This article applies Jack Goody’s critique of Western classifications of historical and ethnographical phenomena to the current discourses of orientalism themselves in an endeavor to understand the sociological basis of what might be called the shift from orientalism to occidentalism. The argument compares the current emergence of anti-civilizational and self-critical discourses to historical examples of similar phenomena and argues that the current shift itself, so well represented in works that may seem similar to Goody’s but which are very (...) more narrowly ideological and lacking in a more general critical stance, are reflexes of the declining hegemony of powerful imperial centers within global systems. (shrink)

Proponemos una revisión crítica a una corriente interpretativa de base lingüística de las religiones prerromanas del área indo-europea de la Península Ibérica que se ha venido desarrollando durante los últimos quince años; para ello tomamos como referencia un reciente trabajo de B.M. Prósper (Lenguas y religiones del occidente de la Península Ibérica, Salamanca, 2002) en el que se exponen los puntos de vista de dicha hipótesis interpretativa. Nuestro trabajo revisa sus tres planteamientos metodológicos básicos: su consideración de dichas religiones como (...) cultos idolátricos, su base evolucionista decimonónica y su manifiesto anti-dumezilianismo. Nuestra propuesta consiste en integrar el aporte de la lingüística dentro del ámbito de la Historia de las Religiones como un tipo de análisis que contribuya, con otros, a la construcción de hipótesis explicativas del fenómeno religioso de dichas sociedades. (shrink)

La recepción durante el siglo XX se preguntó si la filosofía nietzscheana era a-, im- o anti-política, es decir, si podía ser asimilada por la democracia, o si era antimoderna, elitista y reaccionaria. El italiano Roberto Esposito ha propuesto leerla como formando e informando el paradigma de la biopolítica. Se discuten cuatro lecturas de esa biopolítica: como formadora del paradigma de la inmunidad, como tanatopolítica, como liberal y neoliberal, y como biopolítica afirmativa. Twentieth-century readers wondered if Nietzschean philosophy was (...) apolitical, impolitic, or anti-political; that is, if it could be assimilated by democracy or if it was antimodern, elitist, and reactionary. The Italian philosopher Robert Esposito has proposed reading Nietzsche's philosophy as forming and informing the biopolitical paradigm. Four readings of these biopolitics are discussed: as part of the paradigm of immunity, as thanatopolitics, as liberal and neoliberal, and as affirmative biopolitics. (shrink)

The article views the development of the Tartu–Moscow semiotic school from the analysis of texts to the study of spatial entities (semiosphere being most well known of them). It comes to light that ‘culture’ and ‘space’ have been such notions in Tartu–Moscow School to which, for instance, the ‘semiosphere’ does not add much. There are studied possibilities to join Uexküll’s and Lotman’s basic concepts (as certain grounds of Estonian semiotics) with Tartu–Moscow School’s treatment of culture and space through the notion (...) of ‘semiotic subject’. Such an approach allows to see transdisciplinarity, which has come to issue only during the last decade, already in the first conceptions of Tartu–Moscow School where transdisciplinarity revealed itself in the symbiotic use of ‘culture’ and ‘space’. (shrink)

Summary John Stuart Mill's classic tale of disillusionment from a ‘narrow creed’, an overt as much as a covert theme of his Autobiography (London, 1873), has for many years served as a guide to the search for the causes and sources of his ‘enlargement-of-the-utilitarian-creed’ project. As a result, in analyses of Mill's mature views, Samuel Taylor Coleridge—and friends—commonly take centre stage in terms of influence, whereas John's father—James Mill—is reduced either to a supernumerary or a villain in the last act (...) of John's intellectual development. However, students of Mill's works should not take at face value the story presented in Autobiography. Mill's own emphasis on the role of his ‘new influences’ has led scholars to disregard the role of his ‘old influences’ in his attempt to create a broader theory of living—one which takes into account both the intellectual and the emotional capacities of individuals. A close look at key aspects of John Stuart Mill's ‘enlargement project’ suggests that James Mill may have played a more positive role than is usually acknowledged. A way into the intellectual affinity of the two Mills is the person they both kept returning to for guidance and inspiration throughout their lives: Plato. (shrink)

Contemporary sociosemiotics is a way to transcend borderlines between trends inside semiotics, and also other disciplines. Whereas semiotics has been considered as an interdisciplinary field of research par excellence, sociosemiotics can point directions at transdisciplinary research. The present article will try to conjoin the structural and the processual views on culture and society, binding them together with the notion of signification. The signification of space will illustrate the dynamic between both cultures and metacultures, and cultural mainstreams and subcultures. This paper (...) pays attention to the practice of sociocultural semiotisation of space and territorialisation by diverse examples and different sociocultural levels that imply semiotic cooperation between several members of groups that can be characterised as socii. We analyse territorialisation by graffiti, by furnishing spatial environment through artistic manners, by shaping the semiotic essence of cities through naming, renaming and translating street names, by pinning and structuring territories with monuments, by landmarking and mapping cultural space through individualisation of cities. We will see how principles of semiotisation of space are valid on different levels and how these principles form a transdisciplinary object of study as ‘semiotisation of space’, and how space can be regarded as a genuinely transdisciplinary research object. Individual, culture, and society are connected in such an object both as constituents and as a background of study. (shrink)

The article analyses the position of sociosemiotics in the paradigm of contemporary semiotics. Principles of studying sociocultural phenomena are discussed so as they have been set for analysing the inner mechanisms of sign systems in the semiology of F. de Saussure on the one hand, and for studying sign systems and semiotic units as related to referential reality in the semiotics of C. S. Peirce on the other hand. Three main issues are touched upon to define the scope of sociosemiotics: (...) the general methodology of sociosemiotics. its particular methods, and possible objects of analysis. The relevance of the features of objects in different humanitarian disciplines (cultural unit, historical fact, social fact, institutional fact, social process, etc.) is surveyed to define the object of study in sociosemiotics. Also, the article comments on the description of social organisations via cultural processes and on relations between an individual and society as controllable by social action models. (shrink)

Contemporary sociosemiotics is a way to transcend borderlines between trends inside semiotics, and also other disciplines. Whereas semiotics has been considered as an interdisciplinary field of research par excellence, sociosemiotics can point directions at transdisciplinary research. The present article will try toconjoin the structural and the processual views on culture and society, binding them together with the notion of signification. The signification of space willillustrate the dynamic between both cultures and metacultures, and cultural mainstreams and subcultures. This paper pays attention (...) to the practice of sociocultural semiotisation of space and territorialisation by diverse examples and different sociocultural levels that imply semiotic cooperation between several members of groups that can be characterised as socii. We analyse territorialisation by graffiti, by furnishing spatial environment through artistic manners, by shaping the semiotic essence of cities through naming, renaming and translating street names, by pinning and structuring territories with monuments, by landmarking and mapping cultural space through individualisation of cities. We will see how principles of semiotisation of space are valid on different levels (individual and social, formal and informal, democratic and hegemonic, cultural and subcultural) and how these principles form a transdisciplinary object of study as ‘semiotisation of space’, and how space can be regarded as a genuinely transdisciplinary research object. Individual, culture, and society are connected in such an object both as constituents and as a background of study. (shrink)

It seems that eudaimonistic reconstructions of John Stuart Mill's conception of happiness have fallen prey to what they thought Mill should have done with regard to the role of pleasure in his notion of happiness. Insisting that utility and eudaimonia make conflicting claims, something which mirrors Mill's ‘conflicting loyalties’, they downgrade pleasure to just one of the ingredients of happiness. However, a closer look at Mill's intellectual development suggests otherwise. By focusing on Mill's radical background, this paper argues that pleasure (...) retains a central role in his conception of happiness – even from a eudaimonistic point of view. (shrink)

John Stuart Mill considered his A System of Logic , first published in 1843, the methodological foundation and intellectual groundwork of his later works in ethical, social, and political theory. Yet no book has attempted in the past to engage with the most important aspects of Mill's Logic . This volume brings together leading scholars to elucidate the key themes of this influential work, looking at such topics as his philosophy of language and mathematics, his view on logic, induction and (...) deduction, free will, argumentation, ethology and psychology, as well as his account of normativity, kinds of pleasure, philosophical and political method and the "Art of Life.". (shrink)

British Journal for the History of Philosophy, Volume 20, Issue 1, Page 204-207, January 2012.

The rise and fall of the historian of British India -- A classical education -- History, philosophy, and history -- Induction and deduction -- Rational persuasion -- Good government.

This book explores various connections of John Stuart Mill's thought to ancient Greek philosophy primarily in relation to his conception of happiness. It argues that a better understanding of Mill's background in ancient Greek thought and his reading(s) of Plato's dialogues leads to innovative interpretations of his moral and political thought.

This chapter argues that two distinct, yet connected, contexts – Mill's “mental crisis” and his task as a “Logician” – led to the formation of two arguments on the value of art. On one hand, Mill argued that aesthetic cultivation was important as an end in itself. Excellence was to be pursued disinterestedly as part of a beautiful life. On the other, Mill argued aesthetic cultivation was important as a means to the utilitarian end – strengthening the social sympathies made (...) social happiness attainable. The first argument highlights what Mill thought was missing from the theory of his utilitarian predecessors, while the second brought Mill closer to this tradition, rather than moving him further away from it. (shrink)

James Mill'sHistory of British India(1817) made a rather strange claim: first-hand experience of India was not vital in writing a history – potentially, it led to false ideas about its subject-matter: eyewitnesses are susceptible to bias. The historian was thus to perform his task as a judge: sifting through various testimonies to obtain a ‘more perfect’ conception of the whole than those who witnessed its various parts. Although strange, Mill's claim does not bewilder his readers: after all, Mill was a (...) ‘militant’ exponent of theorizing utilitarianism. I argue that such a reading of Mill's method is injudiciously restrictive. Not only did Mill draw on well-known methodological concerns in contemporary historiographical practice, not necessarily linked with Jeremy Bentham or the Scottish theoretical historiography, but he also seemed to adopt the vocabulary of forensic rhetoric, making his claim that his was a ‘judging’ history more literal than it has been supposed. (shrink)

This edited book explores the relationship between political expertise, which is defined as scientific statesmanship or governance, and political leadership throughout the history of ideas. An outstanding group of experts study and analyze the ideas of significant philosophers, such as Plato, Aristotle, Augustine, Machiavelli, Hobbes, Locke, Montesquieu, Kant, Burke, Comte, and Weber, among others. The contributors aim to interpret these thinkers' approaches to scientific statesmanship, deepening our understanding of the idea itself and decoding its theoretical complexities.

El terrorismo contemporáneo no es un fenómeno ancestral, irracional y oriental. Tampoco es una reacción fanática de las religiones que reivindican una sociedad atrasada frente a las sociedades desarrolladas del primer mundo. El terrorismo actual es un fenómeno plenamente moderno: uno de los peores engendros de la sociedad moderna, dotado de una planificación racional de objetivos. Una interpretación capciosa de la religión islámica dota al terrorismo de una proyección universal entre la numerosa audiencia de descontentos con el poderío de esa (...) potencia difusa que conocemos como el Occidente desarrollado. Al Qaeda no duda en presentar su guerra con Occidente como una «guerra sin cuartel» hasta eliminar a los cristianos infieles y someter al mundo al Islam. Mientras tanto, en similar sentido conflictual, la campaña teórica de Samuel Huntington por todo el planeta, responde con un paradigma postguerra fría capaz de inflamar el conflicto internacional en un sentido no menos beligerante con anti-Occidente que el empleado por los imanes radicales. Como ha señalado Amartya Sen, al priorizar de esta forma la identidad religiosa, la respuesta de Occidente al terrorismo internacional como «terrorismo islámico» es muy torpe pues se magnifica la importancia de las autoridades religiosas en detrimento de los cauces gubernativos en la resolución de los problemas. (shrink)

Islamism is a form of political and religious utopia, created by the Arab-Muslim world, as an ideological alternative to the invasion of modern western doctrines: communism, socialism, liberalism, capitalism etc. This political and ideological current appears to some as a substitute for nationalism, which lost its appealin many Muslim countries, due to the application of a „socialist" model, as well as due to the deception that emerges from the successive defeats in the fight with the Israeli enemy. The anti- (...) class='Hi'>Occidentalism of this movement is seen as a side effect in the fight against laicization, against materialism and moral degradation. (shrink)

One of the interesting aspects of Russian self‐definition in opposition to the West is its attitude toward Western science. Russian distrust of scientific and technological progress in the West is an important force shaping contemporary Russian identity. This article touches on these issues in four parts. The first section characterizes two main conservative circles that are active in today's disputes over the significance of scientific development for Russian identity. The second demonstrates certain Russian contemporary concerns related to scientific and technological (...) progress, which will enable us to explain the position of the Russian Orthodox Church. The third section presents the political, religious, and identity context for the suspicion toward science expressed by Russian conservatives. The final section, on the other hand, discusses the way in which Russian Orthodox neoconservatism uses Orthodox anthropology to raise suspicion toward scientific and technological achievements. (shrink)

Après la Seconde Guerre mondiale et la chute du mur de Berlin, nous avons cru à la victoire définitive de notre vision du monde, caractérisée par l'individualisme libéral, le cosmopolitisme et la démocratie des droits de l'homme. Mais depuis le tournant du siècle, plusieurs cultures mondiales s'opposent clairement et fermement aux principes occidentaux considérés jusque-là comme universels. La démocratie est décriée ou dégradée, et l'autocratie nommément défendue, en Chine et à Singapour, dans certains pays musulmans, en Russie. En outre, apparaissent (...) au sein même de l'Occident des gouvernements dits populistes ou illibéraux, opposés au libéralisme et à l'individualisme postmodernes. Ce débat conflictuel déployé tant sur le plan occidental que sur le plan mondial traduit un nouvel assaut de la vision du monde traditionnelle, holiste, face à la vision progressiste et individualiste. Des deux côtés fleurissent les excès. En Occident, l'humanisme classique transformé en humanitarisme. En face, des cultures parfois devenues des idéologisations de leurs traditions. C'est un énième épisode, mondialisé, de la discorde entre les modernes et les anti-modernes : ce qu'on a appelé au XXe siècle la guerre des dieux?"--Page 4 of cover. (shrink)

La tesis defendida en este trabajo es que la “diferencia ontológica” de Martin Heidegger encubre un anti-humanismo nihilista, que disuelve la antropología filosófica como ciencia. Se justifica así la necesidad de ir más atrás de Heidegger, para recuperar la noción de subjetividad propuesta por el fundador de la fenomenología, Edmund Husserl, y por el fundador de la antropología filosófica, Max Scheler. Ellos mostraron que el sujeto ocupa un lugar privilegiado en la totalidad de lo real, como aquél en el (...) que se produce el “aparecer” del ser, la “manifestación” del ser. Esto permite construir una antropología filosófica y no abandonar el humanismo, que ha caracterizado a la filosofía propia de la cultura occidental. (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

Marcel Proust ha passat a la història de la cultura occidental com un escriptor, principalment novelista. Amb tot, la seva obra mestra. A la recerca del temps perdut, un dels cims de la literatura mundial, conté nombroses reflexions que permeten identificar clarament també un Proust pensador. Reconstruir la filosofia de Proust tot resseguint la mirada sobre el món que representa a la recerca?. és l'objectiu d'aquest assaig. A partir dels aforismes, sovint metafòrics, del Narrador proustià, Jaume Urgell ens ofereix una (...) anàlisi de la posició de l'escriptor francès en el context de la filosofia del segle XX. Expressant-se de vegades com a hereu d'un pensament anti-racionalista, en ocasions com a a coetani del existencialisme europeu i sovint precursor tant del pensament ironista com de mites de la quotidianitat més contemporània, Marcel Proust ens llega una obra plena de significats i alhora lliure de qualsevol convencionalisme, cosncient de les seves pròpies màscares i alhora innocent en el seu desenvolupament. Aquest assaigpresenta també algunes de les contribucions més rellevants en l'estudi de l'obra proustiana, com són les de Samuel Beckett, Gilles Deleuze i Richard Rorty, i desbrossa les incursions de Proust en el camp de la psicologia, l'ètica i l'estètica. Jaume Urgell És llicenciat en ciències empresarials i MBA per ESADE i Màster en Administració Pública per la Universitat de Harvard. Té un Diploma d'Estudis Avançats en Filosofia i Literatura per la UB. Dedica la seva vida intel·lectual a la literatura, la filosofia, la política i les relacions internacionals, i ha publicat diversos llibres i articles sobre aquestes matèries. (shrink)

Kant ascribes two radically different kinds of language—symbolic or pictorial (qua intuitive) and discursive languages—to the “Oriental” and “Occidental” peoples respectively. By his analysis, having a merely symbolic language suggests that the “Orientals” lack understanding—and hence the ability to form concepts and think in abstracto—as well as genius and spirit. Meanwhile, he establishes discursive language as a sine qua non of the continued progress of humanity, primarily because only by means of words—as opposed to symbols—can one think (not just intuit), (...) signify one’s thoughts exactly, and make them universally communicable. Without such a language, one would not be able to make one’s feelings moral or develop a true moral character. In short, humanity would not be able to obtain its cultural or moral ends without discursive language. -/- These points add up to an exclusionary view of progress according to which the Occidental whites alone are equipped with the requisite discursive skills and other talents (including genius and spirit) to accomplish advanced culture and pursue humanity’s moral destiny. The “Orient,” with its “childish language,” is consigned to the childhood of humanity. In holding this view, Kant has departed from some of his predecessors—such as Leibniz, whose vision of the future of humanity includes an East-West harmony facilitated by a “universal symbolism,” and Rousseau, who exalts a livelier connection with the world mediated by a pictorial language. -/- The contrast with Leibniz and Rousseau also suggests that we cannot chalk up Kant’s exclusionary view of progress to mere personal prejudices. His philosophy is what gives meaning to his statements about the nature of the “Oriental” language. That is, the exclusionary view of progress emerges only when we take into account his anti-Leibnizian conceptualization of symbolic language as merely intuitive, his view that humanity is teleologically oriented toward the unique sort of moralization that he envisioned in the Groundwork, and his view that reason must lead the way in humanity’s progress toward this supposed moral end, wherefore only discursive language can facilitate such progress. (shrink)

La primera etapa de este trabajo, parte de la idea del Canon Occidental de Harold Bloom, pero trasladándola al ámbito de la explicación de la conformación y desarrollo de lo que podríamos denominar el Canon liberal, y sostiene que ese canon se cierra con On Liberty; pero, como un pensamiento canónico constituye siempre una realidad dinámica, compleja y en tensión interna permanente, las lecturas e interpretaciones de On Liberty, sobre todo las realizadas en nuestro país desde coordenadas que interpretan a (...) Mill en un sentido no-liberal, iliberal o anti-liberal (como la reciente de Carlos Rodríguez Braun), en realidad, constituyen ejemplos de una lucha interna dentro de ese canon por “abrirlo” y por superar el enorme influjo (“angustia de las influencias” en la terminología de Bloom) que dicha obra ha tenido en el pensamiento occidental. Un ejemplo de la tensión interna dentro del propio canon liberal entre el utilitarismo (y su defensa del valor del individuo y de su bienestar, que es dinámico y en construcción, como elemento crucial de un estado libre, y justo) y el liberalismo (y su defensa del valor primario de la libertad interpretada esencialmente como no intervención y poder limitado) la encontramos en la discusión llevada a cabo por Mill en el capítulo V de Sobre al Libertad acerca de la educación obligatoria. En la segunda parte de este trabajo se exponen y comentan con una cierta amplitud las tesis de Mill sobre este asunto, debido a su relevancia para la interpretación del sentido estricto del liberalismo de Mill. Creemos que es posible articular ambas tendencias sin obligar a Mill a dejar de ser liberal por el hecho de admitir posibles limitaciones a la libertad en circunstancias específicas. Es así por tanto posible sostener que hay buenas razones liberales de raíz utilitarista para sostener dos tesis distintas: (a) que es necesario garantizar una educación universal y obligatoria hasta un cierto nivel, y (b) que caso de noestar adecuadamente garantizada esta educación universal y obligatoria, es aceptable y estaría justificado que el propio Estado no sólo estimulara dicha educación sino que directamente la proporcionara, llegando al extremo de establecer cuáles son los contenidos de esta educación y asegurar su impartición. Finalmente, en la última parte del trabajo, se defiende que no hay contradicción entre esta defensa de una educación obligatoria y universal asumida por el estado y la paralela crítica de Mill al papel de la asunción permanente por parte del Estado de la tarea de educar a los ciudadanos.Para concluir, se defiende el papel central de Mill y de On Liberty en el canon liberal, que debe ser interpretado en un sentido plural, diverso, dinámico y vivo, no necesariamente encerrado o enclaustrado exclusivamente en la tesis, por otra parte central al liberalismo (pero no única) del poder limitado y del rechazo del intervencionismo. Sólo haciendo del liberalismo algo diverso y plural podrán los actuales liberales superar la influencia de Mill y pensar de un modo post-milliano en sentido genuino. (shrink)