This chapter contains sections titled: Life Before the Fall A Short Pre‐History of the Absurd Camus's Absurd Problematic One Giant Leap Back, One Small Step Forward: the Problem of Meaning Camus's Existential Phenomenology Camus's Sisyphean Ethics The Myth of Sisyphus notes further reading.

Translated by Anthony Bower With an Introduction by Oliver Todd 'A conscience with style' V.S. Pritchett The Rebel (1951) is Camus's 'attempt to understand the time I live in' and a brilliant essay on the nature of human revolt. Here he makes a daring critique of communism - how it had gone wrong behind the Iron Curtain and the resulting totalitarian regimes. And he questions two events held sacred by the left wing - the French Revolution of 1789 (...) and the Russian Revolution of 1917 - that had resulted, he believed, in the use of terrorism as a political instrument. In this towering intellectual document, Camus argues that hope for the future lies in revolt with revolution - a chance to achieve change without losing our freedom. 'The last French intellectual to take the side of humanity and talk its language... a figure of immense moral stature' Sunday Times Winner of the Nobel Prize for Literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dialectic and Gospel in the Development of Hegel’s Thinking by Stephen CritesLawrence S. StepelevichStephen Crites. Dialectic and Gospel in the Development of Hegel’s Thinking. University Park: Pennsylvania State University Press, 1998. Pp. xvii + 572. Cloth, $65.00Unlike either Wittgenstein or Heidegger, or his contemporary, Schelling, there is really no “Early” or “Later” Hegel. The fundamentals of his system were, if not always fully articulated, nevertheless present from the (...) very beginning of his career. There is, in Hegel, a remarkable consistency in the development of his thought, in which the elements that comprised his final system can be detected in his earliest efforts—and it is only in this sense that one can speak of an “Early” or a “Later” Hegel. That his final expression was indeed the result of an effort, a struggle to fuse and clarify seemingly disparate elements, is the thesis of Professor Crites. In this case, the specific disparate elements that are considered are those which confronted Hegel from his earliest days as a student of theology, those elements expressed in the “Christian Drama.” Crites sets out the eight revered acts of this drama: the creation, the fall, God’s covenant with Israel, the incarnation, the death and resurrection of Christ, the Holy Spirit, the mission of the Church, and the last judgment. It is his contention that Hegel “critically engaged the claims of this mythos and the social practices associated with it.” And so, the essence of Crites’s well-written and well-researched study is to set out how this drama served as a “template that affected the way he framed other topics in the ever-widening range of his philosophical inquiry.” It is to his credit that Crites does not consider his own explication of Hegel’s preoccupation with the gospels as some sort of a “secret” key that could unlock the full meaning of Hegel’s philosophy, but nevertheless, as he rightly stresses, this preoccupation cannot be ignored—for it ultimately exercised a crucial role in the formation of that which is now taken as Hegel’s mature thought.Unlike most studies of Hegel’s development—and there are more than a few—Crites avoids taking a retrospective posture, a concluding a priori stance which would allow him to point out where and why this or that particular element was rejected or retained by Hegel, His method is historical, intent upon following Hegel’s own sometimes tortured development, until, finally in this course, we reach a point where we suddenly see that Hegel “shows clear signs of becoming what we can only call a Hegelian—or better still, he shows signs of being Hegel!”The source of this inner development begins, and is traced from, Hegel’s initial appearance as “The Model Pupil of Stuttgart” to that moment in when he stands revealed as embodying that Absolute Knowledge which concludes the Phenomenology. This path from Stuttgart to Jena, which Hegel himself might have had in mind when he spoke of the philosophical “highway of despair” is detailed by Crites with a sure hand. Every stumbling block is noted, and every new resolution ıs marked, from those first essays composed during the bitter days as Hauslehrer, through the steady advances [End Page 540] of “the Jena ‘Philosophy’ ” until the passage completes itself in the Phenomenology and its termination in the “Recollection and the Golgotha of Absolute Spirit.”More than half of Crites’ extensive study is devoted to explicating how the subject of religion is dealtwith in the course of the Phenomenology. In this survey of Hegel’s most well-known work, its fundamental leitmotif emerges clearly into focus: the identification of the “portentous power of the negative” with the Death of God. This death, which is philosophically reflected in dialectical negativity, is the central moment of the gospel drama. In this act, Absolute Spirit must itself suffer and die, for “Not only the Christian God incarnate, but the absolute spirit suffers, suffers its Golgotha and dies.” It is only from this sacrifice that new life can arise—for out of it comes “the resurrection of a new human-divine totality.” What Hegel has retained of the gospel... (shrink)

Modern Studies in Philosophy, we are informed on the page facing the title-page, "is a series of anthologies presenting contemporary interpretations and evaluations of the works of major philosophers." The volumes are "intended to be contributions to contemporary debates as well as to the history of philosophy; they not only trace the origins of many problems important to modern philosophy, but also introduce major philosophers as interlocutors in current discussions." In the first of the two volumes on Plato three (...) of the articles chosen by Gregory Vlastos have not appeared elsewhere: Julius Moravcsik, Learning as Recollection; G. E. L. Owen, Plato on Not-Being; David Higgins, Sentence Meaning, Negation, and Plato's Problem of Non-Being. The other studies in Volume One are reprints: R. Robinson and J. D. Denniston, Plato; H. F. Cherniss, The Philosophical Economy of the Theory of Ideas; A. Wedberg, The Theory of Ideas; R. C. Cross and A. D. Woozley, Knowledge, Belief and the Forms; R. Robinson, Hypothesis in the Republic; G. Vlastos, Reasons and Causes in the Phaedo; R. E. Allen, Participation and Predication in Plato's Middle Dialogues; Colin Strang, Plato and the Third Man; J. L. Ackrill, Symplokë eidön; J. L. Ackrill, Plato and the Copula: Sophist 251-259. In Volume Two Terry Penner, "Thought and Desire in Plato" has not been published before. The others have: Paul Shorey, Plato's Ethics; David Sachs, A Fallacy in Plato's Republic; Raphael Demos, A Fallacy in Plato's Republic?; J. D. Mabbott, Is Plato's Republic Utilitarian?; G. Vlastos, Justice and Happiness in the Republic; F. M. Cornford, The Doctrine of Eros in Plato's Symposium; R. A. Markus, The Doctrine of Eros in Plato's Symposium; Glenn R. Morrow, Plato and the Rule of Law; Wayne A. R. Leys, Was Plato Non-Political?; F. E. Sparshott, Plato as Anti-Political Thinker; Renford Bambrough, Plato's Political Analogies; E. R. Dodds, Plato and the Irrational Soul; W. K. C. Guthrie, Plato's Views on the Nature of the Soul; Harold Cherniss, The Sources of Evil According to Plato; W. J. Verdenius, Plato's Doctrines of Artistic Imitation. Obviously, the above listed articles will be welcome to those debating issues in Plato and to historians of twentieth-century philosophy. There are two difficulties, however. The print is too small in the body of the text and is nearly microscopic in the footnotes and diagrams. Reading thus becomes almost painful. Margins to the left, right, top and bottom of the pages are practically nonexistent. On occasion footnote material is misplaced--for example, the comment on Strang's article as originally published elsewhere should be on p. 184, not on p. 187, of Volume One. But a greater problem is the fact that almost all the articles on metaphysics and epistemology are by linguistic analysts. Vlastos in his introductory remarks admits as much: "Volume One is heavily weighted on the 'analytical' side." He reports the statement of an un-named advocate of conceptual analysis "that these [analytic] methods now enable us to understand Plato better than he was ever understood by anyone in history--better than by any of his own contemporaries, even better than by himself!" He disclaims such euphoria but insists "there is an element of truth in it after all" insofar as analytic tools can alert a student to ambiguity and its consequences in some of Plato's sentences. Hence, "if we come across such sentences in Plato, it would be plainly true to say that we can understand them better than he did and even to add that we can, therefore, understand him better, since we can see both what he meant to say and the logical liabilities of his incautious sentences." All this is true enough, but a warning still is in order. Linguistic analysts tend to read only some of Plato's dialogues and, even within them, to concentrate on some passages only. This is understandable in view of their interests and the capacity of the analytic technique. But that selectivity might lead them to believe that the Plato thus revealed is the complete and authentic Plato, which it is not. Hence, in reading and teaching Plato one must complement language- and concept-analysis with other approaches. Vlastos himself is aware of this necessity : [[sic]] "Once we have made full allowance for what modern semantics and logic can do to make Plato more intelligible and alive for us today, we should be quick to concede that borrowings from this quarter must be used with economy and discretion, and that continuing reliance on older linguistic and historical disciplines is as essential now as it has ever been in the past if the object of our inquiries is Plato himself, instead of some mock-up more pleasing to current taste." One could only wish that Vlastos had fostered that reliance on other disciplines by including articles of that sort among those he actually chose.--L. S. (shrink)

Modern Studies in Philosophy, we are informed on the page facing the title-page, "is a series of anthologies presenting contemporary interpretations and evaluations of the works of major philosophers." The volumes are "intended to be contributions to contemporary debates as well as to the history of philosophy; they not only trace the origins of many problems important to modern philosophy, but also introduce major philosophers as interlocutors in current discussions." In the first of the two volumes on Plato three (...) of the articles chosen by Gregory Vlastos have not appeared elsewhere: Julius Moravcsik, Learning as Recollection; G. E. L. Owen, Plato on Not-Being; David Higgins, Sentence Meaning, Negation, and Plato's Problem of Non-Being. The other studies in Volume One are reprints: R. Robinson and J. D. Denniston, Plato; H. F. Cherniss, The Philosophical Economy of the Theory of Ideas; A. Wedberg, The Theory of Ideas; R. C. Cross and A. D. Woozley, Knowledge, Belief and the Forms; R. Robinson, Hypothesis in the Republic; G. Vlastos, Reasons and Causes in the Phaedo; R. E. Allen, Participation and Predication in Plato's Middle Dialogues; Colin Strang, Plato and the Third Man; J. L. Ackrill, Symplokë eidön; J. L. Ackrill, Plato and the Copula: Sophist 251-259. In Volume Two Terry Penner, "Thought and Desire in Plato" has not been published before. The others have: Paul Shorey, Plato's Ethics; David Sachs, A Fallacy in Plato's Republic; Raphael Demos, A Fallacy in Plato's Republic?; J. D. Mabbott, Is Plato's Republic Utilitarian?; G. Vlastos, Justice and Happiness in the Republic; F. M. Cornford, The Doctrine of Eros in Plato's Symposium; R. A. Markus, The Doctrine of Eros in Plato's Symposium; Glenn R. Morrow, Plato and the Rule of Law; Wayne A. R. Leys, Was Plato Non-Political?; F. E. Sparshott, Plato as Anti-Political Thinker; Renford Bambrough, Plato's Political Analogies; E. R. Dodds, Plato and the Irrational Soul; W. K. C. Guthrie, Plato's Views on the Nature of the Soul; Harold Cherniss, The Sources of Evil According to Plato; W. J. Verdenius, Plato's Doctrines of Artistic Imitation. Obviously, the above listed articles will be welcome to those debating issues in Plato and to historians of twentieth-century philosophy. There are two difficulties, however. The print is too small in the body of the text and is nearly microscopic in the footnotes and diagrams. Reading thus becomes almost painful. Margins to the left, right, top and bottom of the pages are practically nonexistent. On occasion footnote material is misplaced--for example, the comment on Strang's article as originally published elsewhere should be on p. 184, not on p. 187, of Volume One. But a greater problem is the fact that almost all the articles on metaphysics and epistemology are by linguistic analysts. Vlastos in his introductory remarks admits as much: "Volume One is heavily weighted on the 'analytical' side." He reports the statement of an un-named advocate of conceptual analysis "that these [analytic] methods now enable us to understand Plato better than he was ever understood by anyone in history--better than by any of his own contemporaries, even better than by himself!" He disclaims such euphoria but insists "there is an element of truth in it after all" insofar as analytic tools can alert a student to ambiguity and its consequences in some of Plato's sentences. Hence, "if we come across such sentences in Plato, it would be plainly true to say that we can understand them better than he did and even to add that we can, therefore, understand him better, since we can see both what he meant to say and the logical liabilities of his incautious sentences." All this is true enough, but a warning still is in order. Linguistic analysts tend to read only some of Plato's dialogues and, even within them, to concentrate on some passages only. This is understandable in view of their interests and the capacity of the analytic technique. But that selectivity might lead them to believe that the Plato thus revealed is the complete and authentic Plato, which it is not. Hence, in reading and teaching Plato one must complement language- and concept-analysis with other approaches. Vlastos himself is aware of this necessity : [[sic]] "Once we have made full allowance for what modern semantics and logic can do to make Plato more intelligible and alive for us today, we should be quick to concede that borrowings from this quarter must be used with economy and discretion, and that continuing reliance on older linguistic and historical disciplines is as essential now as it has ever been in the past if the object of our inquiries is Plato himself, instead of some mock-up more pleasing to current taste." One could only wish that Vlastos had fostered that reliance on other disciplines by including articles of that sort among those he actually chose.--L. S. (shrink)

Appeals to “being on the right side of history” or accusations of being on the wrong side of history are increasingly common on social media, in the media proper, and in the rhetoric of politics. One might well wonder, though, what the value is of invoking history in this manner. Is declaring who is on what side of history merely dramatic shorthand for one's being right and one's opponents wrong? Or is there something (...) more to it than that? In this paper, I argue that an appeal to being on the right side of history is best construed as an invocation of higher-order evidence. I do not deny that there are purely rhetorical, non-evidential uses of the right and wrong side of history, but the phrase can be construed in a more substantive manner. I use work on virtual epistemic elections to model these appeals to history. Zeroing in on the kind of higher-order evidence invoked helps us clarify the criterion for better or worse, more or less convincing appeals to it. (shrink)

One of the most influential works of this century, The Myth of Sisyphus and Other Essays is a crucial exposition of existentialist thought. Influenced by works such as Don Juan and the novels of Kafka, these essays begin with a meditation on suicide; the question of living or not living in a universe devoid of order or meaning. With lyric eloquence, Albert Camus brilliantly posits a way out of despair, reaffirming the value of personal existence, and (...) the possibility of life lived with dignity and authenticity. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

In this collection, a leading sociologist brings his distinctive method of social criticism to bear on some of the most significant ideas, political and social events, and thinkers of the late twentieth century. In the first section, the author examines several concepts that have figured prominently in recent political-ideological controversies: capitalism, rationality, totalitarianism, power, alienation, left and right, and cultural relativism/ multiculturalism. He considers their origins, historical shifts in their meaning and the myths surrounding them, and their resonance beyond (...) their formal definitions. The second section highlights the author's lifelong interest in the relation of intellectuals to social classes and institutions. The author assesses the notion of a 'New Class', considers the implications for class structure of the increasing centring of intellectual life in the university, and assesses the relation of sociology to professional jargon. (shrink)

Mikhail Bakhtin’s 1926 essay, “Contemporary Vitalism,” includes Bergson alongside Driesch in a short list of “the most published representatives of vitalism in Western Europe,” and, indeed, Bakhtin’s critique of Driesch is intended to undermine what he calls the “conceptual framework” of “contemporary vitalism” as a whole (The crisis of modernism: Bergson and the vitalist controversy. Eds. Frederick Burwick and Paul Douglass. Cambridge University Press, New York, 1992, p 81). The conceptual framework that Driesch and Bergson are supposed to have (...) shared in common consists at bottom, for Bakhtin, in the ontological commitment to the autonomy of life, “its independence, its disconnectedness from physical-chemical phenomena” (81). This has long been understood as the defining mark of vitalism, at least in the mind of its critics: the contention that matter and the mechanical models that track it are insufficient to the reality of biological forms, and that the explanation of life therefore requires the postulation of a non-mechanical, possibly immaterial, uniquely vital principle, force, substance, or property. Recent scholarship has made considerable headway in complicating these pictures by attending to earlier and subtler forms of materialism, and by distinguishing between different types of vitalism and drawing out the heuristic or scientific utility of some of them (Wolfe, Eidos 14: 212–235, 2011, Antropol Exp 17(13): 215–224, 2017; cf. Wolfe and Normandin, Vitalism and the scientific image in post-enlightenment life science, 1800–2010. Springer, Dordrecht, 2013). The focus of some of this work has been on the critical revaluation of Driesch himself (Bognon et al., Kairos J Philos Sci 20(1): 113–140, 2018). Yet the status of Bergson’s commitment to the existence of a vital principle remains underdeveloped. In the midst of what some are calling a “Bergson renaissance,” I think that it calls for the same kind of critical reappraisal (Ansell-Pearson, Bergson: thinking beyond the human condition. Bloomsbury, New York, 2018: 1; cf. Lundy, Deleuze’s Bergsonism. Edinburgh University Press, Edinburgh, p 5, 2018). The aim of this paper is to attempt the outline of an answer to that call. I begin with a brief summary of Driesch’s vitalism, then I reconstruct Bergson’s underappreciated critique of internal finality, or what Kant called inner purposiveness, and locate in it a subterranean criticism of vital principles of the Drieschian variety as well. Two consequences follow: first, if Bergson is to be considered a vitalist, it cannot be in the Drieschian sense and we are therefore wrong to associate the two; and second, if Bergson is to be considered a vitalist, then his vitalism has to be understood—somewhat counterintuitively, and certainly contra Driesch—on the basis of a principle external to the ostensible individuality of biological forms. (shrink)

The doctrine of God is central to theology for it determines the way in which other regions of Christian doctrine are articulated, yet work on this topic in its own right has been occluded recently by treatments of the Trinity or divine passibility. This collection of specially commissioned essays presents major treatments of key themes in the doctrine of God, motivated by but not restricted to the work of Professor Paul S. Fiddes to whom it is offered as (...) a Festschrift. It includes invigorating discussions of the biblical and non-biblical sources for the doctrine of God, and the section on 'Metaphysics and the Doctrine of God' examines some of the most important conceptual questions arising in contemporary theological debate about the being and nature of God, and God's relations to the world. The final section of the book on 'God and Humanity' will be highly relevant to scholars working in the fields of theological anthropology, moral and political theology, on inter-faith relations, on theology and literature, or who are interested in the impact of contemporary science on the doctrine of God. The introduction relates the essays in the book to the work of Professor Fiddes and to wider debates in Christian doctrine. This volume brings together a team of internationally distinguished scholars from a wide range of theological, philosophical, and religious perspectives, and it will stimulate fresh thinking and new debate about this most central of topics in Christian theology.--Publisher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Will to Power in Nietzsche’s Published Works and the NachlassLinda L. WilliamsIt is universally acknowledged by scholars of Nietzsche’s work that will to power is one of the most important notions in Nietzsche’s writings, but strangely, like the other “central” notions of eternal recurrence and the Übermensch, there are relatively few aphorisms in either the published or unpublished material that include the term. In the case (...) of will to power, however, Nietzsche promises in a footnote in On the Genealogy of Morals to discuss and explore the notion of will to power in a book entitled The Will to Power. 1 Giorgio Colli and Mazzino Montinari, among others, have argued persuasively that Nietzsche abandoned this project. 2 Nevertheless, the phrase “will to power” remains the most notorious feature of Nietzsche’s philosophy, probably due to its unfortunate and mistaken connections with the Third Reich. As Walter Kaufmann notes, the notion of will to power did not “spring fully formed from Nietzsche’s brow like Pallas Athena.” 3 This was an idea that evolved over time. This paper examines both the published and his unpublished writings (the Nachlass) to gain a better understanding of how this important phrase developed.The Nachlass can be divided roughly into three different kinds of work. 4 The first kind is comprised of the works Nietzsche was editing right before his collapse. These works are Ecce Homo, Nietzsche Contra Wagner, and The Antichrist, and they were so polished that we can safely take them as [End Page 447] equal in status to the works that Nietzsche had already published or, like Twilight of the Idols, were being published at the time of his collapse. The second kind are Nietzsche’s early, finished pieces that were never published, the so-called Schriften, primarily his lectures and writings while he was employed at Basel. These pieces are presumably complete and polished, although Nietzsche chose not to publish them, but they do not affect this inquiry, since will to power was a relatively late concept for Nietzsche.The third kind of work consists of Nietzsche’s notes, which vary from sentence fragments or single sentences to sketchy outlines of various projects to several long paragraphs in essay form. Nietzsche’s notebooks looked like anyone’s notebook, with passages lined out, words jotted in the margins, and overwriting. Some of the entries in the Nachlass can be found with only minor revisions in the books Nietzsche had published, and since he painstakingly recopied his books in his neatest handwriting right before he sent them to his editor, these strikingly similar entries are most probably the penultimate copy drafts of the published aphorisms.The writings that did not find their way into publication in any form are problematic. Are they rough drafts of some future work which Nietzsche was unable to complete due to his illness? If so, some of these controversial notes would have been waiting for years. Are they ideas that Nietzsche entertained but ultimately rejected? If so, we should not place them on par with the ideas in his published works. Even if we consider these notes rough drafts of future works, it remains unclear whether we should consider what is written in these notes to be as indicative of what Nietzsche thought as the works he authorized for publication. Sometimes what is written in the unpublished notes on a particular topic is very different from what is written on that topic in the published works. Bernd Magnus made this kind of case against the Nachlass notes concerning eternal recurrence, 5 and I want to make a similar claim about the notes concerning will to power. Reviewing the Nachlass notes in conjunction with the published aphorisms will give us a better understanding of how the published and unpublished notes differ.The term “will to power” (Wille zur Macht) first appeared in publication in Thus Spoke Zarathustra. 6 In the aphorism “On 1001 Goals” Nietzsche describes a people’s tablets of good and bad as the voice of its will to power. Wille zur Macht appears in only two more aphorisms in the course of this long work, in “On Self-Overcoming” and in... (shrink)

Except for the work of Hiralal Haldar published in 1927, Pucelle's book is the first systematic account of the influence of German idealism in England. On the flyleaf he quotes Muirhead's remark in his study of Coleridge that "the history in England of what at the present day is known as idealistic philosophy still remains to be written". The implication may seem somewhat unfair to Muirhead's own subsequent effort to fill the gap in The Platonic Tradition in Anglo-Saxon Philosophy. (...) But this is not the case. Muirhead characterized his own work as "studies" and made no attempt to write a complete history, whereas Pucelle gives a full account of the idealist "school" and even sketches in the related currents of thought in poetry and theology. Careful comparison reveals that he has tried as far as possible to avoid going over the ground that Muirhead had already covered. Thus he gives a full account of the work of Ferrier, where Muirhead was only interested in Ferrier's abortive struggle to understand Hegel; but when he comes to the Essays in Philosophical Criticism he is content simply to indicate their nature and the reason for their importance, and to refer his readers to Muirhead's full analysis. Even in the case of Bradley, who is treated at length by both authors, the two discussions are complementary in that Muirhead was concerned with the development of Bradley's thought while Pucelle treats it as a system. (shrink)

In recent years philosophers have done impressive work explicating the nature and moral importance of a kind of self-respect Darwall calls “recognition self-respect,” which involves valuing oneself as the moral equal of every other person, regarding oneself as having basic moral rights and a legitimate claim to respectful treatment from other people just in virtue of being a person, and being unwilling to stand for having one’s rights violated or being treated as something less than a person. It is generally (...) agreed that such self-respect is something all persons have a right to and ought to have and that it is morally objectionable for a person or a society to preclude or injure someone’s self-respect. But scant attention has been paid to another kind of self-respect, the kind that has to do not with the fact that you are a person but with the kind of person you are, that has to do not with rights but with character. I call this kind of self-respect “evaluative self-respect.” The central task of this paper is to explicate the moral value of evaluative self-respect. I do this by looking at the role it plays in the life of someone who is sincerely concerned to be a good person. This is not to deny that evaluative self-respect can go wrong, and I look at how it can go wrong. In particular, evaluative self-respect is, like everything else in human life, vulnerable to the distorting forces of oppression. But, I argue, evaluative self-respect can have moral value even when it goes wrong, and it can be a liberatory resource in the lives of the oppressed. (shrink)

While the Deleuzo-Guattarian concept of ‘body without organs’ is developed alongside their critique of Freudian and Lacanian psychoanalysis, it is also developed alongside their critique of Christianity, most poignantly in the sixth plateau of A Thousand Plateaus. Here Deleuze and Guattari quote Antonin Artaud in order to show how ‘the judgment of God weighs upon and is exercised against the BwO’. In order to understand this relationship between judgement of God and the BwO, this essay explores Deleuze's critiques of Christianity (...) in his earlier works and concludes that the BwO, much like Artaud's own poetry, is developed in contrast to an internalised form of Christianity. (shrink)

Although the poet, journalist, and critic Heinrich Heine has not received much attention among recent political theorists, his revolutionary poetry and criticism were foundational for many German thinkers who have become canonical and comprise a powerful theoretical and historical project in their own right. This essay revisits Heine’s Zur Geschichte der Religion und Philosophie in Deutschland, situating it within the broader arc of his poetry and prose works, to examine the unique mode of criticism he developed in response (...) to a sense of political impasse and paralysis in his moment. For Heine, this paralysis stemmed from the persistence of outmoded institutions in a revolutionary age, and the act of exposing it was the first step toward rebelling against and overcoming it. Heine thus developed a revolutionary notion of criticism that sought to lay bare and get beyond his moment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Reviews 137 The Meanings of Landscape: Essays on Place, Space, Environment and Justice BY KENNETH R. OLWIG London: Routledge, 2019 REVIEWED BY TIMM SCHÖNFELDER Landscape is more than spatial scenery that meets the eye: it is an anthropogenic artefact, an intellectual construct, a mirror of culture; it even has its own language.1 This broadness is reflected in the compilation of nine authoritative essays by the geographer (...) and professor of landscape architecture Kenneth R. Olwig that were published during the past quarter of a century and are now molded into a more coherent whole. In this regard, the present volume can be considered the pinnacle of Olwig’s intellectual oeuvre. In a fervent foreword, the anthropologist Tim Ingold sets the tone when he urges the reader to shed the contemporary notion of what he terms “topophobia”—­ a lack of bond betweenpeopleandplaces—­andtoreinstatephilologyasacentralfield of interest after it was “relegated by techno-­ science to the margins of scholarship” (xv). To achieve this, the essays deal with an eclectic set of themes ranging from Ptolemy’s notion of “choros” as something similar to today’s understanding of landscape, to the humanistic geographer Yi-­Fu Tuan’s concept of “topophilia,” which is hailed as a guiding ideal for much of Olwig’s work. The articles are bound together by an introduction that quickly transcendsthegeometricallimitationsoflandscape,ontologicallyquestioning whether these can be representative of the world itself at all (3). The first chapter thus delves right into the etymologies of “landscape” and its historical implications in the Nordic countries and England with detours through Italy and the German lands. In a cursory, highly associative manner Olwig fathoms the respective cultural implications. Central is the idea that the concept of landscape is more than the mere scenicrepresentationofspaceitcametobeknownasinRenaissance art and culture.2 Rather, the Nordic variants of the word, like the Swedish landskap, are used to denote natural regions with their own polity that were then gradually subjected to a monarchic state, not least through the surveying and mapping of their territory (see also chapter two). ENVIRONMENT, SPACE, PLACE / VOLUME 13 / ISSUE 2 / 2021 138 At times, Olwig’s philological musings appear rather stretched, as when he associates the German word Grundgesetz (the “basic/­ fundamental law” of 1949, which until today serves as Germany’s constitution ) with a biopolitical dimension of “ground” as in “soil” (41).3 In cases like this, his use of literature is selective. This culminates in a problematic assessment of Nazi ideology as being motivated by a specific understanding of landscape. Statements like “there can be no doubt that the modern German conception of Landschaft was implicated in the promotion of blood-­ and-­ soil fascist ideology” (42) neglect important literature on the topic.4 Such generalizations are owed to the author’s sweeping tour de force approach. The reviewer would have preferred more guidance through the theoretical thickets by way of a clear, chronologically ordered argument. This is not helped by the occasional seeming inconsistency, as in the claim that the U.S. “inherited the British scenic idea of landscape” as a former colony while also being “very much the inheritor of German romantic ideas concerning the relation of culture to nature as expressed in the physical landscape” (45), which, in turn, showed parallels to “fascist landscapes” in the “attempt to cleanse geography of its environmentalist taint by making it a science of space” (42). This truly is a lot of ground to cover for one essay. The ensuing chapters, however, try to disentangle this inspired jumble. The second article, “Landscape, Place, and the State of Progress,” identifies a switch since the Renaissance from the idea of circuitous development to linear progress towards utopia. For Olwig, there is a “darker, Faustian side” to it that he identifies as the “dialectic of modernity,” which “opposes cosmic dreams of a utopian future to the topian exigencies of present and past”: to advance, the path had to be cleared of traditional elements (52). This materialized in courteous theatre as well as in Shakespeare’s popular plays, and in the new architecture of parks where landscape was symbolic for cultural and social progress (64). “Choros, place, and the spatialization of landscape” traces important theoretical threads within geography... (shrink)

[Sir Stephen Gaselee, who died in June 1943, was, as is widely known, a devoted student of Petronius. He read the book first in 1901 when he was still at Eton; two years later he already possessed nearly a hundred Petroniana and was distributing to booksellers a short bibliography which he had compiled in order that they might help to fill the gaps in his collection. Petronius was the subject of the Fellowship dissertation which he submitted unsuccessfully at King's in (...) 1908. It comprised a copy of Buecheler's editio minor interleaved with foolscap sheets on which was written a critical and epexegetical commentary, and a substantial volume of typescript entitled Some Materials for an Edition of Petronius and dealing with the personality of the author, the place of his book in Classical literature, its literary history, the manuscripts, and the printed editions. The last section was presently expanded into a long paper which, with a handlist, was presented to the Bibliographical Society in 1909. In the following year appeared a large and expensive reprint of the earliest English translation of Petronius for which Gaselee supplied an introduction and a Latin text. In 1915 he published at his own cost a collotype facsimile of that part of the Codex Traguriensis which contains the Cena Trimalchionis, adding a preface and an annotated transcript of the facsimile. In 1916 Gaselee went to the Foreign Office and, except for a brief interval in 1919, worked there until his death. He continued to collect Petroniana and to note in his interleaved text parallel passages and suggestions of other scholars, but the leisure necessary for the preparation of his own edition was never at his disposal. Thenceforward his contributions to the subject are both few and slight. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Aristotelianism of Locke's PoliticsJ. S. MaloyThose, then, who think that the positions of statesman, king, household manager, and master of slaves are the same are not correct. For they hold that each of these differs not innly in whether the subjects ruled are few or many... the assumption being that there is no difference between a large household and a small city-state.... But these claims are not true.Aristotle, (...) Politics, 1252a1The Power of a Magistrate over a Subject may be distinguished from that of a Father over his Children, a Master over his Servant, a Husband over his Wife, and a Lord over his Slave. All which distinct Powers happening sometimes together in the same Man, if he be considered under these different Relations, it may help us to distinguish these Powers one from another, and show the difference betwixt a Ruler of a Common-wealth, a Father of a Family, and a Captain of a Galley.Locke, Two Treatises of Government, 2.22 [End Page 235]When the political theory of John Locke first appeared in print in 1689, the imposing authority of Aristotle stood ready to defeat it. So believed many of Locke's critics, at any rate. After his death in 1704, when it was confirmed that the internationally renowned author of An Essay Concerning Human Understanding had also written the anonymously published Two Treatises of Government, Locke was widely taken to represent a distinctive type of political theory based on individual rights and the social contract. Learned opposition to this sort of voluntaristic account of politics has often rested on Aristotle, "the Philosopher," the ancient authority on the human instinct for sociability and the hierarchal communities arising therefrom. Within the modern academy "liberals," "communitarians," and "republicans" have again made a habit of pronouncing the names of Locke and Aristotle in tones of antagonism. In broad outline the reasons have not changed in two or three centuries ago: the first stands for natural-rights individualism and the second for an organic conception of community.3What are we to make of this conventional opposition in light of the awkward fact that the second of Locke's Two Treatises, "Of Civil Government," takes the reclamation of the Aristotelian conception of political power as its principal purpose? Locke announced in the opening chapter of that essay that his chief target, Robert Filmer, had misunderstood the nature of distinctively political relationships, mainly by ignoring the differences between authority in political society and authority within the family (L 2.1–2). Locke alleged that this basic conceptual mistake of the Filmerian theory of "absolute" and "arbitrary" government was the source of its disastrous practical ramifications, which he had summed up in the first Treatise as "Chains for all Mankind" (L 1.1). Filmer, in turn, had taken Plato's side in the debate about political and familial rule which Aristotle had joined in the opening lines of his Politics (A 1252a). Though a perceptive reader long ago noticed the Aristotelianism of Locke's response to Filmer—Locke and Algernon Sidney were the "two famous men" to whom Rousseau alluded as having defended Aristotle against Filmer's Platonic notions of power—no modern scholar has attempted a full explanation of the significance of Locke's intervention in this debate.4 [End Page 236]The analysis below will show that Aristotle was the classic source for both the principal theoretic argument of Locke's second Treatise and the method employed to pursue it, i.e. using analogies of power for conceptual comparison and distinction. But my argument for the Aristotelianism of Locke's politics will rest on contextual as well as textual grounds. Not only was Locke pursuing an evident variation on the central theme of bk. 1 of Aristotle's Politics; he was far from alone in doing so. This sort of project was by the 1680s typical of radical constitutionalist writing in Europe, including not only English Whigs like Sidney and James Tyrrell but also a long line of writers on both sides of the English Channel, stretching back at least a century, who deployed a particular interpretation of Aristotle in the service... (shrink)

Some books are like parents, grandparents or old friends. They have been with us from our earliest days and one treats them almost with familiarity. They belong to one's youth and the recognition that they have been around for months and years keeps company with surprise. For philosophers such a book is A. J. Ayer's Language, Truth and Logic, first published over fifty years ago in 1936. There is a sense in which a similar point may be made (...) about some individuals, but discretion and good manners should deter us from succumbing to the philosophical disease of pressing an analogy too far. Suffice it to say that over a period during which most English speaking philosophers were content to work within a context which was significantly influenced by Ayer's clear and cajoling formulation of a twentieth century of empiricism, F. C. Copleston provided one of the few distinctive alternative philosophical perspectives on major metaphysical questions. This essay will reflect upon the influence of Ayer's Language, Truth and Logic some fifty years after its publication, upon the philosophical discussion of religion and theological questions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fabuler la fin du monde: La puissance critique des fictions d’apocalypse by Jean-Paul EngélibertCyril CamusJean-Paul Engélibert. Fabuler la fin du monde: La puissance critique des fictions d’apocalypse [Fabulating the end of the world: The critical power of apocalypse fiction]. Paris: Éditions La Découverte, 2019. 239 pp. Print. 20€. ISBN 978-2-348-03719-1.Jean-Paul Engélibert is a well-established expert on apocalyptic and postapocalyptic fiction. His exploration of the genre thus far includes (...) the monograph Apocalypses sans royaume: Politique des fictions de la fin du monde, XX–XXIe siècles (2013), numerous articles, as well as the essay collection L’Apocalypse: Une imagination politique, XIXe–XXIe siècles (2018), which he co-edited. In his latest book, Fabuler la fin du monde, he returns to several texts and aspects of the genre previously covered, delving deeper into what he calls “fictions of the end of the world.” In the ten chapters, gathered in five parts, he approaches his subject as a seasoned scholar in the field of comparative literature, and his analysis draws from comparisons between modern fiction’s representation of apocalypse and biblical literature’s visions of apocalypse and messianism. The book also offers ecocritical insights into the specter of Anthropocenic manifestations in fiction, with reflections on the interrelated genres of utopia and dystopia, theories of cinema, and philosophical writings on the catastrophic history of the twentieth and twenty-first centuries.The range of fictional works discussed is wide, including Jean-Baptiste Cousin de Grainville’s Le dernier homme (1805); Mary Shelley’s Frankenstein (1818); Émile Souvestre’s Le monde tel qu’il sera (1846); Didier de Chousy’s Ignis (1883); Robert Merle’s Malevil (1972); José Saramago’s Blindness (1995); Antoine Volodine’s Minor Angels (1999); Don DeLillo’s Cosmopolis (2003); Cormac McCarthy’s The Road (2006); Céline Minard’s Le dernier monde (2007); Davide [End Page 163] Longo’s The Last Man Standing (2010); and Margaret Atwood’s MaddAddam trilogy (Oryx and Crake [2003], The Year of the Flood [2009], and MaddAddam [2013]). Engélibert also touches on feature-length movies such as Stanley Kramer’s On the Beach (1959), Lars von Trier’s Melancholia (2011), Abel Ferrara’s 4:44 Last Day on Earth (2012), and Mamoru Oshii’s Ghost in the Shell (1995), as well as on other literary and audiovisual fictions, such as E. M. Forster’s short story “The Machine Stops” (1909), Edward Bond’s dramatic trilogy The War Plays (1985), and the first season (2014) of Damon Lindelof and Tom Perrotta’s TV series The Leftovers (2014–17).Engélibert’s exegeses of the genre build around two aspects of the evolving relationship of apocalyptic narratives to the context of their production. Apocalypse (in the sense of “the end of the world” rather than the etymological sense of “revelation”) is no longer primarily a religious myth: the creation and use of the atomic bomb during the Second World War, the theorization of the Anthropocene, and the mainstreaming of concerns over climate change have made the term “apocalypse” a very real, tangible prospect for the future. Engélibert relies on Günther Anders’s Die atomare Drohung (1981) to highlight the importance of the A-bomb in bringing home the reality of potential annihilation to people’s collective consciousness. Yet his second contextual/historical point is that the Anthropocene (albeit unnamed at the time) actually started with the Industrial Revolution, and that thinkers and polemicists such as Charles Fourier or Eugène Huzar, as well as contemporary fiction writers, were already acknowledging the environmental impact of humans and their economic/industrial/technological activity as threats to human and nonhuman life, and to the health of the planetary system itself.1Citing the work of Jean-Baptiste Fressoz and Christophe Bonneuil on the history of climate science, Engélibert analyzes in detail several nineteenth-century novels (namely Le Dernier homme, Frankenstein, Le monde tel qu’il sera, and Ignis) and one early-twentieth-century story (Forster’s “The Machine Stops”) that denounce the harm that the idol of the time, Progress, was already wreaking on nature and human life... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Russell's Naturalistic Turn 37 INTRODUCTION L RUSSELL'S NATURALISTIC TURN RUSSELI.?S NATURALISTIC TURN NED S. GARVIN Philosophy I Albion College Albion, MI 49224 I Quine, Ontological Relativity (New York: Columbia U. P., 1969), p. 83. 1 Russell advocated this hypothetical acceptance of science much earlier, e.g., in AMa, pp. 398-9. Here we have many of the hallmarks of naturalized epistemology: (I) fallibilism, (2) the "best theory" account of science, (3) (...) the view that "knowing" is a natural phenomenon not confined to humans, and (4) the embedding of epistemology in behavioural psychology. But in 1940 Russell was a foundationalist (though an increasingly moderate one) who insisted that normative, or as he called it, "critical" epistemology must be distinguished from natural epistemology, and that critical epistemology is philosophically more important: "Within its limitations, theory of knowledge of the above sort is legitimate and In the nrst form of theory of knowledge, we accept the scientific account of the world, not as certainly true, but as the best at present available. The world, as presented by science, contains a phenomenon caIled "knowing", and theory of knowledge, in its first form, has to consider what sort of phenomenon this is. Viewed from the outside, it is, to begin with, a characteristic of living organisms, which is (broadly speaking) increasingly displayed as the organism becomes more complex. (Pp. 12-13)2 Both knowledge and error, at this stage, are observable relations between the behaviour of the organism and the facts of the environment. (P. 14) Quine argued that traditional justification requires non-scientific propositions that are more secure than scientific propositions, and we see there are none: science is providing the best account of the world and our knowledge of it. Though we abandon the attempt to justify science, we still attempt to understand it for nearly the same reasons that always motivated epistemology: "in order to see how evidence relates to theory, and in what ways one's theory of nature transcends any available evidence".I Russell contemplated a naturalistic turn of his own in 1943, shortly after writing An Inquiry into Meaning and Truth and nearly twentyfive years before Quine's landmark address. In the introduction to his Inquiry Russell claims that there are "two different inquiries, both important, and each having a right to the name 'theory of knowledge '" (IM~, p. 12). The first is recognizably natural epistemology: n.s. 11 (summer 1991): 36-S1.SSN 0036-016p ru•••II: the Journal of the Bertrand Russell Archives McMaster University Library Press w. V. Quine's address to the Fourteenth International Congress of Philosophy in 1968, published a year later as "Epistemology Naturalized " in Ontological Relativity and Other Essays, is a landmark of recent epistemology, marking the turn from traditional critical epistemology to a descriptive epistemology firmly embedded within natural science. I n 1943 Bertrand Russell wrote a little-known, three-page document he titled "Project of Future Work". It outlines the descriptive project of examining non-demonstrative inference that eventually becomes the focal point of Human Knowledge: Its Scope and Limits. More remarkably, this document anticipates many salient features of naturalized epistemology, e.g., Russell argues that (I) an answer to scepticism is futile, we cannot justify scientific method; (2) the Humean Predicament arises from a traditional insistence on an unrealistic, demonstrative canon of justification; (3) non-demonstrative, fallible inference is already firmly embedded in scientific practice as a canon of inference, and should augment the demonstrative canon; and (4) the primary epistemic· problem is descriptive: in what circumstances does scientific method allow us to infer the existence of something unobserved from what we observe. These claims, in the wake of An Inquiry into Meaning and Truth, suggest that Russell was on the verge of his own naturalistic turn. I argue that, despite striking anticipations of naturalized epistemology, Russell develops his descriptive project within a more traditional, critical epistemic perspective. 38 NED S. GARVIN important. But there is another kind of theory of knowledge which goes deeper and has, I think, much greater importance" (IMT;., p. 14). Russell observes that behavioural psychologists omit that they are fallible observers, and this fallibility introduces doubt into their results. Further, naive... (shrink)

If humans are not capable of immortality, then eschatological doctrines of heaven and hell make little sense. On that Christians agree. But not all Christians agree on whether humans are essentially immortal. Some hold that the early church was right to borrow from the ancient Greek philosophers and to bring their sense of immortality to bear on the interpretation of biblical passages about the afterlife. Others, however, suggest that we are inherently mortal, and only conditionally immortal. This latter view (...) is usually associated with an annihilationist interpretation of the doctrine of hell and a rejection of eternal torment. In a philosophical analysis and argument, McLeod-Harrison proposes that humans are, indeed, immortal, but not essentially so. But neither are we immortal accidentally or conditionally. Instead, immortality is an enduring property--a property we cannot lose once created. McLeod-Harrison carefully delineates the sense of immortality he defends and provides a broadly Christian philosophical argument for it. The argument, if correct, leaves the recent suggestion that the unredeemed are annihilated on unsteady metaphysical feet. However, McLeod-Harrison does not defend eternal conscious punishment for the unredeemed, but suggests some ways to think about the possibility of a universal salvation. ""McLeod-Harrison provides an admirably careful metaphysical analysis of the concept of human immortality, ultimately arguing for the impossibility of personal annihilation. Whether or not one finally agrees with his thesis, this work is an immensely valuable resource, especially as regards discussions of philosophical anthropology and the doctrine of hell."" --James S. Spiegel, Professor of Philosophy and Religion, Taylor University ""In this fascinating, albeit complicated, argument against conditional immortality (annihilationism), the author makes no claim that the human soul is essentially immortal; he argues instead that, once a human offspring acquires a fully robust free will and thus becomes fully human, it is metaphysically impossible that it should cease to exist altogether. Whether or not one accepts every detail of this argument, it provides an original and intriguing twist to theological discussions of free will."" --Thomas Talbott, Professor Emeritus of Philosophy, Willamette University, Author of The Inescapable Love of God ""I often say the future of the hell debate is between conditional immortality and universal reconciliation, and it is no secret that I think the biblical case for the former is unassailable. However, while I am not persuaded by this volume's case for enduring and universal human immortality, it nevertheless promises to add precision to the language of immortality and to feature prominently in the philosophical side of that debate moving forward."" --Christopher M. Date, editor of Rethinking Hell: Readings in Evangelical Conditionalism Mark S. McLeod-Harrison is Professor of Philosophy at George Fox University. (shrink)

Trust is essential for our democracy. We trust our political leaders and institutions to put the public interest before their personal or partisan advantage. We trust each other to work and live together. No system is perfect and there is rarely one right answer to the big challenges faced, but we expect leaders to be honest, competent and compassionate – and punish any breaches harshly in the polls or the ballot box. But not any longer. Now is a time (...) of political crisis that’s fuelled by a lack of trust in government and the mainstream. This carries significant and damaging consequences for the future of our democracy fragmenting and polarising our communities. While election results from Brexit to Trump shocked political pundits on both sides of the Atlantic, the roots of an alienated and divided public who increasingly do not trust public figures to put the public interest first have root causes that run deep. The absence of trust creates a political shift akin to a new kind of revolution putting at risk our democracy’s future health. Awareness and action have never been needed more urgently. For over two decades, Thom Brooks has been a leading voice in exposing this crisis in trust and challenging its foundations. This provocative collection of new and recent reflections brings together his work as a freelance columnist and essayist covering Brexit, British values, citizenship and immigration, Scotland’s independence referendum, tackling the Covid-19 pandemic, education policy and legal reform. These essays highlight his substantial contributions to some of the leading political issues of our day. How deep is our current crisis – and what can we do about it to rebuild trust in our politicians, public institutions and each other? Brooks provides clear insights into these issues and more with his ‘realistic optimism’ for the future and why we can be the solution to our political crisis. (shrink)

Claudia Card had a long and distinguished career as a philosopher that began at a time when being a woman in philosophy was not an easy matter and ended much too soon with her passing in 2015. Starting with her first and still widely-cited article, “On Mercy,” she published ten monographs and edited volumes and nearly 150 articles and reviews on topics in moral, social, and political philosophy. She is is most widely known for her influential work in analytic (...) feminist philosophy and on evil. She was a pioneer in feminist and lesbian philosophy whose trailblazing work has influenced generations of philosophers; and in her 25 articles and two monographs on evil and evils such as rape, domestic violence, child abuse, war, terrorism, and genocide, she proposed a new way of understanding evil that made a profound contribution to philosophical thinking about these topics. This volume brings together eleven of her articles, including seven essays on war, genocide, and evil, and four essays on topics in feminist ethics. In addition, the volume includes nine essays by other authors that explore and expand upon Card’s philosophical legacy. This unique volume combines Card’s own mature voice with the best in recent scholarship on issues central to her own philosophical concerns. (shrink)

John Harris is one of the prominent philosophers and bioethicists of our time. He has published tens of books and hundreds of papers throughout his professional life. This paper aims to take a ‘deep-look’ at Harris' works to argue that it is possible to find some principles of Islamic ethics in Harrisian philosophy, namely in his major works, as well as in his personal life. This may be surprising, or thought of as a ‘big’ and ‘groundless’ claim, (...) since John Harris has nothing to do with any religion in his intellectual works. The major features of Harrisian philosophy could be defined as consequentialism or utilitarianism with liberal overtones. Despite some significant and fundamental differences in the application of principles (ie, abortion, euthanasia), the similarities between the major principles in Harrisian philosophy and Islamic ethics are greater at some points than the similarities between Islamic ethics and some other religious ethics (ie, Christian, Judaism). In this study I compare Harrisian teachings with major Islamic principles on ‘Responsibility’, ‘Side-effects and Double-effects’, ‘Equality’, ‘Vicious choice, guilt and innocence’, ‘Organ transplantation and property rights’ and ‘Advance directives’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE 'NATURALNESS' OF NATURAL RELIGION Among Hume's philosophical works the Dialogues Concerning Natural Religion is unquestionably the easiest to read. One can easily imagine a precocious fifteen-year-old like Miss Jane Austen — who set herself to write her own History of England only a decade or so after Hume's death — coming upon the little volume that nephew David published, reading it with great excitement (and a (...) steadily rising intellectual fury), and recording the same verdict that Pamphilus offers us, but in much more 2 trenchant terms. we can also imagine her reading it again twenty years later, armed with an explanatory commentary like the one that Stanley Tweyman has now given us, and maintaining her position (this time in the more temperate terms of Pamphilus himself). For Miss Jane Austen at thirty-five had one of the most critically commonsensical minds of her time; and she was also a person of deep religious feeling. It is in defence of her feelings, rather than of my own, that this essay is written. For she was close enough to what I take to have been Hume's position to have agreed with it once she had understood it; I, on the other hand, am not. To claim that a meeting of minds between the Rector of Steventon' s daughter and the Scottish apostle of infidelity is even conceivable may seem ridiculous. Hume himself would never have thought it likely. But even if my estimate is unduly optimistic, it serves at least to underline the importance of Tweyman' s constructive commentary. For without Tweyman 's commentary, Jane Austen's reaction to the Dialogues would have been one of morally indignant, and quite categorical rejection at any age. With it to guide her, she would have been appreciative and sympathetic, even if she was still ultimately dissatisfied. (I hope to persuade those who admire them both, as I do, that David Hume and Jane Austen belonged to the same 'invisible Church'). To read the Dialogues is still relatively easy. We only have to know that we are listening to a conversation between educated men in a society where everyone professes (at least) to believe that the world they were born into was created by a God who is all-knowing and all-powerful, infinitely wise, infinitely just and good, and, above all, infinitely loving towards the only creatures in his world who are capable of recognizing what he has done for them. The Rector of Steventon's daughter would have had difficulty in appreciating the discussion properly, because she had some further, more specific, beliefs about God's relations with his beloved children. We have some (smaller) difficulties now, because we are far from believing so much (and many of us believe nothing of the sort at all). But to grasp what we are supposed to believe is not difficult; and once we know that, the conversation itself is easy to follow. Only once does it seem to get out of hand to the point of actual implausibility; and there are only three things about it that are genuinely puzzling. The conversation does not reach any conclusion — at least none that convinces us. We are not convinced because the obvious solution for the most pervasive of our three puzzles is the assumption that Philo, the speaker who appears to state an agreed conclusion, is only pretending. That he should pretend is quite right and proper for a modern philosophical dialogue. Augustine may have written straightforward expository (or 'dogmatic') dialogues; and Berkeley, following in the wake of some of Augustine's medieval imitators, may have managed to raise this form into the best imitation of a live discussion that has been achieved for the dogmatic dialogue in English. But the religious doctrine of these 'dogmatists' was orthodox. One glance at the fortunes of the great Italian dialogue writers — Bruno, Galileo, Campanella — is enough to teach us that it was not prudent to let one's own doctrine win openly when one was teaching against the Church. Jane Austen would certainly have adopted the hypothesis that Philo's professions of religious feeling are hypocritical throughout the discussion. She would have assumed that Cleanthes... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE 'NATURALNESS' OF NATURAL RELIGION Among Hume's philosophical works the Dialogues Concerning Natural Religion is unquestionably the easiest to read. One can easily imagine a precocious fifteen-year-old like Miss Jane Austen — who set herself to write her own History of England only a decade or so after Hume's death — coming upon the little volume that nephew David published, reading it with great excitement (and a (...) steadily rising intellectual fury), and recording the same verdict that Pamphilus offers us, but in much more 2 trenchant terms. we can also imagine her reading it again twenty years later, armed with an explanatory commentary like the one that Stanley Tweyman has now given us, and maintaining her position (this time in the more temperate terms of Pamphilus himself). For Miss Jane Austen at thirty-five had one of the most critically commonsensical minds of her time; and she was also a person of deep religious feeling. It is in defence of her feelings, rather than of my own, that this essay is written. For she was close enough to what I take to have been Hume's position to have agreed with it once she had understood it; I, on the other hand, am not. To claim that a meeting of minds between the Rector of Steventon' s daughter and the Scottish apostle of infidelity is even conceivable may seem ridiculous. Hume himself would never have thought it likely. But even if my estimate is unduly optimistic, it serves at least to underline the importance of Tweyman' s constructive commentary. For without Tweyman 's commentary, Jane Austen's reaction to the Dialogues would have been one of morally indignant, and quite categorical rejection at any age. With it to guide her, she would have been appreciative and sympathetic, even if she was still ultimately dissatisfied. (I hope to persuade those who admire them both, as I do, that David Hume and Jane Austen belonged to the same 'invisible Church'). To read the Dialogues is still relatively easy. We only have to know that we are listening to a conversation between educated men in a society where everyone professes (at least) to believe that the world they were born into was created by a God who is all-knowing and all-powerful, infinitely wise, infinitely just and good, and, above all, infinitely loving towards the only creatures in his world who are capable of recognizing what he has done for them. The Rector of Steventon's daughter would have had difficulty in appreciating the discussion properly, because she had some further, more specific, beliefs about God's relations with his beloved children. We have some (smaller) difficulties now, because we are far from believing so much (and many of us believe nothing of the sort at all). But to grasp what we are supposed to believe is not difficult; and once we know that, the conversation itself is easy to follow. Only once does it seem to get out of hand to the point of actual implausibility; and there are only three things about it that are genuinely puzzling. The conversation does not reach any conclusion — at least none that convinces us. We are not convinced because the obvious solution for the most pervasive of our three puzzles is the assumption that Philo, the speaker who appears to state an agreed conclusion, is only pretending. That he should pretend is quite right and proper for a modern philosophical dialogue. Augustine may have written straightforward expository (or 'dogmatic') dialogues; and Berkeley, following in the wake of some of Augustine's medieval imitators, may have managed to raise this form into the best imitation of a live discussion that has been achieved for the dogmatic dialogue in English. But the religious doctrine of these 'dogmatists' was orthodox. One glance at the fortunes of the great Italian dialogue writers — Bruno, Galileo, Campanella — is enough to teach us that it was not prudent to let one's own doctrine win openly when one was teaching against the Church. Jane Austen would certainly have adopted the hypothesis that Philo's professions of religious feeling are hypocritical throughout the discussion. She would have assumed that Cleanthes... (shrink)

This is the first article in a two-part series describing subject and family perspectives from the central thalamic deep brain stimulation for the treatment of traumatic brain injury using the Medtronic PC + S first-in-human invasive neurological device trial to achieve cognitive restoration in moderate to severe traumatic brain injury, with subjects who were deemed capable of providing voluntary informed consent. In this article, we report on interviews conducted prior to surgery wherein we asked participants about their experiences recovering from (...) brain injury and their perspectives on study enrollment and participation. We asked how risks and benefits were weighed, what their expectations and fears were, and how decisions were reached about trial participation. We found that informed consent and enrollment decisions are fraught. Subjects and families were often split, with subjects more focused on putative benefits and families concerned about incremental risk. Both subjects and families viewed brain injury as disruptive to personal identity and relationships. As decisions were made about study enrollment, families struggled with recognizing the re-emergent agency of subjects and ceding decision-making authority to subjects who had previously been dependent upon them for protection and guidance. Subjects and family members reported a hope for the relief of cognitive disabilities, improved quality of life, normalization of interpersonal interactions, and a return to work or school as reasons for study participation, along with altruism and a desire to advance science. Despite these aspirations, both subjects and families appreciated the risks of the intervention and did not suffer from a therapeutic misconception. A second essay to be published in the next issue of Cambridge Quarterly of Healthcare Ethics—Clinical Neuroethics will describe interviews conducted after surgery, the effects of cognitive restoration for subjects, families, and challenges presented to the social structures they will call upon to support them through recovery. This subsequent article will be available online prior to its formal publication in October 2023. (shrink)

This essay is a critique of Derrida's ethical works, using Camus's last novella The Fall as a critical sounding board. It argues that a danger pertains to any such highly self-reflexive position as Derrida's: a danger that Camus identified in The Fall, and staged in his character, Jean-Baptiste Clamence. Clamence is a successful Parisian lawyer, on top of his personal and professional life, whose equanimity is troubled after he is the unwitting passer-by as a young woman suicides one (...) night on the Seine. After this time, he comes to consider all his former virtues as concealed vices. He also becomes acutely aware of what he terms the 'duplicity' of human beings as such. In Part I, I consider how Clamence's fall from innocence can be read 'with' Derrida's deconstructive registration of a 'double bind' pertaining to our standing vis-á-vis what he terms 'logocentrism'. I argue that Derrida's is a post-lapsarian philosophy, which challenges all attempts to construct closed conceptual systems that would confer an epistemic and/or moral certitude upon their expositors. In Part II, I then enter into a more detailed exposition of Derrida's 'later' works broaching friendship, the invitation, the gift, and other 'matters moral'. I read these texts in the light of an examination of what is involved, for Camus, in being a 'judge-penitent' (what Clamence in The Fall calls his profession). I suggest that Derrida runs the risk of a certain 'puritanism of difference' in his moral reflections, which defend the aporetic formulation: 'tout autre est tout autre' [every other is every bit other] (The Gift of Death). The problem is that, while Derrida's position allows one (everywhere) to say what one is against, it problematizes any affirmative moral stance. Like Clamence, who assumes the right to judge everyone else because he has subjected himself to a severe penitence, I suggest that we have a right to wonder whether Derrida's deconstructive critique of metaphysics can validate only endless repetitions of itself. Key Words: Camus • Derrida • ethics • The Fall • innocence • 'puritanism of difference. (shrink)

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation (...) from his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below. (shrink)

Nowhere do things flourish which are not a combination of inert elements, and nowhere can we perceive matter as other than that constant nourishment which thought directs, regulates, and controls, but on which it is dependent. In the autumn of 1798, Immanuel Kant published what was his final work, The Conflict of the Faculties. The latter comprises three essays, which ostensibly address the conflicts between the lower faculty of philosophy and the higher faculties of, respectively, theology, law, and (...) medicine. Each of the three essays was written for a different purpose and at a different time :2 the first, completed in 1794, deals with the relationship between.. (shrink)

ABSTRACTThe historical process underlying Darwin’s Origin of Species did not play a significant role in the early editions of the book, in spite of the particular inductivist scientific methodology it espoused. Darwin’s masterpiece did not adequately provide his sources or the historical perspective many contemporary critics expected. Later editions yielded the ‘Historical Sketch’ lacking in the earlier editions, but only under critical pressure. Notwithstanding the sources he provided, Darwin presented the Origin as an ‘abstract’ in order to avoid giving sources; (...) a compromise he acknowledged and undertook to set right in later editions, yet failed to provide throughout the six editions under his supervision. Darwin’s reluctance to publish the historical context of his theory and his sources, particularly sources which were also ‘precursors’, may be attributed as much to the matter of intellectual ownership as science, or even good literary practice. Of special concern to Darwin were issues of priority or originality over ‘descent with modification’ and especially over Natural Selection. Many later historians have argued that Darwin was unaware of the work of his precursors on Natural Selection. Darwin’s theory was an example of independent discovery, albeit along with such obscure precursors as Matthew or Wells, who were unknown to Darwin until after the publication of the Origin. Both Matthew and Wells had a medical education, like James Hutton or Erasmus Darwin earlier in the eighteenth century, or even Charles Darwin. Evolutionary theory, at least in Britain was a product largely of the medical evolutionists rather than the natural historians which ‘history’ has chosen to select for the focus of attention; and among the medical evolutionists the figure of John Hunter stands out as theorist, experimentalist and teacher: the medical evolutionists were predominantly the product of Hunter’s legacy or of the medical profession and particularly the Scottish Universities. Much recent Darwin scholarship has focused on the private Notebooks, to establish Darwin’s discovery of Natural Selection around 1837–1838 and demonstrate Darwin’s ignorance of his precursors; requiring an explicit acknowledgement by Darwin as the legitimate substantiation of any claim to prior influence. The precursors have been categorized as uniformly obscure or irrelevant to the science of evolution which may be defined exclusively as ‘Darwinian’. The inclination to acknowledge influences, however was not something Darwin was gratuitously given to doing, especially on matters of priority. The Notebooks are not Darwin’s private thoughts; from an early stage he considered them incipient public documents and later sought to protect them as proof of his originality. William C. Wells was not an obscure thinker, but a celebrated scientist whom Herschel, Darwin’s guide to scientific methodology, had recommended as providing a model of scientific method. Darwin discovered Wells through Herschel, and quickly acquired a copy of Wells’ recommended work, no later than 1831, and held it thereafter in his library at Down House. This book, the 1818 edition of Wells’ Two Essays contains a third essay, Wells’ account of Natural Selection. Later, in the Descent of Man Darwin acknowledged his separate discovery of the correlation of colour and disease immunity in man, also earlier recounted by Wells. (shrink)

Virginia Held, best known for her landmark book Rights and Goods, has made an indelible mark on the fields of ethics, feminist philosophy, and social and political thought. Her impact on a generation of feminist thinkers is unrivaled and she has been at the forfront of discussions about the way in which an ethic of care can affect social and political matters. These new essays by leading contemporary philosophers range over all of these areas. While each stands alone, the (...) essays together demonstrate the lasting value of Held's work to the field. Includes an afterword by Held. (shrink)

It was his friend Ralph Waldo Emerson, another inveterate journal keeper, who urged Thoreau to keep a record of his thoughts and observations. Begun in 1837, Thoreau’s journal spans a period of twenty-five years and runs to more than two million words, coming to a halt only in 1861, shortly before the author’s death. The handwritten journal had somewhat humble origins, but as it grew in scope and ambition it came to function as a record of Thoreau’s interior life as (...) well as the source for his books and essays. Indeed, it became the central concern of the author’s literary life. Critics now recognize Thoreau’s journal as an important artistic achievement in its own right. Making selections from the entirety of the journal, Cramer presents all aspects of Thoreau: writer, thinker, naturalist, social reformer, neighbor, friend. No other single-volume edition offers such a full picture of Thoreau’s life and work. Cramer’s annotations add to the reader’s enjoyment and understanding. He provides notes on the biographical, historical, and geographical contexts of Thoreau’s life. The relation between Journal passages and the texts of works published in the author’s lifetime receive special emphasis. A companion to _Walden: A Fully Annotated Edition_, this gift edition of the Journal will be dipped into and treasured, and it makes a welcome addition to any book lover’s library. (shrink)

It was his friend Ralph Waldo Emerson, another inveterate journal keeper, who urged Thoreau to keep a record of his thoughts and observations. Begun in 1837, Thoreau’s journal spans a period of twenty-five years and runs to more than two million words, coming to a halt only in 1861, shortly before the author’s death. The handwritten journal had somewhat humble origins, but as it grew in scope and ambition it came to function as a record of Thoreau’s interior life as (...) well as the source for his books and essays. Indeed, it became the central concern of the author’s literary life. Critics now recognize Thoreau’s journal as an important artistic achievement in its own right. Making selections from the entirety of the journal, Cramer presents all aspects of Thoreau: writer, thinker, naturalist, social reformer, neighbor, friend. No other single-volume edition offers such a full picture of Thoreau’s life and work. Cramer’s annotations add to the reader’s enjoyment and understanding. He provides notes on the biographical, historical, and geographical contexts of Thoreau’s life. The relation between Journal passages and the texts of works published in the author’s lifetime receive special emphasis. A companion to _Walden: A Fully Annotated Edition_, this gift edition of the Journal will be dipped into and treasured, and it makes a welcome addition to any book lover’s library. (shrink)

G. E. Moore was a central figure in twentieth-century philosophy. Along with Russell and Wittgenstein, he pioneered analytic philosophy, and his Principia Ethica shaped the contours of twentieth-century ethics. Indeed, until the publication of Rawls's A Theory of Justice, no single book in moral philosophy was to equal Principia's influence. Unfortunately, however, Principia Ethica has so dominated critical discussions of Moore's work that even experts on his moral philosophy have tended to ignore his Ethics, which he published eight years (...) later. But Ethics is Moore's only other book on moral philosophy, and one of only a handful of post-Principia publications dealing with ethics. Its detailed discussions of utilitarianism, free will, and the objectivity of moral judgements find no real counterpart in Principia while its account of right and wrong and of the nature of intrinsic value deepen our understanding of his moral philosophy. The republication of Ethics thus rounds out our understanding of Moore's ethical thought. But the book's value goes beyond its historical or scholarly interest. A short but philosophically rich text, Ethics stands independent of Principia and repays careful study in its own right. By raising a number of fundamental questions in ethics, questions that remain live today, by proffering clear, credible, and often innovative answers to them, and by doing so with a philosophical skill that is still impressive, Moore's short book is a minor classic. Almost a century after its original publication, it still amply rewards those who read it.This new edition of Moore's Ethics includes his essay 'The Nature of Moral Philosophy' as well as editorial notes, an introduction, and a guide to further reading. (shrink)

This essay reconsiders the haphazard arrangement of Donne's first printed collection of poems in relation to an elegy written for Donne by one Thomas Browne, published for the first and only time in that same volume. The earliest recorded response we have to Donne's verse considered as a complete body of work, Browne's elegy thematizes the readerly tendency to interpret this textual body in the light of "subjective" notions of "proper" desire. Through a close reading of Browne's poem, (...) in which I contextualize his key image of the bad reader as a "circumciser" within the theological and medical discourses of the period, I argue that Browne's response to Donne's text is at once instructively prescient -- providing a useful allegory of reading for the contemporary critic -- and also helpful in situating Donne at the cusp of a historical transformation between "medieval" and "early modern" conceptions of the sexual and the spiritual.IThe structural organization of John Donne's first printed book of poetry makes no obvious sense. Published posthumously in 1633, the collection eschews even the basic generic distinctions so familiar to Donne's modern audience: "Songs and Sonnets," "Satires," "Verse Letters," and "Divine Poems" . Several readers over the years have commented upon the disorderly configuration of Donne's 1633 text; and most recently, Leah Marcus has provided a detailed analysis of the collection in Unediting The Renaissance, itself an ambitious attempt to combine the traditional skills of textual bibliography with the insights of poststructuralist theory. Among other things, Marcus asserts that the very layout and internal composition of Donne's first collection constitute graphic evidence for the ultimate impossibility of "fixing" him within any reductively binary scheme. Indeed, for Marcus, the version of Donne projected by the 1633 Poems confirms not only her deconstructivist principles but also her aesthetic taste more generally. In her words, the collection is a striking melange of sacred and secular that refuses to separate John Donne from Jack. Verse epistles . . . jostle up against scurrilous amatory verses and evocations of human decay in a rough gallimaufry of mingled passions that projects a John Donne very like the Donne most of us value, a Donne for whom the sacred and secular are so closely entwined as to be inseparable.This reading would probably not be considered controversial in most quarters, and I too am in agreement with the main points of Marcus's argument, insofar as they go. However, I want to pause for a moment over one of the more undeveloped aspects of Marcus's interpretation, encoded in her use of the phrase "most of us." As the context makes clear, by "most of us" Marcus means a rather small band of nonreligious or liberal, professionalized, twentieth-century readers. Of course, Marcus is perfectly justified in assuming that her audience will be drawn from exactly this narrow demographic , but at the same time it must also be admitted that "most of us" therefore only refers to the tiniest portion of Donne's actual historical readership. Given that Marcus is performing an analysis of Donne's 1633 Poems, then, one obvious question emerges from her account: How might readers in 1633 have responded to the collection's juxtaposition of the religious with the secular? What might its disorganization have signified for them?One possible answer to this question has been suggested by Arthur F. Marotti, perhaps the most influential of Donne's textualist critics. In Manuscript, Print, and the English Renaissance Lyric, Marotti suggests, against Marcus, that Donne's first editors deliberately delay the readerly encounter with Donne's more earthly lyrics by burying them toward the back of the book. In other words, according to Marotti, the appearance of random disorganization that Marcus values is actually an intentional blind -- the result of a conscious attempt to "protect the reputation of Dean Donne from moral taint."However, this ingenious theory is not without flaws. For example, we are required to accept Marotti's contention. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Adoro Te Devote of St. Thomas AquinasSr. Lucia Marie of the Visitation Langford O.P.The Adoro te devote is perhaps the most well-beloved Eucharistic hymn of our time, popularly attributed to St. Thomas Aquinas, the medieval Dominican friar known for his theological treatises as well as his Eucharistic hymnography. Unlike most of Aquinas's work, the poem reveals the intensely personal side of his faith. Rich in theological content (...) and inspiring deep Eucharistic devotion, this poem amply repays a closer investigation. We will look first at the questions of authorship, background, and structure before moving on to a discussion of the text itself.The "Disputed Question" of AuthorshipWhile the Adoro te has traditionally been attributed to St. Thomas Aquinas, the Thomistic authorship of the text was contested in the twentieth century, with two main objections being raised. The first claims that the content of the poem contradicts Thomas's own teachings and cannot have flowed from the same pen. The second objection is historical, claiming that a lack of evidence makes Thomistic authorship improbable.The first objection, claiming that the content of the poem is irreconcilable with Thomistic authorship, takes objection to a line in the poem which seems to claim that sense perception is unreliable and inaccurate, at least with regard to the Eucharist. The text of the Adoro te uses the word fallitur (deceived) with reference to the senses: "Visus, tactus, gustus in te fallitur"—"Sight, touch, taste in you are deceived." Some scholars have claimed that this line contradicts the teaching of Aquinas that the senses are [End Page 365] infallible in regard to their proper sensibles.1 Robert Wielockx addresses this charge in his study of the Adoro te, arguing that "the text does not contradict the continuous teaching of Thomas according to which the senses are not wrong when they judge their proper object, which as far as the Eucharist is concerned, is only the sacramental species."2 The substantial presence of Christ in the Eucharist is a mystery which is not knowable by the senses, and as Paul Murray, O.P., observes: "That's surely the point St. Thomas is making."3 However, the Thomistic insistence that all knowledge comes through our senses is not missing even here. While sight, touch, and taste fall short of comprehending the truth before them, the Adoro te itself proclaims that it is another sense—hearing—which reveals the mystery: "sed auditu solo tute creditur"—"but by hearing alone it is safely believed."4Thus there is no solid objection to Thomistic authorship based on the poem's content. But what about the historical evidence? Dom André Wilmart published a comprehensive study of the manuscript tradition in 1929. Noting that there were no extant copies of the text dating to Aquinas's lifetime and that the biography of Aquinas written by his own Dominican confrere and contemporary, William of Tocco, made no mention of the Adoro te, he considered it most probable that the poem was authored at a later date and ascribed to Aquinas.5However, Dom Wilmart did not know that he was not working with William of Tocco's final version of his work. The publication of a critical edition of William of Tocco's Ystoria Sancti Thome de Aquino in 1996 demonstrated that Tocco published his work in four successive redactions. The fourth and final version of his text (unknown to Dom Wilmart) was finished just before his death in 1323, and in this final version, Tocco includes the text of the Adoro te, attributing its authorship to St. Thomas.6 [End Page 366] Furthermore, Wielockx published a study of the Adoro te in 1998; his investigation of the manuscript tradition found that, of fifty-one sources, forty-four explicitly cite St. Thomas as their author. The remaining sources simply lacked any attribution. We may thus conclude with Wielockx: "External evidence, which must be given priority in sound criticism, wholly favors Thomas Aquinas's authorship of the poem."7BackgroundWith the attribution of the poem to St. Thomas Aquinas on secure footing, we now move to the background of the poem. Unlike Aquinas's Eucharistic hymns such as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Abstract General Ideas in Hume George S. Pappas Hume followed Berkeley in rejecting abstract general ideas; that is, both of these philosophers rejected the view that one could engage in the operation or activity ofabstraction — a kind ofmental separation ofentities that are inseparable in reality —as well as the view that the alleged products of such an activity — ideas which are intrinsically general — really exist. What (...) has not been clear to commentators on either of these two philosophers has been why they each were so opposed to abstraction and abstract general ideas. The provision of an answer to this question is the main thrust of this paper. The nature of the question should be clarified at the outset. I am notasking the psychological question, whatwere BerkeleyandHume's actual intentions when they were moved to reject abstraction and abstract general ideas. Though I regard this question as one of great interest and importance, I am presently aiming to answer a somewhat different one, viz., what role, what philosophical role, does the rejection of abstraction and abstract general ideas play in the philosophies ofBerkeley and Hume? The answer to this latter question is apt to have some bearing on the right way to answer the first question; but, for present purposes, it is important to keep the two questions distinct. The maincontentionofthe paperis thattherejectionofabstraction and abstract general ideas lies at the very heart of the philosophy of Berkeley, and that pretty much the same may be said for Hume. Berkeley's defense ofa kind ofidealism stands or falls with the success ofhis attack on abstract general ideas, and Hume's critique ofinfinite divisibility in matters pertaining to space and time, along with his destructive critique ofvarious metaphysical notions, crucially depends on the successful denial of abstract general ideas. I. Berkeleyan Idealism Berkeley's most extended treatment of abstract ideas comes in the introduction to the Principles ofHuman Knowledge, first published in 1710. However, since he does not take up the topic in any systematic way later in the same book, nor in the Three Dialogues Between Hylas and Phihnous (1713), it has seemed to many commentators that Berkeley's attack on abstract ideas is a local matter, one having only to do with issues concerning language use and a somewhat isolated criticism of Locke. That this is the wrong way to look at things is Volume XV Number 2 339 GEORGE S. PAPPAS perhaps best indicated by a couple of passages from the Principles. In section 5 ofthat work Berkeley says: If we thoroughly examine this tenet it will, perhaps, be found at bottom to depend on the doctrine of abstract ideas. For can there be a nicer strain of abstraction than to distinguish the existence of sensible objects from there being perceived, so as to conceive them existing unperceived? The tenet Berkeley is here referring to is to the effect that sensible objects such as trees and chairs exist independently ofperception. This allusion is made clear when we notice that in the immediately preceding passage Berkeley says: It is indeed an opinion strangely prevailing among men that houses, mountains, rivers, and in a word all sensible objects, have an existence, natural or real, distinct from their being perceived by the understanding. But, with how great an assurance and acquiescence soever this Principle may be entertained... whoever shall find in his heart to call it in question may... perceive it to involve a manifest contradiction. For, what are the aforementioned objects but the things we perceive by sense? and what do we perceive besides our own ideas or sensations? and is it not plainly repugnant that any one of these, or any combination of them, should exist unperceived? (Principles 4) The claim that sensible objects exist independently ofall perception is the very denial of Berkeley's esse is percipi thesis regarding such objects. For the latter thesis holds that each sensible object is such that it exists if and only if it is perceived. So, in the first-quoted passage from Principles 5, Berkeley is saying that the denial of esse is percipi 'depends on' the doctrine of abstract ideas. Surely, the esse is percipi thesis is part ofthe core ofBerkeley's... (shrink)

Animal rights campaigners and scientists working with animals completed anonymous questionnaires in which they were asked to report, not only on their own beliefs and ideas about the animal experimentation debate, but also on those they perceived the opposing group to hold. Both groups of participants tended to have a negative and somewhat extreme view of the other. But they did have an accurate grasp of the arguments and defenses commonly offered on both sides of the debate, and showed some (...) agreement concerning the relative capacity of different animals to suffer. Differences appeared in the level of the phylogenetic hierarchy at which participants thought animals might be capable of suffering, and in their decision-making processes regarding the admissibility of animal experiments. (shrink)

In the present essay an attempt will be made at quickly reconstructing the debate between Dorion Cairns and the Munich phenomenologist Maximilian Beck, which bears on Husserl’s last published work, i.e., the Crisis of European Sciences and Transcendental Phenomenology. What is at stake is the value of Husserl’s phenomenology, with a focus upon the concepts of reason and rationality. As will be argued, the discussion between the two concerns the distinction, and relevant articulation, between what can be called “transcendental” (...) and “ontological” rationality respectively. In so doing, this paper aims at both interpreting a crucial moment in the history of 20th century phenomenology and bringing attention back to the life and work of Max Beck. (shrink)

:Recent years have seen an increase of interest on the part of human rights theorists in the “supply-side” of human rights, i.e., in the duties or obligations correlative to human rights. Nevertheless, faced with the practically urgent and seemingly simple question of who owes the duties related to international human rights, few human rights theorists provide an elaborate answer. While some make a point of fitting the human rights practice and hence regard states as the sole human rights duty-bearers (...) merely by referring to that practice, others criticize the “state-centric” approach to human rights duty-bearers and expand the scope of the latter to include any international institution beyond the state and even private actors. Curiously, however, even those more expansive accounts of human rights duty-bearers are usually very evasive about why it should be so and especially how it should work. The time has come to broach anew the issue of the bearers of human rights duties, and responsibilities of international institutions in human rights theory, addressing two challenges: focusing on relational and directed human rights duties specifically and not on duties of global justice in general, thereby distinguishing between human rights duty-bearers and other bearers of responsibilities for human rights, on the one hand, and accounting for and justifying the point of international human rights law and practice in this respect, thereby also securing internal arguments for reform, on the other. The essay’s argument is four-pronged. It starts with a few reminders about the relational nature of human rights and the relationship between human rights and duties and what this means for the specification of human rights duties. It then focuses more specifically on the identification of human rights duty-bearers, i.e., states and international institutions of jurisdiction like the European Union, and the allocation of human rights duties to them. The third section of the article is devoted to the concurrent moral responsibilities for human rights that are incurred by other various responsibility-bearers outside institutions of jurisdiction. In the final section, the essay considers the revolution potential of the EU’s fast-developing human rights’ duties, and discusses the normative implications of the development of universal international institutions’ human rights duties stricto sensu for international law and politics more generally. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Birth-Mark: Unsettling the Wilderness in American Literary HistoryC. S. SchreinerThe Birth-Mark: Unsettling the Wilderness in American Literary History, by Susan Howe; 189 pp. Middletown: Wesleyan University Press, 1993, $40.00.In the interview which concludes The Birth-Mark, Susan Howe says that during childhood her Boston household was visited by such pioneers of American studies as Perry Miller and F. O. Matthiessen. Career-wise, however, Howe’s path to academia has be (...) en indirect: born in 1937, she gained her first professorship in 1989 in the Poetics Program at SUNY Buffalo. A visual artist by [End Page 192] training, Howe veered into a genre of writing in the 1970s that seeks to “install certain narrativ es somewhere between history, mystic speech, and poetry” (p. 44). Her poetry includes Secret History of the Dividing Line (1978), Pythagorean Silence (1982), and Defenestration of Prague (1983). In 1985 she published an original criti cal study, My Emily Dickinson, which criticized editors for having homogenized the format and typography of Dickinson’s manuscripts, taming the unruly rigor of poems which were originally “multifaceted visual and verbal productions.” Howe also argu ed that the Amherst poet should not be viewed as a victim of repression, as many feminists see her, but as a refuser of congregations, a powerful will-to-reclusion in art—“One unchosen American women alone at home and choosing.” Emily’s home was a nomadi c space between orthodoxies.An understanding of Howe’s kinship with Dickinson’s poetic daring is helpful for reading The Birth-Mark, whose prose is poetic, and whose protagonist, Mary Rowlandson, shared Dickinson’s “stubborn strength in isolation.” The captivity narratives ar e portals into the antinomian controversy of New England, which was “the primordial struggle of North American literary expression” (p. 4). It is not Gilbert and Gubar to whom Howe has recourse in her analyses of hostage consciousness. She cites the philo sophy of Emmanuel Lévinas. As with feminism, which she extends rather than follows, Howe takes up the philosophy of alterity without its orthodoxy. (In the face of frontier brutality she cannot discern the “Father of orphans and defender of widows” of Psalm 68.) Encounters in the wilderness of tribes, woods, and waters aroused an immodest otherness within the American literary unconscious, unsettling the styles of expression and selfhood which the puritan colonies were trying to instantiate. The literary awakening of Dickinson, Rowlandson, Melville, Hawthorne, and other writers was not due to the Great Awakening urged by churches, but to the traumatic transfer of sovereignty from God to frontier, a permanent revolution to which these writers’ imaginations would remain exposed.Howe’s new foray into criticism tracks the textual marginalia which yield the visionary utterances of Rowlandson and Hutchinson. A self-confessed “library cormorant,” Howe gathers a quiet spectacle of testimonies, those of separated loved ones dragged int o “Removes” by tribes of Native Americans. These resonant texts from New England village libraries and major collections at Harvard, are melded together by Howe’s intuitive, almost telepathic sensibility into a kind of spiritual drama informed by critical acumen. Howe takes her bearings from Patricia Caldwell’s essay “The Antinomian Language Controversy,” which appeared in the Harvard Theological Review in 1976. The dislocating frontier experience for Hutchinson, Rowlandson, and others forced the c reation of a different language. It is with this antinomian language that Howe develops a sensitive rapport, echoing its myriad haunting voices in her commentaries. What Gadamer calls effective history broods and rustles inside her [End Page 193] writing with lyrical unease. Indeed, Howe’s work is a creative example of the fusion of horizons which Gadamer says epitomizes the hermeneutic event. Howe’s personal method as revealed in her interview: “Not to explain the work, not to trans late it, but to meet the work with writing... Not just to write a tribute, but to meet her [Dickinson] in the tribute. And that’s a kind of fusion” (p. 158). Some scholars will find her method obscure. But it’s hard to find anything negative at this height. Howe would have us meet others at their most exposed, delicate point, where their vulnerability... (shrink)

This collection of fourteen articles, essays, and lectures produced by Fr. Congar between the years 1937 and 1962 illustrates the intellectual fecundity of a theologian who, with scholarly sympathy, examines the biblical, patristic, and liturgical sources of theological reflection and mediates their meaning in such a manner as to vivify the pastoral and eschatological self-understanding of the Christian community. The first part of the collection comprises four essays which treat of the theological significance of the Bible. Although Congar (...) here develops theses which are, for the most part, neither original nor conclusive, he acknowledges the Holy Scriptures as the primary source of divine revelation--an acknowledgement pregnant with consequences which, unfortunately, are not critically pursued. Part Two contains essays dealing with such themes as the experience of divine revelation, the role of the incarnate Word as the revealer of God, the integrity of Creation, Redemption, and Consummation, the interdependence of pneumatology and ecclesiology, the eucharist and the fulfilment of the world, etc. and entitled The Mysteries of God: Father, Son and Holy Spirit. Without being systematic, the work is theologically illuminating and philosophically suggestive, especially in relation to the question of the grounds and limits of a Christian philosophy. All but two of the chapters have been published previously. No index is included.--J. M. S. (shrink)

This book comprises eleven essays in the philosophy of action, six of which were previously published. The book has a fairly extensive index. The essays are arranged in four groups. The first group contains two essays on the individuation of action. The second contains four essays that argue for the view that what makes an event an action is, not how it is caused, but that it is, or begins with, a volition, “an intrinsically actional” (...) mental event. The third contains three essays that defend the view that free and responsible action is incompatible with determinism, largely by arguing for a noncausal account of reasons explanation of action. The final group contains two essays on intention formation and rationality; the first argues that it is sometimes rational to form intentions that are inconsistent with each other or with one’s beliefs; the second argues that an important sort of practical reasoning has as its conclusion the forming of an intention for action, rather than the adopting of a belief as to what one should do. (shrink)

Max Horkheimer is well known as the director of the Frankfurt Institute for Social Research and as a sometime collaborator with Theodor Adorno, especially on their classic Dialectic of Enlightenment. These essays reveal another side of Horkheimer, focusing on his remarkable contributions to critical theory in the 1930s.Included are Horkheimer's inaugural address as director of the Institute, in which he outlines the interdisciplinary research program that would dominate the initial phase of the Frankfurt School, his first full monograph, (...) and a number of other pieces published in the 1930s. The essays, most of which have not appeared in English before, are surprisingly relevant to current post-philosophy debates, notably "On the Problem of Truth," with its focus on pragmatism, and "The Rationalism Debate in Current Philosophy," a sustained critique of the post-Cartesian philosophy of consciousness. Horkheimer's 1933 critique of Kantian ethics, "Materialism and Morality," is of particular interest given the current reaction to the neo-Kantian aspect of Habermas's work. There are also essays relevant to the current foundations debate within Continental philosophy, and the rationality/relativism question is sustained throughout the volume. (shrink)

The concept of nature plays a decisive role in Adorno’s philosophy, and must be understood as part of a conceptual constellation that also includes the notions of myth, enlightenment, dialectics, fate, reason, conceptuality, knowledge, freedom, society, and history. In the first section we provide a general analysis of the role played by the concept of nature in Adorno’s philosophy. In doing so, we mostly concentrate on his works The Idea of Natural History, Dialectic of Enlightenment, Minima Moralia, Negative Dialectics, (...) and also his 1964-65 lectures on History and Freedom. In the second section, then, we turn to Adorno’s aesthetics, which must not be merely understood as a philosophy of art but rather as a general theory of the aesthetic that also includes nature among its objects. On this basis, and by referring not only to Adorno’s posthumously published Aesthetic Theory but also to his 1958-59 lecture course on Aesthetics, we explain why, in our view, the question concerning natural beauty holds a special place in the whole of his aesthetics, and why this question is essential indeed in order to properly understand the general meaning, philosophical range and ultimate goals of his philosophical project. (shrink)

This paper critically engages Philip Mirowki's essay, "The scientific dimensions of social knowledge and their distant echoes in 20th-century American philosophy of science." It argues that although the cold war context of anti-democratic elitism best suited for making decisions about engaging in nuclear war may seem to be politically and ideologically motivated, in fact we need to carefully consider the arguments underlying the new rational choice based political philosophies of the post-WWII era typified by Arrow's impossibility theorem. A distrust of (...) democratic decision-making principles may be developed by social scientists whose leanings may be toward the left or right side of the spectrum of political practices. (shrink)