Alvin Plantinga proposes that mathematical objects and propositions are divine thoughts. This position, which I call divine psychologism, resonates with some remarks by contemporary thinkers. Plantinga claims several advantages for his position, and I add another: it helps to explain the glory of mathematics. But my main purpose is to issue a challenge to divine psychologism. I argue that it has an implausible consequence: it identifies an entity with God’s relation to that entity. I consider and rebut several ways in (...) which a divine psychologist might argue that this is not really a consequence, or that the identification is plausible. (shrink)

Amartya Sen has recently urged that political philosophers pay attention to social choice theory in their deliberations about justice. However, despite its merits, social choice theory is not standardly part of undergraduate political philosophy. One difficulty is that it involves symbolic logic and difficult concepts. We can reduce this challenge by making the material no harder than it needs to be. I consider the standard proof of Arrow’s Theorem, a seminal result. Kenneth Arrow does not explicate the role of the (...) irrelevance of independent alternatives. Sen and Wulf Gaertner have offered clarifications, but I shall elucidate the full role. (shrink)

Antonio Quesada (Public Choice 130:395–400, 2007) argues that a dictator has no more than two to three times the ‘average power’ of a non-dictatorial voter. If Quesada is correct, then his argument has major consequences for social choice theory; for instance, it warrants reconsidering the significance of Arrow’s Theorem. If Quesada is incorrect, however, then his position is dangerously misleading. This paper argues that Quesada is wrong. His argument depends on his own formal account of power, an account that is (...) implausible because it disregards a basic insight common to the standard characterisations of voting power: the idea that one has power over an outcome to the extent that one is able to change that outcome. Claims about power have a counterfactual component; to assert that an individual actually has determined an outcome is also to make an assertion about what would have been the case had that individual acted differently. We can employ David Lewis’s influential account of counterfactuals to show, contra Quesada, that in a dictatorship, nondictatorial individuals and groups cannot possibly determine a social preference. In short, Quesada is fundamentally mistaken about power, and thus also about the distribution of power in a dictatorship. (shrink)

This paper reflects on a simple, ingenious and celebrated result by Amartya Sen, ‘The Impossibility of a Paretian Liberal’ (1970). Sen’s result, sometimes called the 'Liberal Paradox', has attracted — particularly in the years soon after its publication — a vast literature, including responses and reflections from Sen himself. Much of the literature involves attempts to ‘escape’ the Liberal Paradox by proposing ways to avoid or resolve the problem it seems to identify. But despite the extensive attention, and perhaps a (...) sense among philosophers in related areas that the result is somehow relevant to liberalism or to political philosophy in general, it is still not clear why the result matters philosophically. I am sceptical about the significance of the Liberal Paradox: in this paper, I articulate various ways in which political philosophers might be urged to care about the Paradox, and argue that each of them is either implausible or of only moderate interest. (shrink)

This new edition of Charles Fried's 'Medical Experimentation' includes a general introduction by Franklin Miller and the late Alan Wertheimer, a reprint of the 1974 text, an in-depth analysis by Harvard Law School scholars I. Glenn Cohen and D. James Greiner, and a new essay by Fried reflecting on the original text and how it applies to the contemporary landscape of medicine and medical experimentation.

Contract as Promise is a study of the philosophical foundations of contract law in which Professor Fried effectively answers some of the most common assumptions about contract law and strongly proposes a moral basis for it while defending the classical theory of contract. This book provides two purposes regarding the complex legal institution of the contract. The first is the theoretical purpose to demonstrate how contract law can be traced to and is determined by a small number of basic (...) moral principles. At the theory level the author shows that contract law does have an underlying, and unifying structure. The second is a pedagogic purpose to provide for students the underlying structure of contract law. At this level of doctrinal exposition the author shows that structure can be referred to moral principles. Together the two purposes support each other in an effective and comprehensive study of contract law. This second edition retains the original text, and includes a new Preface. It also includes a substantial new essay entitled Contract as Promise in the Light of Subsequent Scholarship--Especially Law and Economics which serves as a retrospective of the work accomplished in the last thirty years, while responding to present and future work in the field. (shrink)

Gregory Fried offers in this book a careful investigation of Martin Heidegger's understanding of politics. Disturbing issues surround Heidegger's commitment to National Socialism, his disdain for liberal democracy, and his rejection of the Enlightenment. Fried confronts these issues, focusing not on the historical debate over Heidegger's personal involvement with Nazism, but on whether and how the formulation of Heidegger's ontology relates to his political thinking as expressed in his philosophical works. The inquiry begins with Heidegger's interpretation of Heraclitus, (...) particularly the term polemos ("war," or, in Heidegger's usage, "confrontation"). Fried contends that Heidegger invests polemos with broad ontological significance and that his appropriation of the word provides important insights into major strands of his thinking--his conception of the human being, understanding of truth, and interpretation of history--as well as the meaning of the so-called turn in his thought. Although Fried finds that Heidegger's politics are continuous with his thought, he also argues that Heidegger's work raises important questions about contemporary identity politics. Fried also shows that many postmodernists, despite attempts to distance themselves from Heidegger, fail to avoid some of the same political pitfalls his thinking entailed. (shrink)

Investigates a complex structure of morality, the demands such morality places on individuals, and the behavioral consequences of the system of right and wrong.

With this widely acclaimed work, Fried revised the way in which eighteenth-century French painting and criticism were viewed and understood. "A reinterpretation supported by immense learning and by a series of brilliantly perceptive readings of paintings and criticism alike.... An exhilarating book." John Barrell, "London Review of Books".

Barbara H. Fried presents a powerful critique of the nonconsequentialist approaches that have been dominant in recent Anglophone moral and political thought. She argues that nonconsequentialist theories have disastrous consequences in the political domain and are inadequate at dealing with conflicts of individual interests in the moral domain.

This paper examines the efforts of contractualists to develop an alternative to aggregation to govern our duty not to harm (duty to rescue) others. I conclude that many of the moral principles articulated in the literature seem to reduce to aggregation by a different name. Those that do not are viable only as long as they are limited to a handful of oddball cases at the margins of social life. If extended to run-of-the-mill conduct that accounts for virtually all unintended (...) (in the sense of undesired) harm to others—noncriminal activities that impose some risk of harm on others—they would rule out all action. Moreover, because such conduct poses an irreducible conflict between freedom of action and freedom from expected harm, it can be regulated only by principles that accept the necessity of making precisely the sorts of interpersonal trade-offs that contractualism is foundationally committed to reject: trade-offs in which the numbers count, such that a risk of serious harm to one person can be justified by small benefits to the many. (shrink)

Currently, we find ourselves in a paradigm in which we believe that accepting climate change data will lead to a kind of automatic action toward the preservation of our environment. I have argued elsewhere (Fried 2020) that this lack of civic action on climate data is significant when placed in the historical, military context of the technologies that collect this data––Earth remote sensing technologies. However, I have not yet discussed the phenomenological or moral implications of this context, which are (...) deeply interconnected. In this paper, I assert that Earth remote sensing technologies can, if we are not careful, lead us to a kind of environmental deskilling. This assertion comes in four parts. First, the military context of Earth remote sensing technologies––which collect important data on climate change––acts as a kind of stability, as defined by Don Ihde and others. Second, I invoke Sir Patrick Heelan to argue that the theoretical underpinnings of Earth systems science do not translate from military to environmental praxes as we imagine they do. Third, Hannah Arendt makes the case that a state’s trust in simplifying narratives like that of climate data, meant to create “islands” of certainty in an uncertain world, can be self-defeating. That is to say, they can silence public action. I extend these arguments through Vallor’s analysis of moral deskilling, in which she points out that an overemphasis on autonomous data collection––and trust in a kind of automated decision-making on that data––can deskill us from important questions relevant to our collective flourishing. In all of these examples, the lines between environmental and military research are blurry. (shrink)

Little is known about the mechanisms by which psychology graduate programs transmit responsible conduct of research (RCR) values. A national sample of 968 current students and recent graduates of mission-diverse doctoral psychology programs completed a Web-based survey on their research ethics challenges, perceptions of RCR mentoring and department climate, whether they were prepared to conduct research responsibly, and whether they believed psychology as a discipline promotes scientific integrity. Research experience, mentor RCR instruction and modeling, and department RCR policies predicted student (...) RCR preparedness. Mentor RCR instruction, department RCR policies, and faculty modeling of RCR behaviors predicted confidence in the RCR integrity of the discipline. Implications for training are discussed. (shrink)

Major depression (MD) is a highly heterogeneous diagnostic category. Diverse symptoms such as sad mood, anhedonia, and fatigue are routinely added to an unweighted sum-score, and cutoffs are used to distinguish between depressed participants and healthy controls. Researchers then investigate outcome variables like MD risk factors, biomarkers, and treatment response in such samples. These practices presuppose that (1) depression is a discrete condition, and that (2) symptoms are interchangeable indicators of this latent disorder. Here I review these two assumptions, elucidate (...) their historical roots, show how deeply engrained they are in psychological and psychiatric research, and document that they contrast with evidence. Depression is not a consistent syndrome with clearly demarcated boundaries, and depression symptoms are not interchangeable indicators of an underlying disorder. Current research practices lump individuals with very different problems into one category, which has contributed to the remarkably slow progress in key research domains such as the development of efficacious antidepressants or the identification of biomarkers for depression. The recently proposed network framework offers an alternative to the problematic assumptions. MD is not understood as a distinct condition, but as heterogeneous symptom cluster that substantially overlaps with other syndromes such as anxiety disorders. MD is not framed as an underlying disease with a number of equivalent indicators, but as a network of symptoms that have direct causal influence on each other: insomnia can cause fatigue which then triggers concentration and psychomotor problems. This approach offers new opportunities for constructing an empirically based classification system and has broad implications for future research. (shrink)

Currently, we find ourselves in a paradigm in which we believe that accepting climate change data will lead to a kind of automatic action toward the preservation of our environment. I have argued elsewhere (Fried 2020) that this lack of civic action on climate data is significant when placed in the historical, military context of the technologies that collect this data––Earth remote sensing technologies. However, I have not yet discussed the phenomenological or moral implications of this context, which are (...) deeply interconnected. In this paper, I assert that Earth remote sensing technologies can, if we are not careful, lead us to a kind of environmental deskilling. This assertion comes in four parts. First, the military context of Earth remote sensing technologies––which collect important data on climate change––acts as a kind of stability, as defined by Don Ihde and others. Second, I invoke Sir Patrick Heelan to argue that the theoretical underpinnings of Earth systems science do not translate from military to environmental praxes as we imagine they do. Third, Hannah Arendt makes the case that a state’s trust in simplifying narratives like that of climate data, meant to create “islands” of certainty in an uncertain world, can be self-defeating. That is to say, they can silence public action. I extend these arguments through Vallor’s analysis of moral deskilling, in which she points out that an overemphasis on autonomous data collection––and trust in a kind of automated decision-making on that data––can deskill us from important questions relevant to our collective flourishing. In all of these examples, the lines between environmental and military research are blurry. (shrink)

Adolf Menzel was one of the most important German artists of the 19th century, yet he is scarcely known outside his native land. In this study a leading art historian argues that Menzel deserves to be recognized not only as one of the greatest painters and draftsmen of his century but also as a master realist whose work engages profoundly with an extraordinary range of issues - artistic, scientific, philosophical and socio-political. Michael Fried explores Menzel's large and fascinating oeuvre, (...) and in so doing seeks to make the artist's achievement accessible to a wide audience. (shrink)

"'This book,' Michael Fried's work opens, 'was written not so much chapter by chapter as painting by painting over a span of roughly ten years.' Courbet's Realism is a magnificent work and its very first sentence brings us up against the qualities of mind of its author, qualities that make it as impressive as it is. It allows us to reconstruct the keen eye, the commitment to perception, the gift of rapt concentration, the conviction that great paintings are not (...) necessarily understood easily, and the further conviction that a great painter deserves to get from us as good as he gives. By drawing on these qualities, Fried achieves something out of reach for all but a handful of his colleagues. In his writing, art history takes on some of the character of art itself. It is driven by the same stubborn resolve to open our eyes."—Richard Wollheim, San Francisco Review of Books Courbet's Realism is clearly a major contribution to the highly active field of Courbet studies.... But to contribute here and now is necessarily also to contribute to central debates about art history itself, and so the book is also—I hesitate to say 'more importantly,' because of the way object and method are woven together in it—a major contribution to current attempts to rethink the foundations and objects of art history.... It will not be an easy book to come to terms with; for all its engagement with contemporary literary theory and related developments, it is not an application of anything, and its deeply thought-through arguments will not fall easily in line with the emerging shapes of the various 'new art histories' that tap many of the same theoretical resources. At this moment, there may be nothing more valuable than such a work."—Stephen Melville, Art History. (shrink)

With the passage by virtually every state legislature of healthcare proxy laws, the medical profession increasingly can expect to rely on the participation of surrogates in making decisions on behalf of incompetent patients. Several concerns about the legitimacy of proxy decision making have been discussed in the ethical and general medical literature: the lack of concordance between the views of patients and their surrogates have been documented on multiple occasions, and cases of abuse by proxies or potential conflict of interest (...) have been reported. Another dilemma that deserves discussion arises when proxies demand withdrawal of treatment that physicians and nurses regard as essential to the wellbeing of the patient. The following case highlights this dilemma. (shrink)

Despite the rekindling of an often bitter debate as to the meaning of Martin Heidegger’s involvement with National Socialism, little has been done to address afresh the texts themselves of the period in question and the problematic to which Heidegger conceived he was applying himself. Defying Enlightenment universalism, Heidegger asserts that meaningful human existence requires a belonging in a particular historical community whose integrity must be sustained in what he calls “Auseinandersetzung,”---confrontation. This paper attempts to show how “Auseinandersetzung,” itself Heidegger’s (...) translation of the Greek word “polemos,” underlies central concepts of Heidegger”s ontology, influencing his views on work, art, and great creators. The current controversy lends us an opportunity to reflect on the meaning of fascism and the foundation for politics in a global era. (shrink)

Despite the rekindling of an often bitter debate as to the meaning of Martin Heidegger’s involvement with National Socialism, little has been done to address afresh the texts themselves of the period in question and the problematic to which Heidegger conceived he was applying himself. Defying Enlightenment universalism, Heidegger asserts that meaningful human existence requires a belonging in a particular historical community whose integrity must be sustained in what he calls “Auseinandersetzung,”---confrontation. This paper attempts to show how “Auseinandersetzung,” itself Heidegger’s (...) translation of the Greek word “polemos,” underlies central concepts of Heidegger”s ontology, influencing his views on work, art, and great creators. The current controversy lends us an opportunity to reflect on the meaning of fascism and the foundation for politics in a global era. (shrink)

This book presents an original and creative enactment of a confrontation between Heidegger and Plato. Gregory Fried outlines a new approach to ethics and politics combining skeptical idealism and what he calls polemical ethics, and goes on to apply polemical ethics to the crucial questions around fascism and racism.

My basic supposition is that the destruction of the little Jew's face and hands in Vandover and the Brute images the irruption of mere materiality within the scene of writing-that instead of Crane's double process of eliciting and repressing that materiality, what is figured in the shipwreck scene is a single, unstoppable process of materialization, involving both the act of representation and the marking tool and actual page , the result of which can only be the defeat of the very (...) possibility of writing .Here it might be objected that such a reading derives whatever plausibility it has from the comparison with Crane, and in a sense this is true: my claim is precisely that it's only against the background of Crane's seemingly bizarre but, in this regard, normative or centric enterprise that the wider problematic of late nineteenth- and early twentieth-century literary "impressionism" can be made out. In another sense, however, the comparison with Crane involves an appeal to issues—notably that of materialism—which have long been basic to Norris criticism and which the recent work of Walter Benn Michaels has brought to a new level of conceptual sophistication and historical refinement. Specifically, the title essay in Michaels's book, The Gold Standard and the Logic of Naturalism, interprets both McTeague and Vandover and the Brute in terms of a conflict between materiality and representation that found contemporary expression both in the debates over the gold and silver standards versus paper money and in the vogue for trompe l'oeil painting ." In this regard a crucial moment in Vandover's regression from man to beast is his discovery that, as a painter, he has lost the ability to represent nature three-dimensionally; Michaels treats this development as equivalent to "replac[ing] the painting with nature itself" , and goes on to remark: "But this ... is ultimately a distinction without a difference. Vandover the artist can so easily devolve into Vandover the brute precisely because both artist and brute are already committed to a naturalist ontology—in money, to precious metals; in art, to three-dimensionality. The moral of Vandover's regression, from this standpoint, is that it can only take place because . . . it has already taken place. Discovering that man is a brute, Norris repeats the discovery that paper money is just paper and that a painting of paper money is just paint" . My reading of the shipwreck passage would thus be consistent with what Michaels calls Norris's "trompe l'oeil materialism" , though the nearly sadomasochistic violence of that passage may be taken to imply that materialism's consequences for writing threaten to be even more disastrous than they are for painting. But rather than analyze the role of writing as such in Vandover, which would involve an intricate discussion not just of that novel and McTeague but also of Michaels's essay, I want to turn to another, lesser-known book by Norris, in which a thematic of writing plays a conspicuous and more nearly univocal role: A Man's Woman . Michael Fried is J. R. Herbert Boone Professor of Humanities and director of the Humanities Center at the Johns Hopkins University. His most recent book is Courbet's Realism . He is currently at work on a book to be titled Manet's Modernism. (shrink)

The basic disagreement between Richard Shiff and me is one of approach and ultimately of intellectual taste. What I tried to do in “Painting memories” was read Charles Baudelaire’s Salon of 1846 with a view to construing its central argument as rigorously as possible, which for me meant without appealing, except in one crucial, authorized instance, to other writings by Baudelaire or indeed anyone else. This seemed to me desirable, first, because on the strength of a long familiarity with the (...) Salon of 1846 I had become convinced that it was not the fragmented, somewhat incoherent, less than fully mature performance that many previous commentators had taken it to be but rather that it possessed a problematic consistency, even systematicness, which I wanted to explore; and second, because I had come to feel that one of the principal sources of the dreariness and predictability of much exegesis not only of that Salon but of Baudelaire’s art criticism generally was the tendency of many commentators to treat his art writing as a single, barely differentiated mass, to be supplemented when desired by selected passages from the lyric poems. Let me be as clear as I can. I am not claiming that the only fruitful approach to Baudelaire’s art criticism is to consider each of his writings in isolation from the rest. I am saying that the widespread tendency to read a particular Salon or article on the visual arts in the light of others has meant that insufficient attention has been paid to the workings of individual texts, with dismaying consequences both for our understanding of those texts and for our sense of the shape of Baudelaire’s intellectual career. Michael Fried, professor of humanities and the history of art and director of the Humanities Center at the Johns Hopkins University, is the author of Morris Louis and Absorption and Theatricality: Painting and Beholder in the Age of Diderot. He is currently at work on books on Gustave Courbet and on Thomas Eakins and Stephen Crane. His most recent contributions to Critical Inquiry are “The Structure of Beholding in Courbet’s Burial at Ornans” and “Paitnig Memories: On the Containment of the Past in Baudelaire and Manet”. (shrink)

This book questions some of our most ingrained assumptions, not only about the nature of teaching and learning, but about what constitutes education, and about the cultural determinants of what is taught. What if who you think you are profoundly affects what and how you learn? Since Descartes, teachers in the Western tradition have dismissed the role of self in learning. What if our beliefs about self and learning are wrong, and relevance of knowledge to self actually enhances learning, as (...) current research suggests? Jane Fried deconstructs the Grand Western Narrative of teaching and learning, describing it is a cultural fishbowl through which we see the world, rarely aware of the fishbowl itself, be it disciplinary constructs or the definition of liberal education. She leads us on a journey to question "the way things are"; to attend to the personal narratives of others from ethnic, racial and faith groups different from ourselves; to rediscover self-authorship as the core task of learning in college; and to empower ourselves and students to navigate the disorientation of the Alice in Wonderland rabbit holes of modern life. This is a book for all educators concerned about the purpose of college and of the liberal arts in the 21st century, and what it is we should reasonably expect students to learn. Jane Fried both upends many received ideas and offers constructive insights based on science and evidence, and does so in an engaging way that will stimulate reflection. (shrink)

In the pages that follow I looked closely at two major paintings by Gustave Courbet : the After Dinner at Ornans, perhaps begun in the small town of the title but certainly completed in Paris during the winter of 1848-49; and the Stonebreakers, painted wholly in Ornans just under a year later. The After Dinner and the Stonebreakers are the first in a series of large multifigure compositions--others are the Burial at Ornans and the Peasants of Flagey Returning from the (...) Fair —that mark not only Courbet's maturity as an artist but his emergence as a disruptive force, almost a one-man wrecking crew, in the cultural politics of his time. They are also those works in which his self-declared identity as a Realist first becomes manifest, and probably the chief concern of the most interesting recent scholarship on Courbet has been to try to decode that epithet in social-historical terms, or at any rate to situate his activity as a painter during the years 1848-55 in the context of the social and political struggles that accompanied the creation of the Second Republic and its subversion by Louis Bonaparte.2 At the core of that tradition, motivating and, as it were, mobilizing it, is the demand that the painter succeed in placing in abeyance the primordial convention that paintings are made to be beheld—that he contrive in one way or another to establish the fiction, the meta-illusion, that the beholder does not exist, that there is no one standing before the picture. From Greuze through Gèricault, this was chiefly to be accomplished in and through the medium of visual drama, that is, by representing figures so deeply absorbed in their actions, emotions, and states of mind and furthermore so efficaciously bound together in a single comprehensive dramatic situation that they would strike one as absolutely immured in the world of the painting and a fortiori as oblivious to the very possibility of being viewed. And one way of describing the crisis that I believe overtook French painting by the 1820s and '30s is to say that the dramatic as such came more and more to be revealed as inescapably theatrical—that the array of conventions that once had served to establish the meta-illusion of the beholder's nonexistence now seemed merely to attest to his controlling presence.1. The present essay is adapted from a book-length study, in progress, of Courbet's art. Recent books and articles emphasizing social and political considerations include Linda Nochlin, Gustave Courbet: A Study of Style and Society ; T.J. Clark, "A Bourgeois Dance of Death: Max Buchon on Courbet," Burlington Magazine 111 : 208-12, 282-89, and Image of the People: Gustave Courbet and the Second French Republic, 1848-51 ; Jack LIndsay, Gustave Courbet: His Life and Art ; Klaus Herding, ed., Realismus als Widerspruch: Die Wirklichkeit in Courbets Malerei ; Herding, "Les Lutteurs 'détestables': Critique de style, critique sociale," Histoire et critique de l'art 4-5 : 94-122; and James Henry Rubin, Realism and Social Vision in Courbet and Proudhon .2. For an account of the early evolution of that tradition, see my Absorption and Theatricality: Painting and Beholder in the Age of Diderot , as well as the essays on Courbet cited in n. 3.Michael Fried, professor of humanities and the history of art at the Johns Hopkins University, is the author of Morris Louis and Absorption and Theatricality: Painting and Beholder in the Age of Diderot. He is currently at work on a book on Courbet. (shrink)

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

So there will be no mistake, I don’t deny, why would I wish to, that a thematic of racial difference is crucial to the overall plot of Almayer’s Folly. What I claim is that that thematic falls short of significantly determining or even, to use Brown’s word, appreciably “complicating” the problematic of erasure that surfaces in the closing chapters. It’s as though the rest of the novel is there chiefly to stage those chapters and their dramatization of erasure; something similar (...) takes place in Powell’s narrative of spying into Captain Anthony’s cabin toward the end of Chance and even, to a lesser degree, in the climactic encounter between Winnie Verloc and her husband in chapter 11 of The Secret Agent. It’s worth noting, too, that the opening paragraphs of A Personal Record, Conrad’s autobiographical account of the beginnings and origins of his “writing life,” describe the circumstances under which “the tenth chapter of ‘Almayer’s Folly’ was begun.”8 This in itself suggests that Conrad has a special stake in the last three chapters of his first novel, and one of my aims in “Almayer’s Face” was to discover what that stake may have been.9 8. Joseph Conrad, A Personal Record , pp. 72: my emphasis.9. Again, so there will be no mistake, I would distinguish Almayer’s Folly sharply in this respect from, for example, The Nigger of the “Narcissus,” in which effects of erasure are disseminated throughout the text and in which the title character’s blackness is crucial to their production. Michael Fried, J. R. Herbert Boone Professor of Humanities at the Johns Hopkins University, is currently at work on books on Manet and on literary “impressionism.” His most recent book is Courbet’s Realism. (shrink)

To be human is to be in the world with others, and so what it means to be goes to the root of ethical and political life. One would have to be exceptionally obtuse not to recognize that this age, which we now share as a planetary humanity, is indeed in crisis, despite all our apparent progress if not because of it: the economic and political upheavals that threaten to throw whole regions into uproar, the shifts in climate that threaten (...) the entire globe with unparalleled disruption, the “advances” in technology that threaten to lay waste to entire cities and reduce human beings to “human resources.” Despite these ongoing or potential disasters, what Heidegger’s work challenges us to think is that the most fundamental disaster is a failure to think what it means to be human, that these other dangers can only be addressed if we confront this question first. My argument here is that Heidegger misreads a form of thinking vital to ethical–political life, phronêsis, so-called practical wisdom, because his radical historicism prevents him from seeing the intersection of principled norms with life as we find it. (shrink)

Many bioethical arguments rely implicitly on the assumption that the concept of “human part” is one on which everyone must agree, because it is unambiguous. But various parties interpret this “unambiguous” term in incompatible ways, leading to contention. This article is an informal presentation of a topomereological system on whose preferred interpretation several distinct but related meanings of “human part” can be isolated: part of a human body, part of the completion of a human body, and part of a human (...) being. A case is analyzed (the first total artificial heart (TAH) implantation), demonstrating in the process much of the apparatus of the system. By means of a casuistic methodology, the analysis is translated into recommendations for the ethical conduct of future TAH research. The more general conclusion, however, is that formal methods may provide useful tools for clarifying thought processes and organizing arguments in debates over bioethical issues. (shrink)

Rawls's theory of justice has had two parallel lives in political theory. The first is framed as an alternative to utilitarianism, and in particular utilitarianism's failure to take seriously the separateness of persons and each individual's right to pursue his or her own projects in life. The second is framed as an alternative to libertarianism, and in particular libertarianism's failure to take seriously our moral obligations to the well‐being of our fellow citizens. This chapter explores where and why Rawls's “justice (...) as fairness” and libertarianism come apart. It focuses on their respective treatments of the just distribution of wealth. Finally, in the real world one would have to worry about the strains of commitment not just for those who want to defect from “justice as fairness” once they see how things turn out for them, but also from those who never accept its normative vision. (shrink)