In her astute study of contemporary Arab women writers, Anastasia Valassopoulos begins by noting the pitfalls of much existing criticism of writers such as El Saadawi and Djebar in the West. Citing Amal Amireh’s article on the fraught history of the reception of El Saadawi in Egypt and in Europe, Valassopoulos comments that Arab women’s literature tends to be seen as ‘documentary’, and this obscures the ‘core issue of representation’ as it is explored and challenged by women writers. In (...) the face of this omission, the present article explores a selection of works by El Saadawi and Djebar from an aesthetic perspective. El Saadawi and Djebar use literary writing as a means to escape the constraints placed upon them by patriarchy, as well as by colonialism, and uphold creativity and poetry as a possible release from imprisonment. This article also uses Glissant’s and Bhabha’s concepts of literary opacity and the right to narrate as a partial framework for a reading of the relation between writing, freedom and aesthetic form in the works of El Saadawi and Djebar. El Saadawi and Djebar purposefully deploy a form of self-effacement, both in their autobiographical representations and in their portraits of female characters, also akin to Trinh Minh-ha’s strategy in Woman, Native, Other. Minh-ha’s dissemination of the writing voice, and the affirmation of collective solidarity between multiple but internally fragmentary feminist positions, serves, then, as a further theoretical backdrop for El Saadawi’s and Djebar’s use of opacity and the right to narrate as tools in an active feminist resistance to sexist and racist discourses. Both El Saadawi and Djebar use their writing to conceive women’s liberation from various forms of imprisonment, and they figure women’s fractured, convoluted and at times opaque self-expression as a direct form of resistance to both patriarchal and colonial oppression. (shrink)

The title The Imprisoned Splendour derives from the author's conviction that there is a world of unfolding "spiritual" potentiality interpenetrating the world of matter, and that to understand ourselves, and our relationship to nature and the creatures of the physical world we inhabit, this interpenetration must be philosophically considered. In this book, physicist, Raynor Johnson explores natural science, psychical research and mystical experience. The book is valuable for the serious and casual reader alike or anyone wishing to explore the mystical (...) world of paranormal phenomena. Telepathy, clairvoyance, clairaudience, telekinesis, poltergeist phenomena, phantoms of the living and the dead, trance phenomena, automatic writing, and the evidence for the "etheric body" are all discussed, Johnson the Scientist is clearly a mystic at heart, and this makes for fascinating reading; No stone is left unturned and theological dogma is cast aside. Pre-existence is discussed in depth. Johnson explains, "If the general conception of evolution be regarded as applicable to the soul as well as to the physical world, it is not either improbable or unreasonable that the soul should adventure forth into the physical world in a newly-built body to acquire further experience of the kind which this world can provide. The fact that the soul has done so once was presumably for adequate and compelling reasons, and whatever these are, it is apparent that more might be gained by a series of such incarnations." The imprisoned Splendour is deeply impressive and now considered a classic in psychical research literature. (shrink)

An experimental, conceptually driven foray into the Patrician field, Ireland’s ubiquitous national apostle – a former captive – is utilised as a vehicle through which to explore a trinity of salient and interrelated themes within the Catholic and Protestant hinterlands of the Irish imagination: visions of imprisonment; of the island; and of imperialism. The reader is guided through aspects of Patrician literature, visits the island’s hallowed Patrician shrines, and is thus shown Purgatory. Insights into the imaginations exhibited by (...) a range of influential Irish ideologues and intellectuals – Gerry Adams; J.B. Bury; John Hume; Eóin MacNeill; Michael McCarthy; John Mitchel; Peadar O’Donnell; Tomás Ó Fiaich; John Ryan; William Ryan; Ian Paisley; Patrick Pearse; Oscar Wilde – are generated. The cognitive (and conspicuously Platonic) terraforming of the prison-cell into an island, and of the island into a giant prison – of either British or Vatican construction – that recurs in much Irish political thought and reflection, is observed. The concluding section involves historiographical reflection: Bury’s, and by extension St. Patrick’s, influence with regards the development of the discipline of Irish history is highlighted. That the island exhibits a distinctive intellectual micro-climate, one in which visions of Patrick act as a formidable ideological force, is implicit throughout. (shrink)

Imprisonment is often said to be the ultimate back-up sanction for offenders who do not abide by their non-custodial sentence. From a standard consequentialist perspective this is morally justified, if it is a cost-effective means to crime prevention. In contrast, the use of imprisonment as a back-up is much harder to justify from retributivist perspectives, with their emphasis on just desert or deserved censure. The crux is this: if the reason for a non-custodial sentence is that a prison (...) sentence risks being a disproportionate or inappropriate sanction, retributivists need to explain how a prison term can be warranted as the backup sanction for those who breach the requirements of their non-custodial sentence, even though their original crime wasn’t serious enough to warrant imprisonment in the first place. The aim in this paper is to critically assess the extent to which retributivists can justify the use of imprisonment as the ultimate back-up sanction. In doing so, I first examine two broad strategies that are discussed in the literature, and which retributivists could employ in order to respond to this problem. The first strategy stresses how desert has only a limited role in sentencing such that it demarcates a range of deserved punishment. On this view, associated with limiting retributivism, one could initially opt for a less harsh yet deserved punishment, leaving room for the imposition of back-up sanctions when needed. The second strategy focuses on how the act of breach is a reprehensible act that can allow for a penalty increase, and thereby lead to imprisonment. Although it is argued that both strategies fail, the paper proposes an alternative solution to this problem. (shrink)

This book draws upon philosophical arguments, criminological evidence, and legal literature on prisoners' rights and sentencing to explore the restrictions and deprivations that can be legitimately imposed on serious offenders in the name of punishment.

This paper deals with the concept of Al-Waṭan, or ‘the homeland’, in Arabic in The Shell by Muṣṭafā Khalifa and Men in the Sun by Ghassān Kanafānī. Analysis of how alienation from this concept has affected both Khalifa's and Kanafānī's characters is carried out through the lenses of Deleuze and Guattari's theories of rhizomatic associations and minor literature, as well as through the lens of affect theory. The paper also examines parallels between definitions of Al-Waṭan/the homeland in Ibn Manẓūr's (...) classical dictionary Lisān al-ʿArab and Deleuze and Guattari's concepts of the war machine and the apparatus of capture. (shrink)

Samuel Beckett and Jorge Luis Borges have presented 20th century literature with a distinctive gallery of solitary figures who suffer from a series of physiological ailments: invalidism, decrepitude, infirmity and blindness, as well as neurological conditions such as amnesia and autism spectrum disorders. Beckett and Borges were concerned with the dynamics between illness and creativity, the literary representation of physical and mental disabilities, the processes of remembering and forgetting, and the inevitability of death. This article explores the depiction of (...) physically and mentally disabled characters in Borges' Funes the Memorious (1942)—a story about an Uruguayan gaucho who has been left paralysed after a fall from a horse which simultaneously endowed him with an infallible memory and perception—and Beckett's Trilogy: Molloy (1951), Malone Dies (1951) and The Unnamable (1953). It examines the prodigious memory of Funes and the forgetful minds of Molloy and Malone with reference to influential neuropsychological studies such as Alexander Luria's twofold exploration of memory and forgetfulness in The Mind of a Mnemonist (1968) and The Man with a Shattered World (1972). The article demonstrates that in contrast to Beckett's amnesiacs and Luria's brain-damaged patient, who are able to transcend their circumstances through cathartic writing, Borges' and Luria's mnemonic prodigies fail to achieve anything significant with their unlimited memories and remain imprisoned within their cognitive disabilities. It reveals that medical discourses can provide invaluable insights and lead to a deeper understanding of the minds and bodily afflictions of literary characters. (shrink)

History from Loss challenges the common thought that 'history is written by the winners' and explores how history makers in different times and places across the globe have written histories from loss, even when this has come at the threat to their own safety. A distinguished group of historians from around the globe offer an introduction to different history-makers' lives and ideas, and important extracts from their works which highlight various meanings of loss: from physical ailments to social ostracism, exile (...) to imprisonment, and from dispossession to potential execution. Throughout the volume consideration of the information 'bubbles' of different times and places helps to show how information has been weaponised to cause harm. In this way, the text helps to put current debates about the biases and weaponization of platforms such as social media into global and historical perspective. In combination, the chapters build a picture of history from loss which is global, sustained, and anything but a simple mirror of history made by victors. The volume also includes an Introduction and Afterword which draw out the key meanings of history from loss, and which offer ideas for further exploration. History from Loss provides an invaluable resource for students, teachers, and general readers who wish to put current debates on bias, the politicization of history, and threats to history makers into global and historical perspective. (shrink)

In the literature on transitional justice, there is disagreement about whether countries like the United States can be characterized as transitional societies. Though it is widely recognized that transitional justice mechanisms such as truth commissions and reparations can be used by Global North nations to address racial injustice, some consider societies to be transitional only when they are undergoing a formal democratic regime change. We conceptualize the political situation of low-income Black communities under the U.S. imprisonment and policing (...) regime in terms of three criteria for identifying transitional contexts: normalized collective and political wrongdoing, pervasive structural inequality, and the failure of the rule of law. That these criteria are met, however, does not necessarily mean that a transition is taking place. Drawing on the American political development and abolition democracy literatures, we discuss what it would mean for the United States to transition out of its present imprisonment and policing regime. A transitional justice perspective shows the importance of not only pushing for truth and reparation, but for an actual transition. (shrink)

Restorative justice (RJ) in the secure estate is widespread internationally, although piecemeal and inconsistent in its application. It exists in the form of many practices such as mediation, conferencing, circles, and panels. As the interest in RJ continues to grow, this research takes a step back to ask how reconcilable RJ is with incapacitation. Through a combination of normative thinking, literature review, and primary research that applied qualitative methodologies over a 3-year period, the article examines where the two notions (...) meet in their intentions and expected outcomes. A new classification of restorative practices in prisons is proposed, placed in the context of case studies of existing programs from around the world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Skeptical Selves: Empiricism and Modernity in the French NovelDaniel GordonSkeptical Selves: Empiricism and Modernity in the French Novel, by Elena Russo; 225 pp. Stanford: Stanford University Press, 1996, $35.00.Skeptical Selves explains how linguistic relativism has shaped French literature from the Enlightenment to the present. Elena Russo provides three cases: Prévost’s Histoire d’une Grecque moderne (1740), Constant’s Adolphe (1816), and des Forêts’s Le Bavard (1946). Her fascinating scholarly (...) goal is to portray the inexorable decline of the novel in a climate of ever growing doubt about the truthfulness of narration. Her remarkably ambitious philosophical goal is to save the novel by refuting skepticism!More precisely, Russo’s target is not every form of doubt but rather a specific current of French skeptical consciousness. In recent years, the representatives of this current have been Derrida and Blanchot. Its main feature is a denial of the correspondence notion of the language-truth relationship combined—paradoxically—with an intense nostalgia for a perfectly mimetic language that has allegedly been lost. The seemingly most radical critics of the sign, Russo claims, never overcome the perverse yearning for the very mimesis whose possibility they deny (p. 3).Russo is getting at an interesting distinction here, the distinction between epistemological modesty, which she upholds, and French skepticism, which she deplores. Epistemological modesty means the redefinition of truth according to some criterion other than perfect representation of the external world. French skepticism for her means the insistence on an absolute standard of mimetic reliability and a simultaneous denial that this standard can ever be reached. “Much of the language of negativity we have grown accustomed to in contemporary criticism rests upon the following syllogism: to know is to know directly and without mediation; this is not possible; therefore, the world is unknowable. Any conceptualization is ipso facto viewed as suspect, hence the flight towards nonverbal forms of expression, such as music and silence” (p. 13).After suggesting in her first chapter that French skepticism is a specific style of thought, not a final answer to our epistemological queries, Russo goes on to illustrate the impact of this skepticism on the novel. Prévost’s text, she observes, is one of the first novels built around the distorted point of view of a fallible [End Page 179] narrator. The narrator is the French ambassador to Constantinople who falls in love with a woman, Théophé, recently freed from a seraglio. Both his love and his comprehension are frustrated by the woman’s apparent simplicity and virtue. “Signs acquire a meaning opposite to their manifest one,” Russo notes. “It is precisely the discourse that should have made Théophé look credible that makes her appear suspicious. She is cunning and deceptive because she appears ‘naive’ and ‘innocent’; she is opaque because of her ‘simplicity’ and ‘openness’” (p. 42). The whole point of the novel is to show that we are imprisoned in subjectivity and there is no way out. For a time the narrator attempts to resolve his doubts regarding Théophé’s words by concentrating instead on her body. But here as well he can discover only ambiguity: nothing reveals clearly whether she is conquerable and whether she already has another lover.The novel ends with the unexplained death of Théophé, and Russo comments: “we are given the impression that, rather than ending his text, Prévost is ridding himself of an intractable problem” (p. 66). Artfully, the rest of the book helps us see that the tendency to thematize philosophical problems that have no solutions is intensified in the nineteenth and twentieth centuries—to the point where not merely the ending of novels but novels themselves disappear. (Of course, Russo means not that people no longer write novels but that the genre has succeeded in diminishing its own stature by so frequently decrying the limits of language.)The chapter on Constant did not strike me as the strongest part of the book. The problem is due perhaps to the fact that Constant was a truly great thinker, a brilliant political theorist and philosopher of religion as well as a romantic novelist. One chapter does not... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Medieval Troubadour Mobilized in the French Resistance *Roy RosensteinIntroduction: The Place of Poetry under VichyRien ne semblait plus anachronique que d’interroger, inter arma, le silence des Muses médiévales....Frank 1In Chantons sous l’occupation André Halimi details how raucously the band played on in wartime Paris. 2 If Vercors in 1941 advocated the practice of silence and Sartre in 1945 maintained that Paris had been dead for the four years (...) of the Nazi occupation, Halimi and others have shown that Parisians [End Page 499] sang, danced, and laughed during the Occupation as never before. 3 Rarely had so many plays been staged, so many movies been produced. 4 While in other Nazi-occupied countries the theaters and restaurants remained closed, thus preserving a modicum of national dignity in defeat, in France the arts thrived and la vie mondaine accelerated its pace. Journalist Henri Amouroux rightly explains how cinema and theater provided more than entertainment and why they were periodically the target of curfews. In these wartime performances a seemingly insignificant phrase could take on a rich contemporary context. Thus a line like “toute la fleur du royaume se trouve en prison” in Montherlant’s La reine morte invariably provoked applause. Whether the text was classical or contemporary in origin, the audience “seized upon all the passages that could be linked to the current situation.” 5 In this broad sense, Resistance literature came to include any “poetry written and/or distributed in France during the Occupation, and which the reader sees as implicitly or explicitly conveying hostility to Nazism and Collaboration.” 6Between 1940 and 1944 French audiences escaped their national misfortunes more through literature than through film and drama combined. “Never, perhaps, had literature played such a momentous part in the daily life of French readers,” wrote the late Henri Peyre in 1945. 7 As is often noted, the intellectual Resistance “fut surtout poétique.” 8 Every page of poetry, past or present, seemed to remind wartime readers of their current circumstances. One young poète résistant is categorical: “Never before had poetry played such a decisive role in history.” 9 Pierre Brunel of the Sorbonne is just as emphatic in confirming [End Page 500] the judgment of contemporary scholars and Resistance fighters alike: “During the war years, French poetry found a singleness of purpose and an audience that it had never enjoyed before.” 10In anticipation of more comprehensive treatments of French Resistance poetry sens large, the present study proposes a necessarily modest and certainly partial approach to the role of poetry in the French Resistance. Following the general groundwork of Seghers, Gaucheron, Higgins, and others, it undertakes to track, if only schematically, the reaction to France’s fall as polarized across three territories—in American exile, in Vichy France, and in German camps—through a focus on one exemplary twelfth-century troubadour. Concurrently with the “nouvelle floraison poétique” hailed by André Rousseaux in 1941, 11 Jaufre Rudel was one earlier poet who enjoyed a resurgence of interest during the war. With respect to this troubadour, to date only Dietmar Rieger has mentioned in passing an oblique reference to Rudel’s trademark distant love in Aragon’s “Pour un chant (national)”: “Jaufre’s love from afar is set against a love for France.” 12 This particular troubadour’s legend and lyrics assumed new dimensions through their immediate relevance not only for Aragon but for all French nationals, both imprisoned at home and exiled abroad. Literary historian René Dumesnil observed as early as 1941 with respect to pre-war French classics: “Present circumstances give them new depth and extend their range.” 13 Regarding France’s medieval literature, a modern critic has noted how “the troubadours, just as much as Tristan, Roland, Lancelot, Perceval, or even Yseult..., emerge as agents of unity, even of unanimity, around whom it is still possible to muster the French people in 1940.” 14 [End Page 501]As has been observed for centuries, “Frenchmen abroad seldom wholly give up the idea of going back to France some time or other.” 15 All French patriots and expatriates, wherever they found themselves after the Armistice in June 1940, whether... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter Lamarque TRUTH AND ART IN IRIS MURDOCH'S THE BLACK PRINCE "Art," writes Bradley Pearson, protagonist and narrator in The Black Prince, "is concerned not just primarily but absolutely with truth." Bradley Pearson is also concerned with truth. And understandably so, as he has just taken the rap, and been imprisoned, for a murder he claims he never committed. There are two rather different concerns here with truth: there (...) is the high-minded concern of the artist and there is the more pragmatic concern of the despised and falsely convicted man writing his "apologia." The careful juxtaposition of these two appeals to truth is a central theme in The Black Prince. The bulk of the novel purports to be a first-person narration of events in the later life of Bradley Pearson. Bradley is a writer who has been waiting patiently and silently for the inspiration, "the dark blaze," to produce a great work of art. This "dark blaze" eventually shows itself as the "black Eros," in a passionate but short-lived love affair with the youngJulian Baffin. Bradley is reflecting on these events from his prison cell, guided by his mentor and fellow prisoner, the "editor" P. Loxias (a witty reference to Apollo, god of truth). He sees his art and his love as stemming "from the same source" (p. 172) and, although sensitive to his shortcomings as an artist, he believes that through a divine inspiration he has attained a kind of Platonic tranquillity in the presence of truth and self-knowledge. However, through the device of "postscripts," purportedly written by other characters, we are presented with another picture of him rather different from his own. His former friends, more down to earth, though variously self-interested, depict him as a pitiful, even contemptible, charlatan lost in fantasy and delusion and a suitable case for psychoanalysis. What, then, is the real Bradley Pearson? Is he the pathetic, fantasy-ridden creature of the "postscripts"? Or is he, as he thinks, the great artist inspired by the gods and by Eros who has seen the revelation of truth? 209 2 1 0 Philosophy and Literature By forcing us to raise these questions about the novel, Iris Murdoch, I suggest, is inviting us to reflect on, and relate, two concerns we might have with truth in works of fiction. The first is with truth internal to the novel, truth-within-fiction, which informs us about the fictional characters and events. In The Black Prince, our attention is focused on unravelling and assessing the "truth" of Bradley's account. The second is with truth proper, as it might be revealed through fiction. This is truth not about the fictional world but about the non-fictional real world. It is often maintained that novels can instruct us in acquiring knowledge of the world. This, I suggest, is the type of truth that Bradley, so grandly and solemnly, and frequently, identifies with art. The nature of such truth is the main topic of this article. II What sense can we make of Bradley's repeated claims to the effect that "good art speaks truth" (p. xi)? One answer, reflecting an obvious feature of literary works, is that propositions about the world are often expressed, explicitly, within a fictional context; they might be uttered by one of the characters or directly by the author. The Black Prince offers many such propositions, some of which, on the nature of art, I shall be considering in detail. Examples are plentiful. Thus, Bradley remarks on marriage: "People who boast of happy marriages are, I submit, usually self-deceivers, if not actually liars. The human soul is not framed for continued proximity..." (p. 64). He meditates on love: "The foreverness of real love is one of the reasons why even unrequited love is a source of joy" (pp. 173-74) and discusses jealousy (p. 207). He also reflects on human consciousness and responsibility (p. 155) and on selfishness and goodness: "The burden of genuine goodness is instinctively appreciated as intolerable, and a desire for it would put out of focus the other and ordinary wishes by which one lives" (p. 149). Such explicit propositions carry us beyond the... (shrink)

In December 2010, the governor of Mississippi suspended the dual life sentences of two African American sisters who had been imprisoned for sixteen years on an extraordinary condition: that Gladys Scott donate a kidney to her ailing sister Jamie Scott. The Scott Sisters’ case is a highly unusual one, yet it is a revealing site for inquiry into US biopolitics more broadly. Close attention to the conditional release and its context demands a broader frame than traditional bioethics and helps to (...) push science and technology studies analysis of race past its conventional focus on genetics. This article draws on the Scott Sisters’ case as a site for interrogating the US context of racialized mass incarceration and kin-oriented and consumerist valorization of organ donation. Tensions between racialized exclusions, the promise of consumerist freedom, and the lack of expectations of the state are foundational to a distinctly American biological citizenship. By putting the Scott Sisters’ case into conversation with broader arguments about incarceration as a site of racialization and STS literatures of organ transplantation and of biological citizenship in diverse geographical sites, this article seeks to articulate some of the racialized contours of biopolitics in the United States. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Skeptical Selves: Empiricism and Modernity in the French NovelDaniel GordonSkeptical Selves: Empiricism and Modernity in the French Novel, by Elena Russo; 225 pp. Stanford: Stanford University Press, 1996, $35.00.Skeptical Selves explains how linguistic relativism has shaped French literature from the Enlightenment to the present. Elena Russo provides three cases: Prévost’s Histoire d’une Grecque moderne (1740), Constant’s Adolphe (1816), and des Forêts’s Le Bavard (1946). Her fascinating scholarly (...) goal is to portray the inexorable decline of the novel in a climate of ever growing doubt about the truthfulness of narration. Her remarkably ambitious philosophical goal is to save the novel by refuting skepticism!More precisely, Russo’s target is not every form of doubt but rather a specific current of French skeptical consciousness. In recent years, the representatives of this current have been Derrida and Blanchot. Its main feature is a denial of the correspondence notion of the language-truth relationship combined—paradoxically—with an intense nostalgia for a perfectly mimetic language that has allegedly been lost. The seemingly most radical critics of the sign, Russo claims, never overcome the perverse yearning for the very mimesis whose possibility they deny (p. 3).Russo is getting at an interesting distinction here, the distinction between epistemological modesty, which she upholds, and French skepticism, which she deplores. Epistemological modesty means the redefinition of truth according to some criterion other than perfect representation of the external world. French skepticism for her means the insistence on an absolute standard of mimetic reliability and a simultaneous denial that this standard can ever be reached. “Much of the language of negativity we have grown accustomed to in contemporary criticism rests upon the following syllogism: to know is to know directly and without mediation; this is not possible; therefore, the world is unknowable. Any conceptualization is ipso facto viewed as suspect, hence the flight towards nonverbal forms of expression, such as music and silence” (p. 13).After suggesting in her first chapter that French skepticism is a specific style of thought, not a final answer to our epistemological queries, Russo goes on to illustrate the impact of this skepticism on the novel. Prévost’s text, she observes, is one of the first novels built around the distorted point of view of a fallible [End Page 179] narrator. The narrator is the French ambassador to Constantinople who falls in love with a woman, Théophé, recently freed from a seraglio. Both his love and his comprehension are frustrated by the woman’s apparent simplicity and virtue. “Signs acquire a meaning opposite to their manifest one,” Russo notes. “It is precisely the discourse that should have made Théophé look credible that makes her appear suspicious. She is cunning and deceptive because she appears ‘naive’ and ‘innocent’; she is opaque because of her ‘simplicity’ and ‘openness’” (p. 42). The whole point of the novel is to show that we are imprisoned in subjectivity and there is no way out. For a time the narrator attempts to resolve his doubts regarding Théophé’s words by concentrating instead on her body. But here as well he can discover only ambiguity: nothing reveals clearly whether she is conquerable and whether she already has another lover.The novel ends with the unexplained death of Théophé, and Russo comments: “we are given the impression that, rather than ending his text, Prévost is ridding himself of an intractable problem” (p. 66). Artfully, the rest of the book helps us see that the tendency to thematize philosophical problems that have no solutions is intensified in the nineteenth and twentieth centuries—to the point where not merely the ending of novels but novels themselves disappear. (Of course, Russo means not that people no longer write novels but that the genre has succeeded in diminishing its own stature by so frequently decrying the limits of language.)The chapter on Constant did not strike me as the strongest part of the book. The problem is due perhaps to the fact that Constant was a truly great thinker, a brilliant political theorist and philosopher of religion as well as a romantic novelist. One chapter does not... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Julia Annas ACTION AND CHARACTER IN DOSTOYEVSKY'S NOTES FROM UNDERGROUND Notes from Underground was written with a specific purpose in mind: to answer Chernyshevsky's novel What Is to Be Done?1 And many features of Dostoyevsky's work can only be understood when we bear in mind its specifically Russian setting. The narrator is a romantic idealist of the forties transformed into something rather different by 1864, and no doubt we (...) lose much if we do not bear in mind that Dostoyevsky is looking back across the gulf of imprisonment and suffering at his own idealistic youth.2 But the intense and radically peculiar nature of Dostoyevsky's writing takes us to a level of the work which is accessible to those without knowledge of the local conditions of the work's production. As Mochulsky says, "the author steadily emerges beyond the confines of the Russian intellectual... the underground man's paradoxes are not the whims of some half-mad eccentric, but a new revelation of man about man." The book is "the philosophical preface to the cycle of the great novels" (p. 245). Even though Dostoyevsky's passionate and extreme temperament made him quite incapable of constructing a piece of precise philosophical argument, there is much of genuine philosophical interest in part I. It is not just a particular moral and political theory, like Chernyshevsky's, which is to be discredited, but something deeper, the presuppositions of a whole type of moral theory. In this article I shall examine the implications of what Dostoyevsky says for the philosophy of action and thence for ethics. I shall argue that he challenges a very basic model of human action, which is both intuitively plausible and basic to many moral theories. I shall also argue that as the work stands, there is a lack of continuity between parts I and II on the philosophical as well as on the literary level. In concentrating on the consequences for moral theory, I shall be ignoring the social and political aspects of the work. It may well be urged that such a division of the moral from the political is unrealistic in treating 257 258Philosophy and Literature a Russian writer. In defense I can only say that this narrowing of focus brings out in a sharper and more tractable way the philosophical issue which is my main concern. I Tell me, who was it who first declared, proclaiming it to the whole world, that a man does evil only because he does not know his real interests, and if he is enlightened and has his eyes opened to his own best and normal interests, man will cease to do evil and at once become virtuous and noble, because when he is enlightened and understands what will really benefit him he will see his own best interest in virtue, and since it is well known that no man can knowingly act against his best interests, consequently he will inevitably, so to speak, begin to do good. Oh, what a baby! Oh, what a pure innocent child! (part I section 7; all quotations are from the translation by Jessie Coulson [London: Penguin, 1972]). What exactly is the target here of the Underground Man?3 Every moral theory presupposes some theory of human action, although this may not be explicit; since moral philosophy is concerned with human actions, it must presuppose some account of what it is for a human action to be performed. One very influential tradition thinks of the paradigm of action as essentially aimed at some good: "Every art and every inquiry, and similarly every action and pursuit, is thought to aim at some good" is the opening sentence of Aristotle's Ethics.4 What is it for every action to aim at some good? We have the assumption here that every action is purposive and rational; purposive in that there is some goal which the agent sees as a good and rational in that performing the action is believed by the agent to be an appropriate means or way of bringing about the desired goal. This model of action is developed very fully in Aristotle, but it is not conceptually linked to... (shrink)

Bentham was an influential thinker with an ‘essentially practical mind’. His influence on British social and political reform, however, was indirect, coming largely after his death and largely through the work of his disciples. Bentham's own attempts to put his ideas directly into practice generally had little effect. He came closest to success in the area of penal policy, winning a contract from Pitt's government in the early 1790s to build and manage a penitentiary that was to be organized on (...) the panopticon principle. Bentham saw the penitentiary as the spearhead of prison reform and as a means of effecting a change from transportation to imprisonment as a punishment for serious crime. While Bentham's use of the panopticon principle itself has attracted most attention in the literature, there was more to his scheme than this. The penitentiary proposals were worked out in great detail, they were a conscious application of his theory of punishment, and they were consistent with and an element of his all-embracing plan of social, political, and constitutional reform. (shrink)

Important personality of the Romanian space, the Jew Nicolae Steinhardt that will discover the Christianity in prison and will be baptised in Jilava prison, will be not only an intellectual with ecumenical vocation, but also a writer that offers a rich testimony about the way how Communism from the Romanian space can not only ruin a life, but also make one to come closer to God and arrive to a deeper consciousness of the real values of life and spirituality that (...) will therefore be connected to the cultural space, seen as an alternative and a form of survival in the Prison life. Both the experience that he had as an imprisoned for political reasons, like the one after his release will be emphasized in his discontinuous journal and therefore aspects like political theology will come as outcomes of his experiences or as forms of presenting the conclusions of his lectures. Contribution: Based on The diary of happiness, the most important and the most translated work of Nicolae Steinhardt (translated in 20 languages), that constitutes also an important part of the samizdat literature from Romania during the Communist period, the present research emphasizes the way how Steinhardt’s spiritual autobiography comes in contact with the political theology, bringing into attention the pillars of his conception. (shrink)

What do god, a novelist, craftsmen, and capitalist monopolies have in common? José Saramago’s The Cave engages with this question in a way that recalls Plato’s Republic and its notion of mimesis: the mortal agents imitate divinity by wielding absolute power over products—a novel, ceramic dolls, a commercial-cum-residential center—that imprison their denizens in illusory worlds. The Cave contains a cave and various cave-like constructions that compound the prevailing sense of control and entrapment. Freedom from The Cave and its coercive power (...) requires finishing and exiting the novel. (shrink)

Ludwik Fleck is remembered for his monograph published in German in 1935. Reissued in 1979 as Genesis and development of a scientific fact Fleck’s monograph has been claimed to expound relativistic views of science. Fleck has also been portrayed as a prominent scientist. The description of his production of a vaccine against typhus during World War II, when imprisoned in Buchenwald, is legendary in the scholarly literature. The claims about Fleck’s scientific achievements have been justified by referring to his (...) numerous publications in international scientific journals. Though frequently mentioned, these publications have scarcely been studied. The present article discusses differences in interpretation and evaluation of science in relation to the background of the interpreters. For this purpose Fleck’s scientific publications have been scrutinized. In conjunction with further sources reflecting the desperate situation at the time in question, the results of the study account for a more restrained picture of Fleck’s scientific accomplishments. Furthermore, based on the review of the latter, certain demands characterizing good science could be articulated. The restricted possibilities of those not trained in science or not possessing field specific knowledge, evaluating science are discussed, as are also formal aspects of scientific papers and questions related to research ethics. (shrink)

Jerzy Braun (1901–1975) began as a scout activist, in subsequent years he became known as a politician, poet, prose writer, playwright, screenwriter, literary critic, philosopher, and theologian. In the inter-war years he founded and edited the periodicals Gazeta Literacka [Literary Gazette] and Zet, he also headed the Hoene-Wroński Society which propagated the thought of Józef Maria Hoene-Wroński. Under the Nazi occupation he founded and headed the underground organization Unia grouping Poland’s leading intellectuals. Unia propounded a universalistic program of integrating nations (...) and states whose outlines Braun had laid down before the war. Braun’s unionism theory, in which he strove for a harmonious combination of national and universal ideas, was based on 19th-century concepts developed by, among others, Bronisław Trentowski, August Cieszkowski and, of course, Józef Maria Hoene-Wroński. Imprisoned by the communists after the war, in the 1960s Braun attended the Vaticanum II sessions as an unofficial ecumenism expert. (shrink)

Jerzy Braun (1901–1975) began as a scout activist, in subsequent years he became known as a politician, poet, prose writer, playwright, screenwriter, literary critic, philosopher, and theologian. In the inter-war years he founded and edited the periodicals Gazeta Literacka [Literary Gazette] and Zet, he also headed the Hoene-Wroński Society which propagated the thought of Józef Maria Hoene-Wroński. Under the Nazi occupation he founded and headed the underground organization Unia grouping Poland’s leading intellectuals. Unia propounded a universalistic program of integrating nations (...) and states whose outlines Braun had laid down before the war. Braun’s unionism theory, in which he strove for a harmonious combination of national and universal ideas, was based on 19th-century concepts developed by, among others, Bronisław Trentowski, August Cieszkowski and, of course, Józef Maria Hoene-Wroński. Imprisoned by the communists after the war, in the 1960s Braun attended the Vaticanum II sessions as an unofficial ecumenism expert. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Making Fetal PersonsFetal Homicide, Ultrasound, and the Normative Significance of BirthCatherine MillsIn early 2012, the then attorney general of Western Australia, Christian Porter, announced plans to introduce fetal homicide laws that would “create a new offence of causing death or grievous bodily harm to an unborn child through an unlawful assault on its mother” (Porter 2012). While well established in the United States, fetal homicide laws are only beginning (...) to take shape in Australia.1 The proposed law would mean that if an offender assaulted a woman and thereby caused the death of the fetus she was gestating, the courts would be required to impose a sentence of life imprisonment in all but exceptional circumstances—equivalent to the penalty for murder. While the proposed fetal homicide law is said to give appropriate recognition to the grief and suffering of the woman involved—and while it may help to do that—this is certainly not all it would do.2 For it would also give existence to a new legal subject in Western Australia, that is, the “unborn child”: currently, under Western Australian law a child is only legally capable of being murdered when already external to the mother’s body. Thus, the woman’s body constitutes a kind of “natural” basis for a legal boundary—one that the proposed law transgresses and perhaps obliterates, at the same time as it purports to recognize the trauma associated with the transgression and obliteration of that boundary by another.Fetal homicide laws thus traverse difficult territory in the maternal-fetal relationship, in which actions against one person come to constitute a crime against another. Significantly, these laws are typically formulated to provide legal protection for pregnant women against the intrusions of a third party against [End Page 88] their person. However, it may be that they can also be interpreted more generally to provide legal protection for the fetus against others. So construed, such laws open up a danger for pregnant women themselves, insofar as their actions threaten the life and well-being of the fetus they carry. One recent example of the exploitation of this ambiguity in fetal homicide laws is the case of Bei Bei Shuai, a young woman of Chinese descent who faced felony charges of murder in Indiana after a failed suicide attempt resulted in the death of the thirty three week old fetus she was gestating (Pilkington 2011, 2012). If a woman’s actions against herself, leading to the death of her fetus, can be legally construed as murder, where does this leave the law on abortion? The Western Australian attorney general insisted that the proposed law would not affect laws on abortion in any way, since it would not encroach on a woman’s right to make decisions about her pregnancy (Porter 2012). But a woman’s decisional rights in regards to her pregnancy are at best an unstable dividing line; at worst, it is precisely her decision to terminate a pregnancy—that is, to intentionally bring about the death of the fetus—that substantiates a murder charge. Indeed, at the crux of the Shuai case was her suicide note, in which she apparently stated her intent to kill her fetus.This ambiguity between abortion and fetal homicide has been the topic of much discussion in legal literature, and it raises significant questions that bear further investigation. For one, it raises in a particularly pointed way questions about the moral and legal significance of birth, and the bearing it has on the status of the fetus. Birth has historically been significant in establishing personhood, but this reliance on birth is challenged by the shift to treating the fetus as a person for the purposes of some areas of the law. The further question then arises of whether that status must remain consistent across domains of the law, such as those addressed to the death of a fetus at the hands of a third party, and those on abortion. While these questions have been well canvassed in legal discussions, we might also consider the impact that technologies such as obstetric ultrasound have on notions of fetal life and personhood. Advances in medical technologies appear... (shrink)

This article examines a series of Greek myths which establish a structural equivalence between two motifs, stoning and blinding; the two penalties either substitute for one another in alternative versions of a single story, or appear in sequence as repayments in kind. After reviewing other theories concerning the motives behind blinding and lapidation, I argue that both punishments-together with petrifaction and live imprisonment, which frequently figure alongside the other motifs-are directed against individuals whose crimes generate pollution. This miasma affects (...) not only the perpetrator of the deed, but risks spreading to the community at large, and prompts measures aimed at containing the source of the disease. Both blinding and lapidation are designed to cordon off the contaminant by removing him from all visual and tactile contact with other men. But it is not only the nature of the crimes that explains the kinship between the two penalties. I further argue that the attributes Greek thinking assigned to stones, repeatedly characterized as unseeing, mute, immobile, and dry, and symbolic of the condition of the dead, elucidate the connections and clarify the antagonism that myth suggests between lapidation and sight. Stoning, blinding, imprisonment, and petrifaction all consign the criminal to an existence exactly parallel to that of the stone, stripping him of the properties that distinguish the living from the dead, and making him both unseeing and unseen. Three examples drawn from archaic and classical literature provide examples of these interactions between stones, blindness, invisibility, and death: the snake portent sent by Zeus in Book 2 of the Iliad, the Perseus myth, and Hermes' activity in both the Homeric Hymn to Hermes and Aeschylus' Choephoroe. (shrink)

Suhrawardī, as the founder of illumination philosophy, has works in the field of literature that have philosophical nuances. Researchers through this article attempt to examine philosophically-hermeneutically the Sufistic Romance of Ghurbah al-Gharbiyah Suhrawardī which has not been extensively studied by researchers including Suhrawardī scholars. The novel is genealogically related to Ḥay bin Yaqẓān by Ibn Sīnā and Ibn Ṭufayl, so it is called the Ḥay bin Yaqẓān trilogy: Avicenna, Ibnu Ṭufayl, and Suhrawardī. Through Ricoeur’s Hermeneutic Approach and Corbin’s Epistemology (...) of Sufistic Imagination, which is used as a research method, researchers intend to interpret the symbols and existential meanings of Ghurbah al-Gharbiyah's novel. The purpose of this study is to interpret the background, symbols, and meaning behind Suhrawardī’s novel. The conclusion of this study: Ghurbah al-Gharbiyah discusses the philosophical theme of human alienation in the world with the use of symbols: the city of Qairawan as the imprisoned phase, the Hudhud bird as the enlightenment phase, and the journey on Mount Sinai during the liberation phase and meeting with the "Light of all Lights". Three phases each characterize today's Sufistic consciousness of man: the experience of alienation, enlightenment, and liberation. On the other hand, this novel is a representation of Suhrawardī's subjective creative imagination (al-quwwah al-khayāliyyah) inspired by prophetic experiences: Prophet Muhammad's Ascension, Prophet Sulaiman's Hudhud bird, and Prophet Musa's Mount Sinai. (shrink)

Undisputed letters of Paul and Acts of the Apostles are replete with details of the Gentile Missionary’s multiple imprisonments, so much as to qualify him a ‘jailbird’ description. Paul’s incarceration in Herod’s palace for 2 years (Ac 23:34–35), his arraignment before Governor Felix and subsequent detention for 5 days before plea (Acts 24) on charges of inciting public violence, being a ringleader of a cultic faction and causing disturbances in the Jerusalem Temple, resonate with the contentious arrests and imprisonment (...) without bail and trial of members of opposition political parties in Zimbabwe. Consistent with New Testament passages that exhort caring for prisoners and the need to grant justice to those facing trial, this study seeks to understand how inmates in Zimbabwean prisons have been on the receiving end of relics of the ancient Roman Legal system in the country’s Human Rights history between 2018 and 2022. The article demonstrates how the New Testament can be deployed to grapple with distress calls emerging from Zimbabwe’s prison walls as part of advocacy for judicial reforms in the country’s quest for rule of Law. At the end, the article recommends ways in which Churches in Zimbabwe can tap from New Testament passages how to operate an effective prison ministry in liaison with the Prisons and Correctional Services Department of the Government of Zimbabwe. The article employs qualitative methods of Socio-Historical and Ethnographic Analyses to discuss how human rights pitfalls in Paul’s imprisonments present remedial lessons in Zimbabwe’s quest for judicial reforms. Contribution: Deployment of the Bible to redress Human Rights issues in Zimbabwe. Demonstration of how Early Christian Literature can dialogue with contemporary African Sitz im Leben for social transformation. (shrink)

The phrase ‘Never Again,’ ‘plus jamais, ‘nie wieder,’ ‘nunc más’ and ‘nunca mais’ promises to end the atrocities of the 20th century and warns of their return if individuals and governments remain indifferent to injustices in the world. Never Again is based on the moral claim that active remembrance is central to learning from the past and to preventing violence in the future. Indeed, as President Volodymyr Zelensky argued in his speech on May 8th commemorating the end of World War (...) II, ‘Never Again’ is ‘the anthem of the civilized world.’ While the promise of Never Again was undermined by genocide in Yugoslavia and Rwanda, and the bombing of civilians in Syria and war in Afghanistan, Russia’s full-scale invasion of Ukraine tests the ethics of Never Again on a larger scale with its looming specter of nuclear war and growing list of war crimes. In an effort to understand how the very institutions that were created in the aftermath of World War II could not prevent war from returning to Europe, my argument proceeds in three parts: (1) Never Again is based on a paradox between the universal and the particular, as well as between the historical experience of individuals in the past and the universal promise to avert its reoccurrence. (2) Never Again refers to a break in historical time that links the living with memories of the dead and promises not to repeat the violence of the past in the future. At issue is the kind of intergenerational responsibility implied in the ethics of Never Again. (3) The imperative of Never Again is weakened when memory is reduced to a melancholic gaze of catastrophe that privileges a tragic understanding of history. (shrink)

The lay public inherits much of its information about disability and mental illness through the media, which often relies on information from popular scientific works. Autism, as it was defined during the dominance of psychogenic paradigms of mental illness, generated certain tropes surrounding it, many of which have been popularized through media representations. Often inaccurate, these tropes have persisted into contemporary times despite a paradigmatic shift from psychogenic to biological explanations and treatments for mental illness. The current article examines images (...) and articles of children with autism from the 1960s and the early 2000s in major news media and scientific literature to highlight the persistence of themes of fragmentation and the imprisonment of children with autism. While these themes have persisted in psychological and media literature, narratives of people with autism and their families often present a different perspective. This results in two divergent ‘realities’ of autism being disseminated into the general public. (shrink)

Nineteenth–century scholars assumed that the Athenians as a community punished citizens with death, exile, atimia, and fines and used imprisonment only to hold those awaiting trial, those awaiting execution, and those unable to pay fines.1 As they saw it, brief imprisonment in the stocks occasionally supplemented these penalties, but always as additional penalty–never as a penalty on its own. Barkan saw in the use of imprisonment as an additional penalty the likelihood of general penal imprisonment and (...) used evidence from the oratorical corpus to make an argument therefore.2 His argument seems to have been largely ignored–the nineteenth–century interpretation continuing dominant; and the issue, largely unexplored but for a few glancing references in recent scholarship.3 The issue remains, thus, sufficiently vexed to make worthwhile a restatement of the argument for the use of punitive imprisonment. Also, the evidence provides clues worth setting forth as to why and when punitive imprisonment developed. Indeed, these are sufficient to make an argument about the relevance of the development to Athenian political history. For the introduction of penal imprisonment in Athens proves an extremely important historical moment, marking as it does both the completion of a general will institutionalized and a significant point in the establishment of isonomia. (shrink)

Nineteenth–century scholars assumed that the Athenians as a community punished citizens with death, exile,atimia, and fines and used imprisonment only to hold those awaiting trial, those awaiting execution, and those unable to pay fines.1As they saw it, brief imprisonment in the stocks occasionally supplemented these penalties, but always as additional penalty–never as a penalty on its own. Barkan saw in the use of imprisonment as an additional penalty the likelihood of general penal imprisonment and used evidence (...) from the oratorical corpus to make an argument therefore.2 His argument seems to have been largely ignored–the nineteenth–century interpretation continuing dominant; and the issue, largely unexplored but for a few glancing references in recent scholarship.3 The issue remains, thus, sufficiently vexed to make worthwhile a restatement of the argument for the use of punitive imprisonment. Also, the evidence provides clues worth setting forth as to why and when punitive imprisonment developed. Indeed, these are sufficient to make an argument about the relevance of the development to Athenian political history. For the introduction of penal imprisonment in Athens proves an extremely important historical moment, marking as it does both the completion of a general will institutionalized (in a punishment of consumption of the wrong–doer within, rather than of expulsion from, the community) and a significant point in the establishment ofisonomia. (shrink)

This article explores the phenomenon of “phantom pain.” The analysis is based on personal experiences elicited from individuals who have lost a limb or live with a paralyzed body part. Our study reveals that the ways in which these individuals express their pain experience is an integral aspect of that experience. The material consists of interviews undertaken with men who are living with phantom pain resulting from a traumatic injury. The phenomenological analysis is inspired by Zahavi :151–167, 2001) and Merleau-Ponty. (...) On a descriptive level the metaphors these patients invoke to describe their condition reveal immense suffering, such as a feeling of being invaded by insects or of their skin being scorched and stripped from their body. Such metaphors express a dimension of experience concerning the self that is in pain and others whom the sufferer relates to through this pain, as well as the agony that this pain inflicts in the world of lived experience. This pain has had a profound impact on their lives and altered their relationship with self, others and the world. Their phantom pain has become a reminder of their formerly intact and functioning body; they describe the contrast between their past and present body as an ambiguous and disturbing experience. We conclude that these sensitive and personalized experiences of phantom pain illuminates how acts of expression—spoken pain—constitute a fundamental dimension of a first-person perspective which contribute to the field of knowledge about “phantom pain”. (shrink)

Noël Carroll has suggested that scary films scare because our emotions are structured by the disgusting and dangerous properties of the films’ monsters. By contrast, this essay argues that some scary films scare through more direct means than can be explained by entertaining in thought, say, the impure properties of Count Dracula. It is the film itself that disgusts and frightens, by ‘taking over’ the spectator so that their consciousness of the film is ‘contaminated’ by the ‘spirit’ of horror. In (...) this essay, I discuss this state of ‘being done by disgust-horror through Roman Polanski’s Repulsion (1965). In my reading, Repulsion is about ultrasensitivity to the world and the subsequent, insane fear of intimacy that the film itself directly induces in its spectator. The spectator is threatened with possession in a fashion analogous to the way in which Carole’s apartment (her own mind) keeps her captive in her own disgust. This disgust that Carole feels is not merely disgust towards men, but disgust towards the world in general. The effect of this is the devastating, disgusting, schizophrenic terror of being unable to trust one’s own senses. (shrink)

Relationalität und Selbstdiskursivierung in den lebens -- und Sozialwissenschaften -- Selbstreflexion und Relationalität in der literatur.

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

In the work of Lorenz we find an initial phase of great concordance with Uexkülls theory of animals’ surrounding-world (Umweltlehre), followed by a progressive distance and by the occurrence of more and more critical statements. The moment of greater cohesion between Lorenz and Uexküll is represented by the work Der Kumpan, which is focused on the concept of companion, functional circles, social Umwelt. The great change in Lorenz’ evaluation of Uexküll is marked by the conference of 1948 Referat über Jakob (...) von Uexküll, where Lorenz highlights the vitalist position of Uexküll. In the works of the years after World War II, the influence of the Estonian Biologist greatly diminishes, even though Lorenz continues to express his admiration for particular studies and concepts of Uexküll. References to Uexküll’s work are less and far in between, while the difference is highlighted between the uexküllian theoretical frame (vitalistic) and Lorenz’s one (Darwinian and evolutionist). The two main critical lines of argument developed by Lorenz in this process are the biological and the epistemological one: on the biological side Lorenz heavily criticizes Uexküll’s vitalism and his faith in harmonizing forces and supernatural factors (which leads to concepts such as the perfect fusion of all biological species in their environment and the absence of rudimentary organs). On the epistemological side, Lorenz, arguing from the point of view of the critical realism, accuses Uexküll of postulating the separateness of all living beings, a separateness which is due to the Kantian idea that every subject of knowledge and action is imprisoned in the transcendental circle of its representations and attitudes. (shrink)

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable (...) - in case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

My essay is based on the lecture I presented at the Conference “The German-Speaking Intellectual and Cultural Emigration to the United States and United Kingdom. 1933–1945”. I decided to publish it in honour of my friend Marek Siemek, because I think this theme is very actual, especially in light of the current crisis in Europe connected with the problems of fugitives and refugees. Ernst Bloch and Stefan Zweig, both Jews, reacted in opposite ways to their forced fate of being on (...) the run from persecution and murder. They felt like strangers in their exile. Ernst Bloch, a stranger to English and other languages, wrote his Principle of Hope in his mother tongue. Stefan Zweig, a brilliant translator, felt himself “imprisoned in a language, which he could not use”: Europe was his homeland. Tired “of all ideas in the future” he committed suicide far away from home. Ernst Bloch came back to Germany after the Second World War—first to the German Democratic Republic, and then, in 1961 to the Federal Republic of Germany. He continued his lifework against resignation and despair in keeping with what he outlined in his Principle of Hope: with his “real utopia” social model, and existence “without expropriation and alienation in real democracy,” where “there arises in the world something which shines into the childhood of all and in which no one has yet been: homeland.”. (shrink)

The ethics and moral psychology of the Phaedo crucially depend on claims made uniquely about bodily desire. This paper offers an analysis and defense of the account of bodily desire in the dialogue, arguing that bodily desires – desires with their source in processes or conditions of the body – are characterized by three features: motivational pull, assertoric force, and intensity. Desires with these features target the soul’s rational functions with distinctive forms of imprisonment. They target the soul’s capacity (...) to rule with servility; and they target the soul’s capacity for knowledge with confinement in the visible world. (shrink)

In _The Prisonhouse of Psychoanalysis_, Arnold Goldberg trains a searching, critical eye on his own profession. His subject matter is the system of interlocking constraints - theoretical, institutional, educational - that imprisons psychoanalysis and the psychoanalyst. His agenda is to sketch the shape analysis might take in the absence of these constraints. What emerges from these twin endeavors is a penetrating critique of psychoanalysis from the inside - from the vantage point of a senior analyst who has labored for many (...) years within the prisonhouse that he now criticizes. In proffering an alternative vision of psychoanalysis, Goldberg ventures into recent literature in epistemology, philosophy of science, cognitive psychology, and the neurosciences, so that one valuable byproduct of his work is a brilliant application of insights culled from these fields to the question of what analysis is, and what it may yet become. His examination of "psychoanalysis without foundations" challenges the ability of infancy research data and neurological findings, respectively, to provide an empirical rock bottom from which psychoanalytic theory-building can proceed. His chapter on "psychoanalysis without representations" reviews the analytic literature on the latter concept, only to show how recent theories of brain processing, including connectionism, provides a basis for understanding mental phenomena without any intermediary representations. Finally, his vision of "psychoanalysis without a subject" assesses recent findings about the nature of memory, insights of contemporary philosophy, and Kohut's notion of the selfobject as converging tributaries that make possible an analysis that dispenses with the conventional dichotomy of subject and object. (shrink)

Bertrand Russell was born in 1872 and died in 1970. One of the most influential figures of the twentieth century, he transformed philosophy and can lay claim to being one of the greatest philosophers of all time. He was a Nobel Prize winner for Literature and was imprisoned several times as a result of his pacifism. His views on religion, education, sex, politics and many other topics, made him one of the most read and revered writers of the age. (...) This, his autobiography, is one of the most compelling and vivid ever written. This one-volume, compact paperback edition contains an introduction by the politician and scholar, Michael Foot, which explores the status of this classic nearly 30 years after the publication of the final volume. (shrink)

In _The Prisonhouse of Psychoanalysis_, Arnold Goldberg trains a searching, critical eye on his own profession. His subject matter is the system of interlocking constraints - theoretical, institutional, educational - that imprisons psychoanalysis and the psychoanalyst. His agenda is to sketch the shape analysis might take in the absence of these constraints. What emerges from these twin endeavors is a penetrating critique of psychoanalysis from the inside - from the vantage point of a senior analyst who has labored for many (...) years within the prisonhouse that he now criticizes. In proffering an alternative vision of psychoanalysis, Goldberg ventures into recent literature in epistemology, philosophy of science, cognitive psychology, and the neurosciences, so that one valuable byproduct of his work is a brilliant application of insights culled from these fields to the question of what analysis is, and what it may yet become. His examination of "psychoanalysis without foundations" challenges the ability of infancy research data and neurological findings, respectively, to provide an empirical rock bottom from which psychoanalytic theory-building can proceed. His chapter on "psychoanalysis without representations" reviews the analytic literature on the latter concept, only to show how recent theories of brain processing, including connectionism, provides a basis for understanding mental phenomena without any intermediary representations. Finally, his vision of "psychoanalysis without a subject" assesses recent findings about the nature of memory, insights of contemporary philosophy, and Kohut's notion of the selfobject as converging tributaries that make possible an analysis that dispenses with the conventional dichotomy of subject and object. (shrink)

Many experimental American poets have succumbed to the seductions of post-structuralist thought, resulting in increasingly thorny lyrical meditations. At times this appropriation of a philosophical stance—and an abstruse vocabulary—has created monstrous poetic forms that exist in limbo between rigorous philosophy and lyric poetry. In exemplary ways, Mei-Mei Berssenbrugge's poetry incorporated the language of post-structuralism, transforming her early lyricism into strange hybrid texts that enact ideas put forward by Derrida and Lacan. But at what cost? Her work became imprisoned in the (...) language of theory rather than liberated, forcing her to interpret theory through a lens of Chinese philosophy. (shrink)

This collection emphasizes a cross-disciplinary approach to the problem of scale, with essays ranging in subject matter from literature to film, architecture, the plastic arts, philosophy, and scientific and political writing. Its contributors consider a variety of issues provoked by the sudden and pressing shifts in scale brought on by globalization and the era of the Anthropocene, including: the difficulties of defining the concept of scale; the challenges that shifts in scale pose to knowledge formation; the role of scale (...) in mediating individual subjectivity and agency; the barriers to understanding objects existing in scalar realms different from our own; the role of scale in mediating the relationship between humans and the environment; and the nature of power, authority, and democracy at different social scales. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 211-222 [Access article in PDF] Criticism and the Terror of Nothingness C. Jason Lee DESTINY IS OFTEN ANOTHER NAME for narrative, it being the order we retrospectively find in scattered events. It is traditionally the role of the storyteller to create a believable narrative, with the reader investing attention into believing the story while the critic dissects the results to ascertain whether the (...) magic works. As Wallace Stevens put it, "we orchestrate a whole history and then imprison ourselves in the score, as if someone else had written it." 1 In the author's note to the second edition (1962) of Wise Blood (1949) Flannery O'Connor makes the point that her novel is a comic novel, yet its comedy does not lessen the depth of understanding it offers concerning the complexity of freedom. 2 The obsession with fate and destiny that swamps her characters, leads the reader into a gothic nightmare where humans in their attempt to re-create themselves dig themselves further into the graves of their dead relatives. For O'Connor free will does not mean one will but many wills conflicting in one man, and she explains the integrity of the central character of Wise Blood, Hazel Motes, as stemming from his vigorous attempts to rid himself of the "ragged figure who moves from tree to tree in the back of his mind."This figure is the Jesus of his grandfather, and it is also the religious preoccupation of the Deep South. Destiny has shaped his features and his character in the mold of his grandfather, and whomever he meets believes he too is a preacher. After establishing the Church Without Christ, like many sons attempting to shake off their origin, Hazel Motes realizes that his new way of behaving is in some sense being controlled [End Page 211] by his past and that he must shake off all vestiges to possess freedom. One might argue that, by eventually blinding himself, Hazel Motes is behaving as a soul who has given into the temptation of purgation, as if this is destiny. But it can be argued that this act is going against destiny, as it is an act that is perhaps trying to persuade God of something, despite the Oedipal connotations.Questioned by his landlady why he blinded himself he says to pay, and when asked to pay for what, he replies it does not matter what. Mrs. Flood is frightened of death, particularly death being one long blind existence, and Hazel Motes is a reminder to her of her destiny. This can be read as a judgment on life also. Yet she eventually decides to take care of him, for both altruistic and materialistic reasons, believing that his widow would inherit his war pension. Mrs. Flood, her name evocative of apocalyptic occurrences and Old Testament punishment, is a critic of the text; the text in this instance is nothing written but rather Motes himself. It seems that Hazel Motes, his name a reference to taking the mote out of one's own eye before you try and take the splinter out of another's, is punishing himself for his previous denial of Christ and for his sins, such as fornication, as with Mrs. Watts the prostitute and Sabbath Hawks, and murder, but also something more primal.After trying desperately to break the curse of his biological inheritance, his wise blood, just like the character Enoch Emery, it forces him to once again take on roles that deny him freedom. Hazel Motes may seem to a contemporary reader as a caricature, the mad preacher/antipreacher of the American South, but as V. S. Pritchett puts it, Hazel Motes is "entirely real" (p. viii). His self-blinding is part of his further alienation from the world, the world he has come back to after the "Great War." O'Connor shows how this watershed in human history was so devastating, Motes's new theology entirely rational. After having an insight into the world in reality through war, Hazel Motes is now "going to do some things... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“We all love with the same part of the body, don’t we?”Iuliia Voznesenskaia’s Zhenskii Dekameron, New Women’s Prose, and French Feminist TheoryYelena Furman (bio)Starting out as a poet who eventually turned to fiction, Iuliia Voznesenskaia was also one of the main figures of the Soviet feminist movement, a fact that makes her biography both unusual and courageous. In the 1970s, Voznesenskaia’s involvement with the dissident movement in Leningrad resulted (...) in several arrests, imprisonment, and time in the camps.1 Although she was not initially interested in women’s issues, her incarceration in all-women’s camps and prisons convinced her that “the situation of women in our country demands special attention” (“Zhenskoe dvizhenie v Rossii” [“The Women’s Movement in Russia”] 41). Along with several other women dissidents, she founded the Soviet feminist movement, putting out the samizdat women’s journal Zhenshchina i Rossiia (Woman and Russia), which precipitated immediate reprisals from the KGB. A women’s club, Mariia, and a journal by the same name followed, as did more KGB reprisals. For her feminist activity, Voznesenskaia was expelled from the Soviet Union in 1980, settling in West Germany.2In 1985, in West Germany, Voznesenskaia wrote her first and best-known novel, Zhenskii Dekameron (The Women’s Decameron). The novel is set in a Leningrad maternity ward containing ten new mothers from different backgrounds with different life experiences: Larisa, Emma, Natasha, Nelia, Galina, and Valentina are educated and all have careers except Galina, whose occupation, admittedly strange for a feminist novel, seems to be a dissident’s wife; Ol’ga works in a shipyard; Irishka is a secretary; Al’bina is an Aeroflot flight attendant doubling as an escort on the KGB’s payroll; Zina is homeless and has served time in the camps; Valentina is a Party worker, whereas Galina is part of the dissident community. Quarantined together for ten days because of a spreading infection and inspired by Emma’s reading of Boccaccio’s Decameron, the women begin to tell each other stories to pass the time. As its title makes clear, Voznesenskaia’s novel is heavily indebted to Boccaccio’s, borrowing its structure and many of its themes, such as an emphasis on storytelling and sexual explicitness. The humor and poignancy of the women’s stories make it a highly enjoyable read, and the focus on female sexuality and the author’s play with the narrative set this novel apart from other Soviet writers’ works.3 The novel also features what is surely a unique occurrence in Russian and Soviet literature: an openly feminist character (Larisa), referred to by the authornarrator as “zhenshchinoi vpolne emansipirovannoi, mogushchei ukrasit’ soboi liuboe zapadnoe feministicheskoe obshchestvo” [“a completely emancipated woman, capable [End Page 95] of adorning any Western feminist group”] (13), who is moreover depicted in a wholly positive light.4Yet despite enjoying a modicum of success, including being translated into several languages and staged as a play, Zhenskii Dekameron remains an under-read and underrated work.5 The reasons for its relative obscurity are closely allied with Voznesenskaia’s political activities in the 1980s. Exiled abroad for being politically undesirable to Soviet authorities, she could not have her work published in the Soviet Union; rather, the novel came out in Russian in Israel in 1987 (Curtis 186n2).6 The lack of visibility from which she suffered in her native country changed only in the (post)glasnost’ period: in 1991, the novel was published in Russian in Tallinn, and in 1992, in Moscow.7 Despite being able to be published, however, Zhenskii Dekameron seems not to have made a strong impact on either readers or critics, and there does not appear to be any discussion of it in Soviet/ Russian literary journals.The novel likewise suffers from a lack of familiarity in the West. The interest Voznesenskaia generated among Western European and American feminists in the early 1980s was for her feminist activism in the Soviet Union, which preceded her novel writing. Zhenskii Dekameron seems to have made a modest impact on readers; scholars, too, discuss it only occasionally. The most comprehensive treatment of the work to date has been Jerzy Kolodziej... (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.