This chapter contains sections titled: Dante and Existentialism Jean‐Paul Sartre and Hell Dante's Ten Existential Lessons Individualism and Community Personal Strategies.

In lieu of an abstract, here is a brief excerpt of the content:Dante’s Poetics Of The Sacred WordSteven BotterillI hope to make a case that, until recently, would probably have seemed self-evident, or at least uncontroversial: namely, that a positive valuation of the power of human language to express and to represent informs the textual practice of Dante’s Commedia—or, to put it more bluntly, that Dante believes in words.1The language of poetry was, for Dante, the supremely demanding and supremely rewarding (...) form of human eloquence. This much is made clear in his significantly titled treatise De vulgari eloquentia (On Eloquence in the Vernacular), which, having set out—and failed—to identify a truly noble form of the Italian vernacular, takes it as axiomatic that if (or rather when) such a language is brought into being, it will primarily be used by poets in the composition of their poetry. Despite the many subsequent developments in his thought, and despite, above all, the drastic and often underestimated effects of his shift after 1300 from lyric to narrative-dramatic forms and techniques, nothing in Dante’s later works gives us any reason to think that he ever modified this view.Within the narrative of the Commedia, the overriding importance of eloquence is amply demonstrated by the fact that, without it, Dante-character’s journey would never have taken place. It is to poetic eloquence that Dante owes both his visionary experience and his eventual salvation. Confirmation of this initially startling proposition occurs in canto II of Inferno, where Virgil describes his commission from Beatrice to come to the aid of her errant admirer, and explains that he is charged to do so through the use of his “parola ornata” (“ornamented [End Page 154] word”: Inf., II. 67)—not merely a word plucked from the dictionary, however potently charged with salvific meaning, but a word (or, by synecdoche, a language) that is perceptibly embellished with the technical and rhetorical devices recognized by its hearers as constituting eloquence. Virgil, then, is not just to speak the saving word but to pay attention, as both his historical identity and his creator’s agenda require, to the aesthetic and intellectual implications of its usage; and the efficacy of his speech is manifestly dependent on the elegance and persuasiveness of its formulation.Dante-character’s initial recognition of his mysterious interlocutor in Inferno I as “quella fonte / che spandi di parlar sì largo fiume” (“that spring / that pours forth so rich a stream of speech”: Inf., I. 79–80) is thus retrospectively justified: this is the immediately relevant aspect of Virgil’s historical personality, the one that best equips him to become Dante-character’s guide and mentor in Hell and (most of) Purgatory. Likewise, it is under the auspices of another renowned possessor of eloquence, Bernard of Clairvaux, that Dante’s journey reaches its appointed end. The narrative movement through the Commedia is, among much else, a movement from one “parola ornata” to another, from Virgil’s eloquence to Bernard’s, from the pagan word that offers worldly renown to the Christian word that both transfigures the believer in this life and promises bliss in the life to come. The former, however, grounds the process that leads to the latter; and at both ends of the journey the functional significance of the word and its usage remains paramount.We need, however, to be careful at this point, lest we begin too quickly to entertain the notion that the centrality of eloquence in Dante’s thought immediately justifies the conclusion that he accepted the intrinsic validity of poetic language, or, more controversial still, its supremacy over other forms of eloquent discourse. Firstly, Virgil’s is not the only word in the poem distinguished as “ornata.” The epithet recurs in the bolgia of the seducers, as part of the tale of Jason, who “con segni e con parole ornate” (“with signs and with ornamented words”: Inf., XVIII. 91) led Hypsipyle astray and earned himself damnation. Clearly, Jason’s “parole ornate” are morally quite different from Virgil’s: instead of saving they betray, instead of embodying the truth they act as a vehicle of deceit. Their ornamental quality is specious, employed to conceal their... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Mismapping the Underworld: Daring and Error in Dante’s ‘Comedy’Edward Donald KennedyMismapping the Underworld: Daring and Error in Dante’s ‘Comedy,’ by John Kleiner; 182 pp. Stanford: Stanford University Press, 1994, $32.50.Critics once emphasized the unity and apparent perfection of Dante’s Divine Comedy. In Mismapping the Underworld, John Kleiner emphasizes instead the imperfections, the inconsistencies, and inaccuracies in Dante’s work both to give a more accurate assessment of Dante’s artistry (...) and, as he remarks, to help readers “learn to enjoy” the imperfections (p. 2).The five chapters of the book are devoted to various cruces in the Vita nuova and the Comedy. The first chapter considers numerology in the Vita nuova: pointing out that scholars’ arguments for that work’s numerological symmetry have been flawed, Kleiner asks if Dante had as much “passion for order” as scholars have assumed. The second chapter, from which the title of the book is taken, considers earlier scholars’ attempts to draw accurate maps of Dante’s vision of Hell and inaccuracies and inconsistencies in that vision. Probably not many readers, for example, have realized that Satan, partially buried in the ice of Cocytus at the bottom of Hell, must be about 2,500 feet tall, if one calculates his height from the evidence Dante has given us, and even the part of his body extending above the ice must approximate “the height of the World Trade Center.” One must then ask how Dante, the narrator in the poem, is able to give such detailed descriptions of the tormented bodies of Cassius, Brutus, and Judas dangling from Satan’s mouth: “at their height they should be as insignificant a sight as a trio of deluded tourists waving from the top of the Empire State Building” (p. 44). One of the reasons why scholars have attempted to map the underworld so precisely is, as Kleiner points out, that Dante makes it seem so much more concrete than the “dreamlike” surface of earth. (Here C. S. Lewis may have taken a clue from Dante, in his notion that the concrete belongs to Heaven, that things on earth are only “shadowlands.”)The third chapter concerns Dante’s reputation as a student of classical literature. Here, focusing on two cantos of the Inferno and the Purgatorio, Kleiner considers Dante’s inaccurate citations from Virgil, Statius, and other [End Page 415] classical writers and his intentional use of “masterful distortions” to create the effect he wanted. In the fourth chapter, Kleiner discusses Dante’s use of scientific material, such as his precise description of the duration of a lunar eclipse that no one on earth would have been able to gauge and his design of an impossible experiment concerning reflected light. The final chapter associates Dante’s interest in Geryon, the monster who appears in Canto 16 of the Inferno, with the medieval fascination with the grotesque. Moreover, the Ovidian allusions in this canto, Kleiner believes, make the encounter with Geryon a meditation on poetry and show “fiction’s proximity to fraud, its perilous attractiveness, and its susceptibility to perversion” (p. 132). Thus the Geryon episode represents Dante’s concern with the dangers inherent in reading, dangers depicted earlier in the Inferno in, for example, the Francesca and Paolo episode of Canto V, in which the lovers had been seduced into committing adultery after reading the story of Lancelot and Guinevere. In such episodes, Dante reminds us of the power a writer has over his readers and of his duty not to use that power irresponsibly.Because of the post-Renaissance emphasis on the importance of unity in a work of art and the later emphasis on realism, earlier critics naturally emphasized the unity and consistency of Dante’s work. A great work, they assumed, had to have these qualities. As Kleiner’s book reminds us, however, earlier writers did not always prize them as highly as modern critics do, and some inconsistencies and errors (some deliberate, some not) seem to have been acceptable. Inaccurate citations of classical works are due in part to the fact that medieval writers often knew earlier works only from commonplace books and in part to... (shrink)

_Dante’s Deadly Sins_ is a unique study of the moral philosophy behind Dante’s master work that considers the _Commedia_ as he intended, namely, as a practical guide to moral betterment. Focusing on _Inferno_ and _Purgatorio_, Belliotti examines the puzzles and paradoxes of Dante’s moral assumptions, his treatment of the 7 deadly sins, and how 10 of his most powerful moral lessons anticipate modern existentialism. Analyzes the moral philosophy underpinning one of the greatest works of world culture Summarizes the _Inferno_ and (...) _Purgatorio_, while underscoring their moral implications Explains and evaluates Dante’s understanding of the ‘Seven Deadly Sins’ and the ultimate role they play as the basis of human transgression. Provides a detailed discussion of the philosophical concepts of moral desert and the law of _contrapasso_, using character case studies within Dante’s work Connects the poem’s moral themes to our own contemporary condition. (shrink)

Marx’s Inferno reconstructs the major arguments of Karl Marx’s Capital and inaugurates a completely new reading of a seminal classic. Rather than simply a critique of classical political economy, William Roberts argues that Capital was primarily a careful engagement with the motives and aims of the workers’ movement. Understood in this light, Capital emerges as a profound work of political theory. Placing Marx against the background of nineteenth-century socialism, Roberts shows how Capital was ingeniously modeled on Dante’s Inferno, and how (...) Marx, playing the role of Virgil for the proletariat, introduced partisans of workers’ emancipation to the secret depths of the modern “social Hell.” In this manner, Marx revised republican ideas of freedom in response to the rise of capitalism. Combining research on Marx’s interlocutors, textual scholarship, and forays into recent debates, Roberts traces the continuities linking Marx’s theory of capitalism to the tradition of republican political thought. He immerses the reader in socialist debates about the nature of commerce, the experience of labor, the power of bosses and managers, and the possibilities of political organization. Roberts rescues those debates from the past, and shows how they speak to ever-renewed concerns about political life in today’s world. (shrink)

En 1587, le jeune Galilée est invité à donner Due lezioni all’Accademia Fiorentina circa la figura, sito e grandezza dell’Inferno di Dante (ci-après Leçons sur l’Enfer) [Galilei 1587] afin d’éclairer une vive controverse sur l’interprétation de la géographie de l’Enfer dantesque. Ce travail d’exégèse littéraire permet à Galilée de faire reconnaître ses talents mathématiques comme ses qualités pédagogiques. Mais la portée de ces leçons va bien au-delà, car on peut y voir apparaître plusieurs thèmes majeurs de l’œuvre ultérieure de Galilée (...) : au plan mathématique, l’importance de la géométrie d’inspiration archimédienne, au plan physique, l’étude des questions de similitude que pose la résistance des matériaux – sans oublier l’intérêt constant du scientifique pour la langue et pour la culture littéraire. (shrink)

This chapter contains sections titled: Dante's Mission The Journey Begins Vestibule (Ante‐Hell): The Indecisive Neutrals Upper Hell: Sins of Unrestrained Desire (the Wolf) River Styx, Walls of the City of Dis Lower Hell: Sins of Malice Leading to Violence (the Lion) Lower Hell: Sins of Malice Leading to Fraud (the Leopard) Dante's Existential Lessons in Hell.

We discuss the philosophical problems attendant to the justice of eternal punishments in Hell, particularly those portrayed in Dante’s Inferno. We conclude that, under Dante’s description, a unique version of the problem of Hell (and Heaven) can be posed.

It has often been argued that Thomas More’s Utopia is fundamentally concerned with outlining and theoretically justifying an ideal model of society and not with determining what would be the practical steps required for its establishment in the real world. Even if we were to accept this widespread interpretation, I consider that it is possible to recognize in the text indications that suggest two different and even opposing paths along which the political construction of Utopia could take place. The first, (...) and strictly speaking, the only one that the work is trying to put forward, is individual, elitist, coercive, and top-down. The second that, for its part, seems to be presented rather with the intention of preventing it from coming to fruition is hence, on the contrary, collective, popular, insurrectionary and from below. The present article tries, first, to show how and through what arguments these two models of action are presented in More’s work, taking note, in addition, of the important difficulties involved in the one which it intends to propose. After this, two historical realizations immediately after Utopia was published that illustrate them are developed. Finally, the present article tries to establish what relationship these two paths have with each other according to the work’s approach and, also, suggest what alternative relationship they could maintain if a different point of view was attempted. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dante's Inferno as Poetic Revelation of Prophetic TruthWilliam FrankeIDante's Inferno demands to be understood as the culmination of a series of visits to the underworld in ancient epic tradition. Dante's most direct precedent is Aeneas's journey to meet his father in Hades, as told by Virgil in Book VI of the Aeneid. Aeneas's voyage is modeled in turn on Odysseus's encounter with shades of Hades in Book (...) XI of the Odyssey. The epic quest in each of these models pivots, in various ways, on a visit to the world of the dead, a discensus ad inferas, as a climactic episode at its center. However, Dante makes this episode the general framework of the whole poem: from beginning to end, Dante's poem represents a voyage through the world beyond the grave. In this respect, Dante's Inferno, and indeed the whole Divine Comedy, is conceived primarily as an expansion of the ancient epic motif of the katabasis or "going down" of the protagonist to the underworld for a revelation of his destiny from beyond the threshold of death. Like Virgil, Dante interprets history prophetically, finding in it the essential pattern of things to come. But this projection now reaches to an eschatological future beyond history altogether—to an uncannily dynamic realization of eternity.The other world that is visited by Dante asserts itself unequivocally as ultimate reality. It is not just some shadowy world of bloodless phantasms like the shades that approach Odysseus, nor is it vacuous and inane, as are Virgil's "houses void and empty realms of Dis" ("domos Ditis vacuas et inania regna," Aeneid VI.269). This "other" world shows up as even more vivid than the world of ordinary sense-perception by virtue of a strikingly realistic, indeed surrealistic imagery. Dante heightens the [End Page 252] mythological topos of the visit to the underworld that he inherited from Virgil and Homer to a level where it represents the true essence of life on this earth transposed into a transcendent dimension. The world of the dead is not just one in a series of episodes befalling the protagonist but rather the final and definitive experience that reveals the true meaning of all possible experiences and thereby the meaning of the world as a whole. This is perhaps implicit and incipient in Homer and Virgil, since the journey to the underworld in each case encloses a revelation that illuminates the meaning of everything else and orients the protagonist's subsequent life in the world up to his death. But Dante's other world is more than the place for a miraculous glimpse into the true meaning of life: it is itself the vera vita, the "true life."Of course, Virgil had interpreted the whole of Roman history through the optics of prophecy, but his prophetic history was directly disclosed only in privileged moments within his poem. Dante's entire poetic narrative transpires in an eschatological dimension of existence; it thereby aspires to reveal beyond the limits of history a full-blown vision of eternity—that is, history as projected into the eternal worlds that it prefigures. While at the level of content Dante expands the theme of a visit to the underworld into an entire poem of epic proportions, more deeply, at the level of genre and in terms of its mode, Dante's whole poem is prophetic in character. History and narrative become in themselves prophetic rather than only forming a background for prophecy and framing it.The descent to the world of the dead—a symbol for the place of revelation of the meaning of life—is a thematic issue that runs as a thread through each of the epic works that have been mentioned so far. But in Dante it becomes the central axis of a poem that emerges in its entirety as religious revelation, and Dante greatly intensifies the self-conscious grasp of this function of poetry. His work represents an unprecedentedly powerful reflection on poetry as revelation in the mode of prophecy, for the customary literary means of poetic expression are now revealed in their intrinsically prophetic potency. From the Aeneid Dante could learn... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dante's Inferno as Poetic Revelation of Prophetic TruthWilliam FrankeIDante's Inferno demands to be understood as the culmination of a series of visits to the underworld in ancient epic tradition. Dante's most direct precedent is Aeneas's journey to meet his father in Hades, as told by Virgil in Book VI of the Aeneid. Aeneas's voyage is modeled in turn on Odysseus's encounter with shades of Hades in Book (...) XI of the Odyssey. The epic quest in each of these models pivots, in various ways, on a visit to the world of the dead, a discensus ad inferas, as a climactic episode at its center. However, Dante makes this episode the general framework of the whole poem: from beginning to end, Dante's poem represents a voyage through the world beyond the grave. In this respect, Dante's Inferno, and indeed the whole Divine Comedy, is conceived primarily as an expansion of the ancient epic motif of the katabasis or "going down" of the protagonist to the underworld for a revelation of his destiny from beyond the threshold of death. Like Virgil, Dante interprets history prophetically, finding in it the essential pattern of things to come. But this projection now reaches to an eschatological future beyond history altogether—to an uncannily dynamic realization of eternity.The other world that is visited by Dante asserts itself unequivocally as ultimate reality. It is not just some shadowy world of bloodless phantasms like the shades that approach Odysseus, nor is it vacuous and inane, as are Virgil's "houses void and empty realms of Dis" ("domos Ditis vacuas et inania regna," Aeneid VI.269). This "other" world shows up as even more vivid than the world of ordinary sense-perception by virtue of a strikingly realistic, indeed surrealistic imagery. Dante heightens the [End Page 252] mythological topos of the visit to the underworld that he inherited from Virgil and Homer to a level where it represents the true essence of life on this earth transposed into a transcendent dimension. The world of the dead is not just one in a series of episodes befalling the protagonist but rather the final and definitive experience that reveals the true meaning of all possible experiences and thereby the meaning of the world as a whole. This is perhaps implicit and incipient in Homer and Virgil, since the journey to the underworld in each case encloses a revelation that illuminates the meaning of everything else and orients the protagonist's subsequent life in the world up to his death. But Dante's other world is more than the place for a miraculous glimpse into the true meaning of life: it is itself the vera vita, the "true life."Of course, Virgil had interpreted the whole of Roman history through the optics of prophecy, but his prophetic history was directly disclosed only in privileged moments within his poem. Dante's entire poetic narrative transpires in an eschatological dimension of existence; it thereby aspires to reveal beyond the limits of history a full-blown vision of eternity—that is, history as projected into the eternal worlds that it prefigures. While at the level of content Dante expands the theme of a visit to the underworld into an entire poem of epic proportions, more deeply, at the level of genre and in terms of its mode, Dante's whole poem is prophetic in character. History and narrative become in themselves prophetic rather than only forming a background for prophecy and framing it.The descent to the world of the dead—a symbol for the place of revelation of the meaning of life—is a thematic issue that runs as a thread through each of the epic works that have been mentioned so far. But in Dante it becomes the central axis of a poem that emerges in its entirety as religious revelation, and Dante greatly intensifies the self-conscious grasp of this function of poetry. His work represents an unprecedentedly powerful reflection on poetry as revelation in the mode of prophecy, for the customary literary means of poetic expression are now revealed in their intrinsically prophetic potency. From the Aeneid Dante could learn... (shrink)

The article presents the results of an interview in a student’s group on the problem of the fall into sin based on the discussion at the seminar of Dante's «divine Comedy». The authors consider human as an image and likeness of God, who creates himself, choosing between good and harm. There were changes in the perception of the structure of Inferno: the number of circles of hell in the minds of young people interviewed decreased: all respondents do not (...) see sin in unbelief, three-quarters of respondents − in gluttony, half − in lust. The inter-pretation of heresy and fraud as ways to promote their projects is relevant. The effect of absolute rejection of violence, contemptuous attitude to treachery is revealed. The authors believe that secularization has touched only the first five circles of Hell, but at the bottom everything is still the same. (shrink)

This paper examines Dante’s treatment of the suicides in Canto 13 of Inferno in light of certain Platonic arguments against suicide. I argue that Dante’s presentation of the suicides in many ways illustrates a similar philosophical understanding of the body-soul relation and the subsequent concerns about the effect of suicide on the human being. Dante’s Christian position emphasizes the importance of the body and shows how it is necessary for the human body-soul composite. I focus on two of Dante’s problems (...) with suicide. First, his association of the suicides with the harpies of the Aeneid demonstrates that suicide is an act of pride whereby the human being overestimates his capacity to foresee future events and fails to trust in Divine Providence. Second, Dante presents the suicides as being still tied to, and concerned for their reputation in, the world of the living, despite their own violent severing of their bodily connection to it—a connection required for human activity. By focusing on these Neoplatonic arguments against suicide, I shed light on Dante’s Christian understanding of the body-soul relation and how this understanding contributes to the condemnation of suicide. Human nature requires the body and bodily activity in the world of finite affairs. In Dante’s depiction, suicide is violence. Although there were pagans who defended suicide for certain escapist or intellectual reasons, both they and Dante’s suicides share a common error: they fail to accept the essential nature of the human essence as having a bodily as well as a spiritual end. Returning directly to the Neoplatonic texts that influenced and resonate throughout the tradition that Dante inherits allows us to elucidate and highlight certain features of Dante’s thought and interpret his contrapasso in ways that might otherwise remain unnoticed. (shrink)

Abstract:The Inferno's central conflict is between us readers and God. When fictional characters captivate us, we are normally free to enjoy their charms. Not so Dante's sinners. If we feel bad for these characters, it cannot be because they are sympathetic—after all, God put them in Hell—but because we are naive. But is this sympathy really naive? This article reconsiders the Ugolino episode as a paradigm for the Inferno's ethical contradictions. In a poem that reminds us that crimes (...) often create the circumstances for victimization, perhaps sympathizing with the damned is the most ethical reading of all. (shrink)

This essay borrows Dante's inspiration in the Inferno to explore a theology of hell. The usual apologies for hell either bank on a retributive paradigm of justice or are content to have hell introduce a note of tragedy into the history of redemption. The theology that is culled from Dante, and especially from his handling of Virgil's place and authority in hell, is neither retributive in its justice nor tragic in its vision. Dante shows us (...) how to make some sense of the idea that hell is originally a part of the created order and as such expresses divine wisdom, justice, and love. (shrink)

‘Abandon all hope, ye who enter here’ is, as we all recognize, the inscription over the gate of Dante's hell; but we perhaps forget what precedes that memorable line. Hell, the inscription says, was built by divine power, by the highest wisdom, and by primordial love. Those of us who remember Dante's vivid picture of Farinata in the perpetually burning tombs or Ulysses in the unending and yet unconsuming flames may be able to credit Dante's (...) idea that Hell was constructed by divine power; and if we understand ‘wisdom’ in this context as denoting an intellectual virtue only, then we might agree that only divine wisdom is capable of making something like Dante's hell. (shrink)

By exposing itself as fiction, Dante’s poetry becomes true. Especially the Malebolge stages a relentless self-critique by Dante of his prophetic voice and the presumption of a human poet who imitates divine prophecy through merely human counterfeits. This self-deconstruction opens the poem to being informed from above and beyond itself by an authority not its own: divine grace can work the revelation of truth directly within interpretive acts of readers focused on the “doctrine hiding beneath the veil of the strange (...) verses.” The apex (or nadir) of infernal irony is that Dante’s Inferno becomes prophetic revelation of truth by undermining its own merely human claim to be capable of delivering just such revelation. (shrink)

A two-volume set. Print edition available in cloth only. Awarded the Nicholas Hoare/Renaud-Bray Canadian Philosophical Association Book Prize, 2001 From the Preface: _Hegel's Ladder_ aspires to be... a ‘literal commentary’ on _Die Phänomenologie des Geistes_.... It was the conscious goal of my thirty-year struggle with Hegel to write an explanatory commentary on this book; and with its completion I regard my own ‘working’ career as concluded.... The prevailing habit of commentators... is founded on the general consensus of opinion that whatever (...) else it may be, Hegel’s _Phenomenology_ is not the logical ‘Science’ that he believed it was. This is the received view that I want to overthrow. But if I am right, then an acceptably continuous chain of argument, paragraph by paragraph, ought to be discoverable in the text. (shrink)

This work provides a text and an extended study of those fragments of Heraclitus' philosophical utterances whose subject is the world as a whole rather than man and his part in it. Professor Kirk discusses fully the fragments which he finds genuine and treats in passing others that were generally accepted as genuine but here considered paraphrased or spurious. In securing his text, Professor Kirk has taken into account all the ancient testimonies, and in his critical work he attached particular (...) importance to the context in which each fragment is set. To each he gives a selective apparatus, a literal translation and and an extended commentary in which problems of textual and philosophical criticism are discussed. Ancient accounts of Heraclitus were inadequate and misleading, and as Kirk wrote, understanding was often hindered by excessive dogmatism and a selective use of the fragments. Professor Kirk's method is critical and objective, and his 1954 work marks a significant advance in the study of Presocratic thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:NOTES AND DISCUSSIONS 167 they regard as the Standard of every Thing, and which they will not submit to the superior Light of Revelation?" (p. 21) is the Hume we have come to accept, Hume the philosopher, Hume the foe of superstition and enthusiasm. Indeed, upon reading the Letter it seems that one must ask himself if Hume;s desire for this position--and the financial security it would offer--has not (...) affected his response. We know that in his later life Hume flatly refused to debate the multitude of clergymen who attacked his works. Not even so respectable a philosopher as Thomas Reid could elicit a public response from him. Why then did he reply to a philosophical scoundrel such as Wishart? Of course, one could suggest that Courts and Kames and perhaps others may have urged Hume to this reply in his own interest. But that, to me, is precisely the point: Why so unusual a concern in just this case, and why one which seems to undercut some of what are thought to be Hume's most daring and creative analyses? These are not rhetorical questions, but queries of importance to those who wish to see Hume and his work whole. The Letter ]rom a Gentleman does shed important light on the Treatise. Professor Mossner was quite correct in his surmise. But I believe that it raises more questions than it answers--and for this reason too we are fortunate that it has been added to the Hume bibliography. DAVZDFATE NORTON Edinburgh, Scotland THE HEGELIAN DANTE OF WILLIAM TORREY HARRIS William Torrey Harris is remembered as the foremost American exponent of Hegelianism; as founder of the Philosophical Society (1866); as editor of the Journal of Speculative Philosophy (1867-93); as U.S. Commissioner of Education (1889-1906); and as founder, with Miss Susan E. Blow, of the first permanent public school kindergarten in America. He also gave Melville Dewey the order of the ten subiect classes of his famous book classification system, and was co-founder of the Library Journal. Harris was born in North Killingsly, Connecticut in 1835. He studied at Phillips Andovcr Academy, and at Yale University, from which he withdrew in his junior year to accept a teaching position in St. Louis, Missouri in 1857. In St. Louis he met Henry C. Brockmeyer, a German immigrant and intellectual, and under his influence began a lifelong commitment to the philosophy of Georg Wilhelm Friedrich Hegel. He states that Hegel's philosophy became the center of all his thinking, but he nevertheless ~vent on to study the works of the other great thinkers, including those of Dante Alighieri. In 1883-84 he gave a series of lectures in St. Louis on Dante, and again in 1886 at the Concord School of Philosophy. These lectures were later expanded and published as The Spiritual Sense o] Dante's Divina Commedia, in Boston, by Houghton in 1889, and reissued in 1896. 168 HISTORY OF PHILOSOPHY The form of the Divina Commedia is a massive triadic structure of written words developed by exhaustive repetition of the terza rima. Structurally it is a development of the concept of The Trinity. The reader who knew not a single word of Italian could not escape having the Trinitarian notion hammered into his consciousness. Harris, however, was more concerned with meaning than form, and so he considered the triadic format a relatively trivial matter. Harris uses the Commedia to illustrate by imaginative representation the dialectic of the Holy Trinity to the American Protestant while explaining it with Hegelian logic. In summary he writes, "The doctrine of the divine form, or the self-activity of the absolute, involves the common nature of man and God, or God as divine human. This is the great central truth (of which the doctrine of the Trinity is the symbol) on which all modern civilization is built, and it is its open secret." Dante's Inferno corresponds with Hegel's logical and ontological level, called "Sein," the realm of abstract-unconscious-being-for-another. The Purgatory corresponds with his level "Wesen," the realm of mediated being in which the self is conscious of its being-in-and-for-another... (shrink)

The discipline of business ethics traditionally has paid too much attention to articulating and applying the moral law and has devoted too little thinking to the nature and consequences of evil for our souls. For purposes of this discussion, I shall limit myself to Dante’s vision of evil as a diminution of human being. On his journey through hell, Dante encounters the shades—people who, through their own actions, have rendered themselves less than fully human. This paper concentrates especially on (...) the various types of fraud andtheir psychic effects as portrayed by Dante in his book Inferno. (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)

Aristotle contends that in perception the sense organ is “made like” its object, but only “in a certain way.” Much controversy has surrounded these remarks, primarily about how to understand being “made like.” One camp has understood this to require literal exemplification, such that the sense organs manifest the sensible qualities of their objects. Others have understood likeness to require no physical alteration at all in the sense organs.I accept as a starting point in this paper that understanding perceptual likeness (...) in terms of exemplification is a non-starter. By doing so, however, I also reject the easiest and most direct understanding of what it means for the sense organs to be “made like” their objects. Others who have shared this assumption have suggested that likeness consists in “isomorphism.” Unfortunately, they have not adequately explicated how this notion is to be understood, with the result that Aristotle’s theory of perception remains crucially underdeveloped. I argue that the key is to understand the form of isomorphism at work in Aristotle’s account of thinking. (shrink)

However, metaphysics itself has presuppositions. In the order of explanation the governing presupposition of intelligible metaphysics is that the world itself is intelligible. By 'intelligible' I mean 'free from contradiction'. By 'the world' I mean the range of things that possess being of any kind, or, in other words, the realm of being. If the presupposition referred to is accepted metaphysics is possible; if not, it is not. The word 'presupposition' must be taken literally. The presupposition in question is, (...) in fact, a presupposition and cannot be proved. It is not possible to prove that the world--the aggregate of things--is intelligible. Any attempted proof is circular. It would, in essence, be obliged to say: the world is noncontradictory for, were it contradictory, this circumstance itself would involve a contradiction. But this is equivalent to the assumption that the contradictory is impossible; which in turn is nothing but the conclusion given as a premise. To say that the contradictory is impossible is simply to say, in other words, that nothing is or can be contradictory, which was the point to be proved. Hence, though the presupposition that the world is intelligible is necessary, it is, nevertheless, a presupposition and cannot be demonstrated. (shrink)

However, metaphysics itself has presuppositions. In the order of explanation the governing presupposition of intelligible metaphysics is that the world itself is intelligible. By 'intelligible' I mean 'free from contradiction'. By 'the world' I mean the range of things that possess being of any kind, or, in other words, the realm of being. If the presupposition referred to is accepted metaphysics is possible; if not, it is not. The word 'presupposition' must be taken literally. The presupposition in question is, (...) in fact, a presupposition and cannot be proved. It is not possible to prove that the world--the aggregate of things--is intelligible. Any attempted proof is circular. It would, in essence, be obliged to say: the world is noncontradictory for, were it contradictory, this circumstance itself would involve a contradiction. But this is equivalent to the assumption that the contradictory is impossible; which in turn is nothing but the conclusion given as a premise. To say that the contradictory is impossible is simply to say, in other words, that nothing is or can be contradictory, which was the point to be proved. Hence, though the presupposition that the world is intelligible is necessary, it is, nevertheless, a presupposition and cannot be demonstrated. (shrink)

Combining time travel with certain kinds of supertask, this paper proposes a novel model for Hell. Temporally-closed spacetimes allow otherwise impossible opportunities for material kinds of damnation and reveal surprising limitations on metaphysical objections to Hell. Prima facie, eternal damnation requires either infinite amounts of time or time for the damned to speed-up arbitrarily. However, spatiotemporally finite ‘time travel’ universes can host unending personal torment for infinitely many physical beings, while keeping fixed finite limits on rates of temporal (...) passage. Such ‘Hilbert's Inferno’ spacetimes suggest neither materialism nor the finitude of time and space need forbid Hell. A material Hell can be spatiotemporally finite yet eternal for its inhabitants. Hilbert's Inferno also sheds light on Hell's location and accessibility, and shows that some spacetimes are intrinsically better suited to punishment than reward. (shrink)

It is well known that Dante's poetic works interpret love as the moving force of the universe: as embodied in his muse Beatrice from La Vita Nuova onward, as well as the much holier persons inhabiting Paradiso.Likewise, if love is the ultimate form of sincerity, it is easy to interpret the Inferno as a brilliant counterpoint of anti-sincerity, governed by fraud and blasphemy along with the innocuous form of fraud known as humour. In turn, the middle ground of Purgatorio (...) is where Harman locates Dante's clearest theory of sincerity. Yet this is only the beginning. For while Dante provides a suitable background for the metaphysics of commitment found in such later thinkers as Pascal, Kierkegaard, Sartre, and Badiou, he also provides even more important resources for overcoming two centuries of philosophy shaped by Immanuel Kant. (shrink)

Social and cultural difference. "Only historicize": history, material culture (food, clothes, books), and the future of Dante studies -- Dante's sympathy for the other, or the non-stereotyping imagination: sexual and racialized others in the Commedia -- Contemporaries who found heterodoxy in Dante: Cecco d'Ascoli, Boccaccio, and Benvenuto da Imola on Fortuna and Inferno 7.89 -- Dante's limbo and equity of access: non-Christians, children, and criteria of inclusion and exclusion, form Inferno 4 to Paradiso 32 -- Metaphysical difference. Toward (...) a Dantean theology of eros: form Dante's lyrics to the Paradiso -- Amicus eius: Dante and the semantics of friendship -- Paradiso and the mimesis of ideas: realism versus reality -- Dante squares the circle: textual and philosophical affinities of Monarchia and Paradiso (Solutio distinctiva in Mon. 3.4.17 and Par. 4.94-114) -- Difference as punishment or difference as pleasure: from the tower of Babel in De vulgari eloquentia to the death of Babel in Paradiso 26 -- Aristotelian disruptions 1: wealth and society. Aristotle's Mezzo, courtly Misura, and Dante's Canzone "Le doci rime": humanism, ethics, and social anxiety -- Dante and wealth, between Aristotle and Cortesia: from the moral Canzoni "Le dolci rime" and "Poscia ch'amor" through Convivio to Inferno 6 and 7 -- Aristotelian disruptions 2: love and compulsion. Archeology of the Donna Gentile: the importance of disconversion in conversion narratives -- Dante and Cecco d'Ascoli on love and compulsion: the epistle to Cino, "Io sono stato," the third heaven -- "Voi che 'ntendendo il terzo ciel movete," a dramatization of "utrum de passione in passionem possit anima transformari": conflict, compulsion, consent, conversion -- Critical philology and Italian cultural history. The case of the lost original ending of Dante's Vita nuova: more notes toward a critical philology -- Critical philology and Dante's Rime. (shrink)

This volume contains the English translation of Felix Kaufmann's (1895-1945) main work Methodenlehre der Sozialwissenschaften (1936). In this book, Kaufmann develops a general theory of knowledge of the social sciences in his role as a cross-border commuter between Husserl's phenomenology, Kelsen's pure theory of law and the logical positivism of the Vienna Circle. This multilayered inquiry connects the value-oriented reflections of a general philosophy of science with the specificity of the methods and theories of the social sciences, as opposed to (...) abstract natural science and psychology. The core focus of the study is the attempt to elucidate how and under what conditions scientific knowledge about social facts, empirically justified and theoretically embedded, can be obtained. The empirical basis of knowledge within the social sciences forms a phenomenological concept of experience. According to Kaufmann, this concept of experience exhibits a complex structure. Within the meaning-interpretation of human action as the core of knowledge in the social sciences, this structure reaches out across the isolated act of verification toward the synthesis of external and internal experiences. The book opens with a detailed and useful introduction by Ingeborg K. Helling, which introduces the historical and theoretical background of Kaufmann's study and specifically illuminates his relation to Alfred Schütz and John Dewey. Finally, it contains interviews with and letters to members of his family, colleagues and students. (shrink)

Il saggio mette a confronto tre fra le traduzioni più importanti della Commedia curate da poeti americani negli anni 2000, prendendo in analisi le loro strategie e tecniche traduttive e i conseguenti risultati estetici. La base del confronto sono le intenzioni traduttive dichiarate dai poeti-traduttori, il modo in cui hanno cercato di porle in pratica, e l’interpretazione dei loro risultati alla luce della teoria dei translation studies recente. Le idee di Lawrence Venuti sulle «versioni dei poeti» e su come leggere (...) una traduzione, specialmente in un contesto di world literature, sono risultate particolarmente utili nel caso dei tentativi di questi poeti-traduttori di riscrivere un testo poetico autonomo, e di trasportare la complessità della poesia di Dante, potentemente padroneggiata, attraverso due tradizioni letterarie diverse. (shrink)

This paper is an attempt to discuss the connections between Dante’s Divine Comedy and the poetic representations of the extermination of Jews during World War II. The work of the Italian master proves to be a point of reference for many Polish and Polish-Jewish poets in their search for the right language to describe the brutal reality of the Holocaust, to render the cruelty of this crime and the immense suffering of its victims, to testify about their own experience, and (...) to pay a tribute to the murdered. The poetry discussed in this text was written, among others, by Michał Maksymilian Borwicz, Izabela Gelbard, Janina Podlodowska, Krystyna Żywulska, and Andrzej Bursa. The references to the Divine Comedy are made in two ways and serve two basic purposes. Firstly, their aim is to portray the Holocaust as a reality confusingly similar to Dante’s inferno, secondly, they are to present the Holocaust as a reality far worse, more brutal and more gruesome than Dante’s hell. The second of the abovementioned ways of poetic presentation of the experience of the Shoah is very often connected with bitter irony, characteristic especially for Jewish art and sometimes directed against the sender of the message itself. In the course of analysis and interpretation, the phenomenon of universalization and partial decontextualization of originally religious motifs comes to the fore. The author argues that the reality of the Shoah can be compared to the devil’s abyss only if this abyss is no longer perceived as the place of eternal and just condemnation for sinners. The twentieth-century “hell” of concentration camps and ghettoes, though associated with Dante’s inferno, is not the place of deserved punishment, but of cruel crime and of immense, blameless and unjustifiable suffering. (shrink)

I discuss Dante’s understanding that human existence is “ordered by two final goals” and how, for Dante, this understanding defines philosophy’s and revelation’s respective scopes of authority in guiding human conduct. Specifically, I show that, although Dante subordinates our earthly beatitude to spiritual beatitude in a way that seems to suggest the subordination of the authority of philosophy to that of revelation, he in fact limits philosophy’s scope to an arena in which its authority is not only legitimate but also (...) crucial to the cultivation of the higher, spiritual beatitude of human activity. (shrink)

The article analyses Dante’s explanatory paraphrase and exegesis of the Lord’s Prayer, which opens the eleventh canto of Purgatory. The author reminds us that the prayer is the only one fully recited in the entire Comedy and this devotional practice is in line with the Franciscan prescription to recite it in the sixth hour of the Divine Office when Christ died on the cross. The prayer is reported by the poet on the first terrace of Purgatory, where the proud and (...) vainglorious must learn the virtue of humility, and therefore it symbolizes the perfect reciprocity between man and Godhead. Dante collates and amplifies the two complementary Latin versions of the Lord’s Prayer from Matthew 6: 9–13 and Luke 11: 2–4. The two synoptic texts are supplemented by the Gospel of John, from which Dante takes the concept of celestial bread – the flesh and the blood of Christ – which nourishes, liberates and sanctifies Christians. Apart from the Bible, Dante also draws upon the Augustinian and Tomistic traditions. However, the main hypotext behind the prayer, which is neither cited nor acknowledged in any explicit form in the Comedy, is the Franciscan Laudes creaturarum, also known as the Canticle of the Brother Sun. Written in vernacular by St. Francis himself, who is also the author of the Expositio in Pater noster, the Canticle was still recited and sung together with the Lord’s Prayer in the Franciscan communities in Dante’s time. Moreover, following the parallel readings popular nowadays in Dante studies, the author argues that Purgatorio 11 may be elucidated in the context of Paradiso 11, which is the Franciscan canto par excellence, and taken together they both offset cantos 10, 11, 12 of Inferno, which are based on the sin of pride. The denunciation of pride in and around canto 11 of Inferno alludes to humility – the remedy of such pride in Purgatory 11, which in turn prepares the reader for the encounter with St. Francis – the paragon of humility – in Paradiso 11. The author concludes that the Dantean paraphrase of the Lord’s Prayer is no less than an elaborate exegesis and homage to Christ and His teachings, something which is encompassed in a nutshell in the Sermon on the Mount. (shrink)

A scholarly annotated epic poem on the pitfalls and tribulations of “good philosophizing”. Divided into twenty-eight cantos (in medieval Italian hendecasyllabic terza rima), the poem tells of an allegorical journey through the downward spiral of the philosophers’ hell, where all sorts of thinkers are punished for their faults and mistakes, in the endeavor to reach a way out of the condition of intellectual impasse in which the narrator has found himself. The affinities with Dante’s Inferno are apparent. Whereas Dante’s (...) poem is about human sins and moral felonies, this one is about philosophical errors and fallacies; whereas Virgil takes Dante through the gluttons, the wrathful, the violent, the traitors to parties and countries, etc., here Socrates takes us through the realists, the skeptics, the dualists, the nichilists, the worshipers of language and easy mythos, etc. And yet this is not just a philosophical counterpart of Dante’s masterpiece, even less a parody. We can’t say exactly when, how, and why it was written, but this is an authentic piece of philosophy, a poem of love, a passionate testimony of militant metaphysics. It is the inspired and inspiring journey of someone, anyone, who is truly moved by the Love for Wisdom and by the grueling purification of the intellect that it demands. (shrink)

Carroll Izard’s theoretical and empirical work has played a preeminent role in energizing the renascence in the study of the emotions and emotional development in normality and pathology. A brief historical overview of his career is presented. Izard’s differential emotions theory (DET) has exerted influence in a number of domains and disciplines. Illustrations are provided from research and prevention in developmental psychology and developmental psychopathology. Personal recollections of Cal Izard are provided showing that Izard is not only an influential theoretician (...) and researcher, but also a wonderful emotional being. (shrink)

From the Ninth Circle of hell in Dante’s Inferno to the idea of human cryogenic storage, cold has been an important part of human life and imagination. In History of Artificial Cold, Scientific, Technological and Cultural Issues, editor Kostas Gavroglu has brought together a well-balanced and very readable collection of essays on the history of the investigation and use of “cold.” There is something here for a broad range of readers, with articles ranging from fundamental physics to industrial refrigeration (...) and the international politics of frozen meat.Cold is a very relative term, and this book looks at a broad range of coldness. On the laboratory side, there was a competition starting in the late part of the nineteenth century to create the lowest temperature possible. The effort to transform gases into liquids and solids had serious implications for material science and laboratory practice, but it also contributed to the experimental understanding of quantum physics. At about the sa .. (shrink)

Heightened concern with global issues has led to shifts in corporate social responsibility (CSR) programs. To capture the distinct nature of this global focus, researchers have developed a three-generation CSR typology. In this paper, we first evaluate the usefulness of this typology for understanding corporate approaches to CSR by examining how several companies position themselves thematically in CEO introductions to sustainability reports. On the basis of this, we then evaluate the practical value of this typology for assisting those who work (...) with CSR strategy. The analysis revealed expressions of all three CSR generations, with third-generation thinking being apparent, but not dominant. It also verified that the three-generation CSR typology can be an instructive means of both evaluating as well as framing a company's approach to sustainability, though with modifications. On the basis of the identified strengths and weaknesses of the typology, we develop a practitioner-focused, three-tiered model that can strategically guide the development of CSR programs. (shrink)

This article is a reply to Karori Mbugua’s article titled “The Problem of Hell Revisited: Towards a Gentler Theology of Hell” (Thought and Practice: A Journal of the Philosophical Association of Kenya, New Series, Vol.3 No.2, December 2011, pp.93-103). The present article does not in any way seek to argue for or against the existence of eternal damnation. Instead, it advances the view that while Mbugua raises important philosophical issues around the question of eternal damnation, those questions deserve (...) a more incisive treatment than Mbugua accorded them. The article further argues that as with all other matters touching on the way things are rather than the way they ought to be, the answer to the question as to whether or not eternal damnation exists cannot be determined by our opinions - its existence or nonexistence is an objective fact. Consequently, philosophers cannot revise the fact to their liking; what they can do is to accept or reject the doctrine of eternal damnation altogether on rational grounds, but with no assurance that the objective fact is on their chosen side. (shrink)

Dante's Convivio, composed in exile between 1304 and 1307, is a series of self-commentaries on three of Dante's long poems. These allegorical love poems and philosophical verse become the basis for philosophical, literary, moral, and political exposition. The prose is written in Italian so that those who were not educated in Latin could take part in what Dante called his 'banquet of knowledge'. In this edition, eminent Dante translator-scholar Andrew Frisardi offers the first fully annotated translation of the (...) work into English, with an extensive introduction, making Dante's often complex writings accessible to scholars and students. The parallel Italian text is also included for the first time in an English translation of the Convivio. Readers of this work can gain a strong understanding of the philosophical themes across Dante's work, including the Divine Comedy, as well as the logic, politics and science of his time. (shrink)

Osip Mandel'štam belongs among the greatest Russian poets of the twentieth century. During the thirties, when he led a tragic existence and felt a premonition of his inevitable violent death, Mandel'štam saw in Dante not only the greatest poet, but also his own superior teacher, and his poems of that period contain a tormented meditation on the masterpiece of Dante's genius -- the "Divine Comedy". Epic poetry of Dante, Homer, Virgil and others was possible because the inner world of (...) each poet was essentially at one with the ethos of the society in which he lived. Mandel'štam's inner world was Judaeo-Christian, European, and rooted in classical and neo-Platonic philosophy, but his outer world, consisting of a new Marxist or pseudo-Marxist system, was totally at odds with it. Thus Mandel'štam could not embody the epic impulse of the society he opposed. He was left with the tormented lyric impulse. The fundamental conflict between Mandel'štam as a lyric poet and the society in which he had to live and work accounts for the fact that his vision of Stalinist society in a number of respects remarkably corresponds to Dante's vision of a perverted divine order in the Inferno. (shrink)

Se ha señalado con frecuencia el escaso tratamiento de Heidegger acerca del amor. Se busca recuperar y articular algunas alusiones importantes. Cabe distinguir tres registros temáticos: como modo de "encontrarse", como "actitud" con los otros y como rasgo del "ser mismo". Se intenta no solo comprender el fenómeno amoroso en el pensamiento heideggeriano, sino mostrar la incidencia que habría tenido en la interpretación de otras cuestiones y, sobre todo, en el asunto central sobre el sentido del Ser. Heidegger's scarce treatment (...) of love has been frequently pointed out. This article aims to recover and articulate some important allusions. A distinction can be made between three topical registers: as a way of "finding oneself"; as an "attitude" with others and as a trait of "being itself". An attempt is made not just to understand the phenomenon of love in Heidegger's thoughtbut also to show its impact on other topics, and, above all, on the central topic of the meaning of Being. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 295-313 [Access article in PDF] The Ecology of Victorian Fiction Joseph Carroll I In the past ten years or so, ecological literary criticism--that is, criticism concentrating on the relationship between literature and the natural environment--has become one of the fastest-growing areas in literary study. Ecocritics now have their own professional association, their own academic journal, and an impressive bibliography of scholarly studies. Ecocritical scholars (...) divide their attention between "nature writing" and ecological themes within all literature. In other words, some scholars write on Thoreau, John Muir, Aldo Leopold, and Annie Dillard; others write on topics such as the representation of nature in romantic poetry, the American West as a symbol, metaphors of landscape, or Dante's Inferno as a polluted ecosystem. Ecocritics have a distinct subject matter, and they share in a certain broad set of attitudes, values, and public policy concerns, but they do not yet have a firmly established framework of commonly accepted theoretical principles. In the absence of any overarching theory, ecocritics have usually sought to incorporate their ecological subject matter within other, already established theoretical schools: feminism, Bakhtin's dialogism, Lacanian psychoanalysis, or English romantic and American transcendentalist, idealist philosophy. Most commonly, ecocritics have affiliated themselves with the standard contemporary blend of Foucauldian ideological criticism--a blend that is vaguely Marxist and Freudian, generally radical, and strongly tinctured with deconstructive irrationalism and textualism. 1Given its specialized themes and topics and its ready affiliation with the standard theoretical blend, ecocriticism might seem little more than a special topic area within the general field of contemporary [End Page 295] literary study. But ecocritics do not see their approach that way. They share in a feeling of being at the forefront of critical response to an urgent practical problem of world-historical magnitude: the prospect of irreversible environmental devastation. They thus have a strong sense of a political mission, and they often feel that the urgency of their environmental concerns should sanction realigning the canon to give much greater prominence to nature writers and to the study of ecological themes. In their view, the natural world claims a special status as the ultimate ground and frame of all existence. It is an object of peculiar veneration and of primary experiential importance.The special conceptual status of ecology as a theme and a topic necessarily raises a question about its theoretical import. If the subject of ecocriticism is the relation of literature and the natural world, and if this relation is more important and more elemental than any other concern, does it not follow that ecocriticism should identify itself as a matrix for all literary study? To put the question operationally, in what way could ecology, as a subject matter and a concept, generate a theory of literature? Since the relation between organisms and natural environments is a necessary precondition of all experience, one could reasonably argue that the special topic of ecocriticism is more elemental than the topics of feminism, Marxism, or any other form of political criticism, and that the basic physical conditions of organic life take conceptual precedence over semiotics and theories of "culture" and "discourse."I shall argue that ecology cannot by itself generate a theory of literature or serve as the basis for a theory of literature, but I shall also argue that responsiveness to the sense of place is an elemental component of the evolved human psyche and that it thus can and should be integrated into a Darwinian literary theory. E. O. Wilson's notion of "biophilia" provides a Darwinian alternative to the ecological transcendentalism of "deep ecology," and the evolutionary epistemology of Konrad Lorenz provides a Darwinian rationale for locating the human psyche within its physical world. In constructing a bridge between the evolutionary epistemology of Lorenz and the idea of place within verbal narrative, I shall make use of a new branch of Darwinian aesthetics, Joseph Anderson's "ecological" version of "cognitive film theory."In order to illustrate the ways in which setting can be integrated into a Darwinian literary criticism, in the latter part of the essay... (shrink)