopher, religious scholar, ecologist, and perceptive human being are bound together in Mary Oliver’s alert responses to the sacredness of nature. She captures in both her poetic and prose writing the essential spirit and outlook of religious naturalism. I do not claim that she is a religious naturalist; that would be going beyond what I am capable of knowing. But she certainly sounds like one in many respects throughout the poetry and prose of this book.I want us to keep constantly in mind her spirit and outlook as we ponder the cogency, adequacy, and appeal of religious naturalism as a way of thinking and living religiously, for they are the ultimate tests of that adequacy. I want us to do so by considering objections of various sorts arguing that religious [End Page 24] naturalism fails to be sufficiently religious in the way of satisfying the deepest discernments, needs, hopes, and foundations of authentic religious faith. My plan for this essay is to present what I surmise to be some of the most substantive objections, and to reply to each of them in turn.I do so in defense of the thesis that religious naturalism—at least as I have come to interpret and understand it over many years—is a strong contender for having an honored place among the religions of the world. My personal conception of religious naturalism is of course only one of many, and other religious naturalists might have different kinds of response to at least some of these objections. But my responses indicate the capability of religious naturalism to take such objections seriously into account and to provide plausible answers to them.The objections I want to respond to in this essay are six in number. All of them, as will be seen, assume a kind of panpsychism or the primordiality of some kind of mind or spirit, a view I find unnecessary and tending strongly toward an untenable mind-matter dualism in my defense of religious naturalism. 3 The first one is that nature by itself has no overarching purpose or reason for being. The second is that if mind and spirit are emergent rather than primordial, then they are reducible to blind physical processes, meaning that religion is implausibly reduced to physics. The third objection is that nature is just a mass of meaningless facts, with no objective, dependable values of any kind, including religious values. The fourth objection is that with impersonal nature rather than a personal, loving, God as its focus, religious naturalism lacks essential divine... (shrink)

The Crisis of European Sciences and Transcendental Phenomenology, Husserl's last great work, is important both for its content and for the influence it has had on other philosophers. In this book, which remained unfinished at his death, Husserl attempts to forge a union between phenomenology and existentialism. Husserl provides not only a history of philosophy but a philosophy of history. As he says in Part I, "The genuine spiritual struggles of European humanity as such take the form of struggles (...) between the philosophies, that is, between the skeptical philosophies--or nonphilosophies, which retain the word but not the task--and the actual and still vital philosophies. But the vitality of the latter consists in the fact that they are struggling for their true and genuine meaning and thus for the meaning of a genuine humanity.". (shrink)

Avner Baz presents a critique of the working practices of analytic philosophy in recent decades. He challenges the assumptions on which the philosophical 'method of cases' rests, and he presents a pragmatist conception of language on which the method of cases as used both 'armchair' and 'experimental' philosophers is fundamentally misguided.

Joseph Beuys’ installation Plight forcefully avows of the Nazi genocide by means of negative presentation. The work culminates a collective artistic investigation of negative sculptural strategies for representing traumatic history, opened by the Nouveaux Réalistes under the impact of Alain Resnais’ documentary film Nuit et Brouillard. This article outlines this history and analyzes Plight in the context of the ‘after Auschwitz’ crisis of representation and traditional culture theorized by Theodor W. Adorno. For Adorno, Auschwitz demonstrated threats to autonomous subjectivity (...) posed by tendencies unfolding within the global social process of modernity itself. Reflecting on the fate of music, poetry and literature under these conditions, Adorno advocated a hermetic art of silence and dissonance, as exemplified by Paul Celan and above all Samuel Beckett. This article shows that in the visual arts, too, the genocidal violence of World War II was confronted with analogous strategies of indirection. In Plight, Beuys would successfully synthesize John Cage’s symbolic demolitions of traditional music and the investigations of negative presentation carried out in sculpture by Arman and Daniel Spoerri. (shrink)

This is a series of connected essays by an eminent French Jesuit theologian. The English translation is very readable; but in style and feeling the book remains thoroughly French. Daniélou confronts the attitude of despair of many contemporary French thinkers with faith in the worthwhileness of human existence and in the truth of Christianity. The essays are often suggestive and illuminating; sometimes ‘tantamount to dogmatism’. Daniélou traces the crisis of truth to an over-wrought confidence in science, to the largely (...) justified mistrust of men’s word, to the substitution of the subjective viewpoint of sincerity for the objective one of truth, and to a concern for effectiveness and action rather than for truth. He then affirms that truth ‘must consist in the mind’s acknowledging God’s sovereign reality’. Against Merleau-Ponty he holds that phenomenology is neutral and does not necessarily imply or lead to atheism; against Malraux and Camus he denies the myth of unhappiness and contends that happiness is man’s heroic vocation; and against Rimbaud he challenges the mystification of poetry and claims there is no mysticism save that of God. To the Christian he underlines the responsibility to assert his faith in the presence of non-believers and says that in rejecting such atheistic humanisms as Marxism he is defending not only God but also man, for ‘man without God is maimed in the essential part of himself’. The solution to the tragedy of division among Christians, according to Daniélou, can be found only in truth; and reform is necessary before unity. Furthermore in a technological society Christianity must invent, for its permanent message, forms of expression which correspond to man’s technical advances; the Christian must consecrate earthly reality and so make the things which turn us away from God the means which lead us to Him. (shrink)

Normal 0 false false false EN-US X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} The paper examines a ground that the chosen philosophers share. It will address man’s existential crisis - his confusion and despair over his existence. T. S Eliot believed that his insight could pull humanity out of the (...) despair and hopelessness of modern era. The paper emphasizes the self transcending character of human existence. The eternal human situation offers liberation of mankind which starts with a total knowledge of man by himself. Through philosophical and existential exploration we can enter into, in effect, another state of consciousness, where we reconnect with each of our will at a deeper and satisfying level. Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Normal 0 false false false EN-US X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}. (shrink)

The goal of this paper is to provide an account of the role played by logic in the context of what Husserl names the “crisis of European sciences.” Presupposing the analyses offered in the Krisis, I look at Formale und Transzendentale Logik to demonstrate that the crisis of logic stems from the deviation of its original meaning as a “theory of science” and from its restriction to a mere “theoretical technique.” Through a comparison between Aristotelian syllogistic and modern (...) logic, I show why the modern discovery of the purely formal dimension of knowledge which makes possible such a mathematical technization is a positive achievement that hinders at the same time the disclosure of the truly philosophical nature of logic. The correct appraisal of this ambiguous phenomenon will explain why the rise of modern logic represents a decisive challenge for the success of Husserl’s late phenomenological project. (shrink)

Mikhail Lifshitz is a major forgotten figure in the tradition of Marxist philosophy and art history. _The Crisis of Ugliness_, published here in English for the first time, is a compact broadside against modernism in the visual arts that resists the dogmatic complacencies of Stalinist aesthetics.

In this book, which remained unfinished at his death, Husserl attempts to forge a union between phenomenology and existentialism.

Providing a model for the transformative work that is required going forward, The Crisis of US Hospice Care illustrates the potential of hospice for facilitating a new way of living our last days and for having the best death possible.

This is a series of connected essays by an eminent French Jesuit theologian. The English translation is very readable; but in style and feeling the book remains thoroughly French. Daniélou confronts the attitude of despair of many contemporary French thinkers with faith in the worthwhileness of human existence and in the truth of Christianity. The essays are often suggestive and illuminating; sometimes ‘tantamount to dogmatism’. Daniélou traces the crisis of truth to an over-wrought confidence in science, to the largely (...) justified mistrust of men’s word, to the substitution of the subjective viewpoint of sincerity for the objective one of truth, and to a concern for effectiveness and action rather than for truth. He then affirms that truth ‘must consist in the mind’s acknowledging God’s sovereign reality’. Against Merleau-Ponty he holds that phenomenology is neutral and does not necessarily imply or lead to atheism; against Malraux and Camus he denies the myth of unhappiness and contends that happiness is man’s heroic vocation; and against Rimbaud he challenges the mystification of poetry and claims there is no mysticism save that of God. To the Christian he underlines the responsibility to assert his faith in the presence of non-believers and says that in rejecting such atheistic humanisms as Marxism he is defending not only God but also man, for ‘man without God is maimed in the essential part of himself’. The solution to the tragedy of division among Christians, according to Daniélou, can be found only in truth; and reform is necessary before unity. Furthermore in a technological society Christianity must invent, for its permanent message, forms of expression which correspond to man’s technical advances; the Christian must consecrate earthly reality and so make the things which turn us away from God the means which lead us to Him. (shrink)