Cet article se propose d’appréhender le segment du point de vue de la production, en analysant les séquences identifiées lors du processus d’écriture, c’est-à-dire les unités langagières produites de manière spontanée et ininterrompue (entre deux pauses). Ces unités, que nous appelons jets textuels, ont été enregistrées grâce à l’outil de suivi de rédaction Inputlog. Nous avons tenté de caractériser les jets textuels en les mettant en regard avec divers types d’unités segmentales de langage, qu’elles soient issues de la segmentation des (...) textes finalisés, ou reconnues comme des segments préfabriqués propres à un système lexical ou syntaxique, c’est-à-dire des figements au sens large du terme. Nous nous sommes plus particulièrement penchés sur un parcours de segmentation parallèle, en production (jets textuels) et en réception (segments répétés), pour interroger quelques concepts théoriques et méthodologiques qui sous-tendent les démarches de segmentation : pré-construit, automatisme, mémorisation, figement, enracinement cognitif, fréquence, répétition. (shrink)

To Peirce scholars and other aficionados of logic, semiotics, and pragmatism, 2017 brought the great news of Bellucci’s Speculative Grammar book, providing the eye-opening first detailed chronological overview over Peirce’s career-length developing of his semiotics. Now, the first volume of Ahti Pietarinen’s long-awaited three-volume publication of the totality of Peirce’s writings on his mature logic representation system known as Existential Graphs not only gives us a plethora of hitherto unpublished Peirce papers but also a new and in many ways surprising (...) view into the origin and development of this important fruit of Peirce’s last, creative philosophical burst taking its beginning around 1896, famously to... (shrink)

Given the tremendous burst of activity in the philosophy of science during the last quarter century, the number of books by trained philosophers dealing with the logic of biology is surprisingly small. Simon’s book resembles Morton Beckner’s The Biological Way of Thought in its comprehensive ambitions: "trying to discover what, if anything, is distinctive about biological science, its concepts, and its mode of explaining." The most obvious difference of the two books is Simon’s long central chapter on "Theories, Models, and (...) the Concept of the Gene," which deals with the history of genetics from Mendel’s predecessors to the successors of Watson and Crick. Beckner paid little explicit attention to the history of biology. Another difference lies in Beckner’s dogged assessment of all problems in the logic of biology from the perspective of what he called the Humean Pattern of Explanation—a detailed and difficult variant of the approach of Hempel, Oppenheim, and Nagel. Simon’s philosophical position is more flexible than Beckner’s. He provides an acceptable review of the literature of the last decade and a half; some of his conclusions are most interesting—even when incompletely supported by his arguments; and the utility of his book is insured by the fact that it is necessary to go back over twelve years to find another with which it can be compared. The first chapter contains a very effective critique of J. J. C. Smart’s thesis that biology is no more an autonomous science than is electrical engineering, but is merely applied physics and chemistry. Smart had argued from the grounds that all biological generalizations implicitly refer to terrestrial evolution and are not truly universal, and Simon demonstrates the general lack of success of all efforts to demonstrate a difference in kind between so-called laws of nature and empirical generalizations of the sort found in biology. The second chapter continues in this same vein, drawing an interesting contrast between phylogenetic explanation in biology and the explanation of individual events in human history, and claiming that ‘explanatory’ status may be granted to accounts which do not meet the requirements of the deductive-nomological model, as in the case of Darwin’s theories of the geographical distribution of plants and animals and the persistence of rudimentary organs. The author’s negative reaction to much of the recent philosophical literature concerning the role of functional analysis in biology seems particularly well placed. Following Hempel, most philosophers writing in the past ten years have regarded the occurrence of the item whose function is in question as the event to be explained. Simon correctly points out that in the biological literature, statements indicating the presence of this item are part of the explanans, usually one component in an explanation of the normal functioning of the organism. He also insists that functional or teleological statements cannot effectively be replaced by nonteleological ones. A functional account is one that relates an entity to the role it plays in an organized system. In the first of several serene non-sequiturs which mar the latter half of this book, Simon insists that the above account shows that the notion of function is essentially an "extrinsic" one and that teleological principles generally cannot be used to account for experience. No better argument than an appeal to Kant’s authority backs up this conclusion. The third chapter deals with the recent history of genetics; its summary makes the claim that "at no time during this history was it correct to say that one model was replaced by another one; rather, the development appears to have been one involving successive correction and refining of earlier conceptions. There has been no revolution: geneticists have always succeeded in either repelling or accommodating critical attacks on the model." The evidence presented earlier in the chapter confers some plausibility on this conclusion, but no more: Simon takes no notice of the controversy surrounding Kuhn and the notion of scientific revolutions, and provides no criteria by which to distinguish "revolutions" from "accommodations." The precise nature of the methodological continuity to be found in the history of genetics is crucial for the view that "biology, or at least genetics, must be regarded as incapable of yielding a complete explanation of the phenomena that come within its purview; if the ultimate principles appealed to are not those of chemistry and physics and hence essentially nonbiological, the explanation cannot be regarded as complete." The text does not clearly indicate the extent to which the author agrees with the statement just quoted; perhaps he only attributes it to "many biologists" impressed by the successes of molecular genetics. It is clear the Simon regards something he calls the "Cartesian attitude" as pervasive in biology. "Biologists are committed to attempting to explain the phenomena of life in terms of the nonliving... The property of being alive or being associated with a living system is simply not treated as a logical primitive within biological science." But this seems to take us back full circle—to the position of Smart, that biology is no more than applied physics and chemistry. Simon disagrees with Smart. How does he stand vis-a-vis this last statement of the Cartesian spirit he finds so pervasive in biology? I think he disagrees with it, but it is very hard to tell. Perhaps the answer is that the resolution of the issue of the autonomy of biology is a pragmatic matter, relative to a complex set of needs and commitments: the sorts of things that determine life styles, political attitudes, and religious points of view, as well as the growth of scientific understanding. The question of the precise configuration of Simon’s pragmatism remains very vague indeed—a consequence of his over use of the style of impersonal attribution rather than direct assertion. Simon says generally sane and familiar things about Biology and the Idea of Progress and about Biology and Ethics. The really startling assertion of the penultimate chapter, that "consciousness" is neither a biological nor a behavioral predicate, and that its foundations are essentially moral and legal, is unfortunately supported by no argument whatsoever. Instead, the reader is urged to examine two of the author’s previous articles.—E. M. (shrink)

The last third of the twentieth century witnessed a burst of energy by philosophers sorting out the many-faceted claims of natural law theory. Natural law theory, rooted in the Nicomachean Ethics with some modifications by the Stoics, was studied in the twentieth century mainly through the writings of Thomas Aquinas, followed by those of the Salamanca school, which was central to the Second Scholasticism. The horrors of the Second World War and the trials following it, with their charges of “crimes (...) against humanity,” prompted a renewed interested by English-speaking philosophers in natural law jurisprudence. Analytic philosophers followed Elizabeth Anscombe’s urging to venture beyond the limits of early twentieth-century moral philosophy; Alasdair MacIntyre’s writings buttressed the return to ethical naturalism; John Finnis’s “new natural law” theory also contributed to this renaissance. These many avenues form the conceptual backdrop to the eight books reviewed in this essay. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in (...) the grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

In 1943 one of the authors of this paper set out a case for the view that the sixth book of Polybius' Histories contained two layers, written at different times, and indicating a change in the historian's assessment of the achievements and merits of the Roman hegemony. The arguments there put forward met with some acceptance; but the recent burst of interest in the problems of the sixth book has shown that unanimity is still remote. Among scholars writing since (...) 1943, one, G. B. Cardona, is a ‘separatist’ who accepts the views of De Sanctis; another, W. Theiler, believes that three ‘layers’ of composition can be detected and isolated; three, E. Mioni, H. Erbse, and H. Ryffel, are ‘Unitarians’, but vary in the date they assign to the composition of the Histories; and K. Ziegler in his R.E. article on Polybius argues for composition in the sixties followed by a revision and publication before 146. (shrink)

In 1943 one of the authors of this paper set out a case for the view that the sixth book of Polybius' Histories contained two layers, written at different times, and indicating a change in the historian's assessment of the achievements and merits of the Roman hegemony. The arguments there put forward met with some acceptance; but the recent burst of interest in the problems of the sixth book has shown that unanimity is still remote. Among scholars writing since (...) 1943, one, G. B. Cardona, is a ‘separatist’ who accepts the views of De Sanctis; another, W. Theiler, believes that three ‘layers’ of composition can be detected and isolated; three, E. Mioni, H. Erbse, and H. Ryffel, are ‘Unitarians’, but vary in the date they assign to the composition of the Histories; and K. Ziegler in his R.E. article on Polybius argues for composition in the sixties followed by a revision and publication before 146. (shrink)

_An exemplary collection of work from one of the world’s leading scholars of intellectual history__ “Földényi... stage[s] a broad metaphysical melodrama between opposites that he pursues throughout this fierce, provoking collection (expertly translated by Ottilie Mulzet).... He proves himself a brilliant interpreter of the dark underside of Enlightenment ambition.”—James Wood, _New Yorker__ László Földényi’s work, in the long tradition of public intellectual and cultural criticism, resonates with the writings of Montaigne, Walter Benjamin, and Thomas Mann. In this new essay collection, (...) Földényi considers the continuing fallout from the collapse of religion, exploring how Enlightenment traditions have not replaced basic elements of previously held religious mythologies—neither their metaphysical completeness nor their comforting purpose. Realizing beautiful writing through empathy, imagination, fascination, and a fierce sense of justice, Földényi covers a wide range of topics including a meditation on the metaphysical unity of a sculpture group and an analysis of fear as a window into our relationship with time. (shrink)

The last third of the twentieth century witnessed a burst of energy by philosophers sorting out the many-faceted claims of natural law theory. Natural law theory, rooted in the Nicomachean Ethics with some modifications by the Stoics, was studied in the twentieth century mainly through the writings of Thomas Aquinas, followed by those of the Salamanca school, which was central to the Second Scholasticism. The horrors of the Second World War and the trials following it, with their charges of “crimes (...) against humanity,” prompted a renewed interested by English-speaking philosophers in natural law jurisprudence. Analytic philosophers followed Elizabeth Anscombe’s urging to venture beyond the limits of early twentieth-century moral philosophy; Alasdair MacIntyre’s writings buttressed the return to ethical naturalism; John Finnis’s “new natural law” theory also contributed to this renaissance. These many avenues form the conceptual backdrop to the eight books reviewed in this essay. (shrink)

Amajor shift in critical attitudes toward the arts took place in the eighteenth century. The fine arts were now looked upon as a group, divorced from the sciences and governed by their own rules. The century abounded with treatises that sought to establish the overriding principles that differentiate art from other walks of life as well as the principles that differentiate them from each other. This burst of scholarly activity resulted in the incorporation of aesthetics among the classic branches of (...) philosophy, heralding the cognitive turn in epistemology. Among the writings that initiated this turn, none were more important than the British contribution. The Arts in Mind brings together an annotated selection of these key texts. A companion volume to the editors' Tuning the Mind, which analyzed this major shift in world view and its historical context, The Arts in Mind is the first representative sampling of what constitutes an important school of British thought. The texts are neither obscure nor forgotten, although most histories of eighteenth-century thought treat them in a partial or incomplete way. Here they are made available complete or through representative extracts together with an editor's introduction to each selection providing essential biographical and intellectual background. The treatises included are representative of the changed climate of opinion which entailed new issues such as those of perception, symbolic function, and the role of history and culture in shaping the world. Contents include: Anthony Ashley Cooper, Third Earl of Shaftesbury, "Characteristics"; Francis Hutcheson, "Inquiry Concerning Beauty, Harmony and Design"; Hildebrand Jacob, "Of the Sister Arts: An Essay"; James Harris, "On Music, Painting and Poetry"; Charles Avison, "An Essay on Musical Expression"; James Beattie, "Essay on Poetry and Music as They Affect the Mind"; Daniel Webb, "Observations on the Correspondence between Poetry and Music"; Thomas Twining, "On Poetry Considered as an Imitative Art," "On the Different Senses of the Word Imitative as Applied to Music by the Ancients and by the Moderns"; Adam Smith, "Of the Nature of that Imitation which Takes Place in What are Called the Imaginative Arts." Ruth Katz is Emanuel Alexandre Professor of Musicology at the Hebrew University in Jerusalem. She is co-editor with Carl Dahlhaus of Contemplating Music, a four-volume study of the philosophy of music. Ruth HaCohen is Clarica and Fred Davidson Senior Lecturer of Musicology at the Hebrew University. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Georg Simmel Reappears: “The Aesthetic Significance of the Face”James T. Siegel (bio)Michael Landmann, the editor of Georg Simmel’s collected works, tells this anecdote about him. Simmel had submitted a piece called “Psychological and Ethnological Studies on Music” as his doctoral dissertation. His examining committee refused to accept it. As the American translator of the piece retells Landmann’s anecdote, theyinstead granted the degree for a previously written distinguished study on (...) Kant’s monadology. While Zupitza [the committee’s chair] would have been willing to accept this study on music, if it were first “cleared of the numerous misspellings and stylistic errors,” Helmholtz was more skeptical: “Regardless of my other reservations, Simmel is entirely too confident in his conclusions. And the manner in which he presented the faculty with this piece which is so full of misspellings and stylistic superficialities, which evidently was not proofread, in which sentences which are cited from foreign languages can hardly be deciphered, does not attest to a great deal of reliability. Insofar, however, as he has quite a few illustrious predecessors for what he evidently takes to be the method or lack of method of scientific study, he may let them serve as some kind of personal excuse. I, however, believe that we will be doing him a greater service if we do not encourage him further in this direction.”[Landmann 17]1It seems it is Simmel’s fate to be dismissed yet still to be recognized, if not for the work at hand, for something else. Donald Levine, for instance, notes that in Talcott Parsons’s attempt to recuperate German and French sociology for the English-speaking world, there is no mention of Simmel. He says further that his studies of art “are not well known by art historians and critics” just as his work in the philosophy of history is ignored by historians. Simmel died in 1919, but there are still recurrent “discoveries” of Simmel, as witnessed by the sporadic bursts of translations into English. The Philosophy of Money, for instance, published in 1900, was not translated into English until 1978, the famous essay “The Stranger” in 1950, and so on. Just as Simmel left no students who worked in the way he did and no school of sociology, the revivals of Simmel, which usually are marked by a sense of anticipation (“now we will not only learn something; we will carry it forward”), tend to die away without leaving important (or at least recognizable) effects. [End Page 100]It is difficult to quote Simmel and to carry on his work through the usual modifications of something already in place. There is, instead, the attempt to present him “nonetheless.” Thus Donald Levine, to whom the English-speaking world is much indebted for his translations and presentations of Simmel, says: “[t]he presentation of a coherent account of the whole of Simmel’s social thought is complicated by the fact that coherence is generally not considered to be one of the hallmarks of Simmel’s writing” [11]. Levine writes this sentence in a piece he entitles “The Structure of Simmel’s Social Thought.” There are indeed a number of attempts to say what it is that Simmel was trying to do, as though readers had decided that Simmel is unclear but that “nonetheless” we can discern something of great value—just as his thesis committee in refusing his dissertation decided “nonetheless” that another piece would do. If Simmel did not deserve a degree for a piece on the ethnology and psychology of music, surely he deserved it for a work on Kant’s monadology. It seems to be Simmel’s talent to divert interest from whatever he is saying to something else—and always to something of interest and importance. Hence the fact that his influence is much greater than appears from the relative lack of citations to him and the absence not merely of a school of scholarship but of a style of writing traceable to him. His influence disappears at the moment it is most strongly felt. And just when he seems to be out of sight, forgotten, or used up, he reappears. 2Max Weber gives... (shrink)

David Chalmers burst onto the philosophical scene in the mid-1990s with his work on consciousness, which awakened slumbering zombie arguments against physicalism and transformed the explanatory gap into the hard problem of consciousness. The distinction between hard and easy problems of consciousness became a central dogma of the movement. Chalmers’ influence in philosophy and consciousness studies is unquestionable. But enthusiasts of Chalmers’ work on consciousness may be excused for not fully appreciating his own justification for drawing the hard/easy distinction, or (...) even exactly which distinction he is drawing. Consequently, it is not clear that the ‘Chalmers’ hard problem’ that has been widely influential is Chalmers’ ‘hard problem’ of consciousness. Chalmers’ ‘hard problem’ rests on, among other things: a methodological view about how philosophy—metaphysics, especially—ought to be conducted; a view about the requirements for explanation and reduction in philosophy and in the sciences; and a theory of the semantics of concepts.1 Although Chalmers writes that the present book is not intended as a foundation for his. (shrink)

Part charlatan, part wunderkind, and part learned scholastic, Fernando of Cordova burst upon the European scene in 1444-1446 when he traveled to different parts of Europe. He astounded audiences by his command of the subject matter in all univ. subjects, his mastery of oriental languages, his skill in painting, music, and instrument making, and his expertise in knightly warfare. After disappearing in 1446, he reappeared in 1466 as a Roman curialist active in several controversies. He died in 1486. Fernando's philosophical, (...) theological, and scientific writings cover a wide range of topics important to his age, and his biography has a special value because of what he did and whom he impressed in his travels in the cities, courts, and universities of Europe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Roots of RomanticismJames SchmidtIsaiah Berlin. The Roots of Romanticism. The A. W. Mellon Lectures in the Fine Arts. The National Gallery of Art, Washington, D.C. Bollingen Series XXXV:45. Edited by Henry Hardy. Princeton: Princeton University Press, 1999. Pp. xvi + 171. Cloth. $19.95.Originally delivered in the spring of 1965 and subsequently broadcast several times over the BBC, Berlin's lectures on romanticism have long been esteemed by his (...) admirers. Berlin nevertheless resisted their publication, hoping one day to write a book on romanticism. His literary executor Henry Hardy reports, however, "not so much as a sentence of the intended work was ever written" (x). Thus Hardy's edition of these lectures constitutes Berlin's most extended reflection on a theme that loomed large in his understanding of the modern world: the romantic critique of the Enlightenment.Surprisingly few romantics actually appear in these pages. Those who do arrive late, linger briefly, and are usually German. Fichte enters on page 88, followed by Schelling (97) and the Schlegel brothers (104), with brief appearances by E. T. A. Hoffman and Johann Ludwig Tieck (114-6). Only in his closing ruminations on the impact of romanticism does Berlin cast a glance at Byron, Chateaubriand, and Sir Walter Scott. Most of the book explores what Berlin takes to be romanticism's "roots," which he locates in a few eighteenth-century German writers who, when romanticism finally burst upon the scene, were either disgusted by it (Jacobi, Schiller, and Goethe) or dead (Hamann). A few years later Berlin made these proto-romantics the charter members of the movement he dubbed "the Counter-Enlightenment"—a concept that would have a considerable career of its own. Berlin's concern is thus less with romanticism per se than "with the revolution of which romanticism, at any rate in some of its guises, is the strongest expression and symptom" (xiii).As Berlin saw it, this revolution involved a rejection of the idea that 1) "all [End Page 451] genuine questions can be answered," 2) "all these answers are knowable," and 3) "all these answers must be compatible with one another" (21-2). Upon these three principles, he insists, "the whole Western tradition rested" (21), and their rejection constitutes "the greatest single shift in the consciousness of the West" (1). Berlin holds that the Enlightenment left these principles unshaken. It was the romantics who questioned the "ruinous" belief that "there is one single solution to all human ills" (which carries the insidious corollary that "you must impose this solution no matter what cost") and thus laid the foundations for "liberalism, toleration, decency and the appreciation of the imperfections of life" (146-7), causes which are usually associated (wrongly, according to Berlin) with the Enlightenment.These arguments will not be unfamiliar to those who know Berlin's works. Reading him is a bit like listening to Vivaldi: taken individually, his essays are clever, vigorously argued, and elegantly crafted; but reading them in sequence soon leads to a nagging sense of having heard it all before. Berlin's work was animated by an awareness of the diversity of plausible answers that could be given to the question of how life should be lived and by an impassioned defense of this plurality of possibilities against the illusion of an ultimate solution. One can admire the defense of liberalism that Berlin drew from these convictions and yet have reservations about the historical accuracy of his account of the relationship between romanticism and the Enlightenment. It is hard to see Hamann as a supporter of pluralism and harder still to see the philosophes—who rejected the dogmatic esprit de systèm in favor of an experimentalist esprit systématique—as oblivious to the multiplicity of ways in which good lives could be lived. Lessing's views on religious questions were a good deal more skeptical and open-ended than Jacobi's. Fichte and Schelling sought to bring a greater systematic coherence to Kant's philosophy, not to dismantle it. Once one moves from general claims about "romanticism" and "the Enlightenment" to assess specific thinkers, the picture becomes a good deal messier than Berlin lets on. Early romantics... (shrink)

In the preface to a slender volume entitled La communauté affrontée, philosopher Jean-Luc Nancy writes: “The present state of the world is not a war of civilizations. It is a civil war: it is the internecine war of a city, of a civility, of a citizenry [citadinité] that are being deployed up until the limits of this world, and because of this, up until the extremity of their own concepts” . Globalization, or the limitless expansion of the West driven by (...) totalizing notions such as “History, Science, Capital, Man and/or their Nothingness” reaches a point where such concepts must of necessity break apart, where “a distended figure bursts, [and] a chasm appears” . This chasm signals a rent in the supposedly .. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

Professor Robert Alexy wrote a book whose avowed purpose is to refute the basic tenets of a type of legal theory which 'has long since been obsolete in legal science and practice'. The quotation is from the German Federal Constitutional Court in 1968. The fact that Prof Alexy himself mentions no writings in the legal positivist tradition [in English] later than Hart's The Concept of Law (1961) may suggest that he shares the court's view. The book itself may be evidence (...) to the contrary. After all why flog a dead horse? Why write a book to refute a totally discredited theory? Perhaps Alexy was simply unlucky. The burst of reflective, suggestive and interesting writings in the legal positivist tradition reached serious dimensions only in the years after the original publication of his book, when Waldron, Marmor, Gardner, Leiter, Shapiro, Murphy, Himma, Kramer, Endicott, Lamont, Dickson, Bix and others joined those who had made important contributions to legal theory in the positivistic tradition in the years preceding the original publication of Alexy's book: Lyons, Coleman, Campbell, Harris, Green, Waluchow and others, who are still among the main contributors to legal theory in the positivist tradition. It is a great shame that nothing in these writings influenced the arguments of the book. Perhaps this regret is misplaced. After all ‘positivism' in legal theory means, and always did mean, different things to different people. What Radbruch, one of Alexy's heroes, meant when he first saw himself as a legal positivist and then recanted was not the same as what 'legal positivism' means in Britain (and nowadays in the United States as well) among those who engage in philosophical reflection about the nature of law. Perhaps Alexy is simply addressing himself to a German audience, and refuting, or attempting to refute, legal theories of a kind identified in Germany as 'legal positivism'. Perhaps, though his references to Hart show that he does not intend it that way. My aims in this chapter are, however, reasonably clear. My main purpose is to explore whether any of Alexy's arguments challenge any of the views which I have advocated. Subsidiary aims are, first, to clarify why what Alexy says is legal positivism is not what is understood as such in the English speaking world, so that some of Alexy's sound points find no target; secondly, to try and clarify some of his arguments which I found, at least initially, rather obscure. Given the prominence of Alexy's book I will refer only to it, and will not consider his other publications. (shrink)

Davi Kopenawa and Bruce Albert’s 2010 collaborative work, The Falling Sky: Words of a Yanomami Shaman, centers on a prophetic warning of impending apocalyptic collapse due to anthropogenic environmental destruction. An indigenous contribution to the contemporary burst of eco-apocalyptic writing and the search for a new ecological social order, The Falling Sky challenges the temporal vector of Euroamerican eco-apocalypticism. Instead of the teleological axis of anthropocentric temporality (the emergence of homo sapiens as the pinnacle of evolution), it refers us (...) to a temporality of terrestrial life, where homo sapiens is just one more living species in the web of life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reach Without Grasping: A Retrospective Appreciation of Anne Carson’s Eros the Bittersweet LOUIS A. RUPRECHT JR. Everything I know about love and its necessities I learned in that one moment when I found myself thrusting my little burning red backside like a baboon at a man who no longer cherished me. There was no area of my mind not appalled by this action, no part of my body that (...) could have done otherwise. But to talk of mind and body begs the question. Soul is the place, stretched like a surface of millstone grit between body and mind, where such necessity grinds itself out. Soul is what I kept watch on all that night. —Anne Carson, “The Glass Essay” (1995) It is always tricky, the question of whether to read an author’s work in light of his life or not. —Anne Carson, The Albertine Workout, no. 56 (2014) anne carson (b. June 21, 1950, in Toronto, Canada) is one of the most versatile of contemporary writers in the English language who have drawn deeply from the Classical well. She has achieved a unique place in the realm of North American letters, and much deserved recognition in the past twenty years: she was awarded the Lannan Literary Award in 1996; the Pushcart Prize in 1997; a John Simon Guggenheim Fellowship in 1998; the MacArthur Foundation arion 27.2 fall 2019 “genius grant” in 2000; the Griffin Poetry Prize in 2001 (the first woman to be so recognized); the T. S. Eliot Prize also in 2001; the PEN Award for Poetry in Translation in 2010; and a second Griffin Poetry Prize in 2014 (the only person ever to receive this award twice). in 2018, she was an Inga Maren Otto Fellow at the Watermill Center in Watermill, New York, on leave from a Creative Writing position at New York University. Trained as a classicist—she received her Ph.D. in Classics from the University of Toronto in 1981, and an Honorary Degree in 2012—but better known as an accomplished poet and translator, Carson burst on the scene in 1986 with the publication of her first and most philosophical work, Eros the Bittersweet: An Essay.1 What this book announced most clearly, in addition to Carson’s complex identity as a poet-and-classicist-and-philosopher-in-one, was her unique ability to work against the expectations and across the loose boundaries which define a genre, and thus to create new genres along the way. In this essay, I would like to offer a retrospective appreciation of Carson’s first book, published (it is scarcely believable to note) more than thirty years ago. There are historical precedents to her achievement in this text, as I hope to show, but her authorial voice is altogether unique, and the reach of her influence has been long. ❖ on rare occasion, a first book may give us a telling glimpse into everything that will follow. Anne Carson’s Eros the Bittersweet is such a first book. What the book does best is to announce itself, and its author, as the bearer of unconventional news, reported in an unconventional manner, all of it expressed in uncommonly luminous prose. It is a book that refuses to be categorized, a book that refuses genre— strangely enough, virtually by creating one. And along the way of creating—that is, of poeticizing—in its singular way, this book generates new desires all its own. There is a history to such literary and generic non-conformity. 138 reach without grasping When Friedrich Nietzsche (1844–1900) was invited to take up a professorship at the astonishing age of 24, without even having produced his dissertation yet, the expectations surrounding his first book were elevated, to say the least. Well aware of this, aware too of having been described by his mentor as “the future of Classics in Germany,” Nietzsche published The Birth of Tragedy out of the Spirit of Music in 1872.2 He was still just 26 years old, and very few classicists knew what to make of it; even his mentor regretted the rashness of the thing. Meaner spirits mockingly called it a work of “future-philology!” suggesting that... (shrink)

John Canaday, The Nuclear Muse: Literature, Physics, and the First Atomic Bombs. Madison: University of Wisconsin Press, 2000. Pp. xviii+310. ISBN 0-299-16854-9. £19.50.Septimus H. Paul, Nuclear Rivals: Anglo-American Atomic Relations 1941–1952. Columbus: Ohio State University Press, 2000. Pp. ix+266. ISBN 0-8142-0852-5. £31.95.Peter Bacon Hales, Atomic Spaces: Living on the Manhattan Project. Urbana and Chicago: University of Illinois Press, 1997. Pp. 448. ISBN 0-252-02296-3. £22.00.A decade after the end of the Cold War, the culture and technology of nuclear weapons had lost (...) much of the overt sense of dread they once inspired. The decline in international tension following the end of the communist regimes of the Soviet bloc produced a massive shift in the ideology of the nuclear in the 1990s. The de-targeting and dismantling of large numbers of nuclear weapons and the demise of the threat of nuclear annihilation created new conditions both for international security and for the writing of nuclear history. With the declassification and release of large quantities of official documentation from the former adversaries, as well as the fiftieth anniversary of the bombings of Hiroshima and Nagasaki in 1995, a burst of histories of various aspects of the nuclear age have appeared over the last ten years, exploring not just the technopolitics, strategy and operational logistics of the Cold War and the arms race, but the cultural history of the nuclear age, its imagery, its architecture, its oppositional politics and its effects on the landscape, national and regional economies and cultures and indeed everyday life. At a time of global economic and political uncertainty and the emergent threat of capricious international terrorism and new nuclear proliferation, the apparent certainties of the Cold War now even evoke a certain nostalgia, and its artefacts and structures are being recast as ‘heritage’. (shrink)

This chapter is devoted to the most influential and important Soviet philosopher of the post-Stalin era: Evald Vasilevich Ilyenkov. Ilyenkov burst on the scene in the early 1950s, arguing that Ilyenkov should be understood, not as a meta-science concerned to formulate the most general laws of being, but as “the science of thought.” The chapter explores how Ilyenkov developed this idea, beginning with the controversial Ilyenkov-Korovikov theses and his unpublished “phantasmagoria,” “The Cosmology of Spirit.” Bakhurst then turns to Ilyenkov’s influential (...) writing on scientific method, which portrays cognition as an “ascent from the abstract to the concrete,” and to his now-famous solution to “the problem of the ideal,” which represents the concept of activity as the key to understanding both the nature of objectively existing ideal forms and the possibility of human minds. Bakhurst shows how Ilyenkov’s views on these issues inform his critique of scientism and positivism in Soviet thought and inspire his distinctive conception of education, exemplified by his contribution to Alexander Meshcheryakov’s work on the education of blind-deaf children. Although Ilyenkov styled himself as a dialectical materialist and a Leninist, his ideas were in tension with orthodox Soviet philosophy and he was often in trouble with the Soviet philosophical establishment, which found it hard to tolerate what it saw as Ilyenkov’s dalliance with idealism as well as his call for the cultivation of critical, free, creative thinkers. Bakhurst concludes by reflecting on the many crises Ilyenkov experienced during his career, exploring how he was frequently subject to criticism and persecution. This, combined with his disappointment over the suppression of the Prague Spring, eventually led to his untimely death by his own hand in March 1979. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 281 g. The Problematics of History. Two types are distinguished: the more general neoidealism, especially the Italian, which will be treated in subsequent volumes; and the more technical examination of historical knowledge by Dilthey, Simmel, Spengler, Windelband, Rickert, M/insterberg, Weber, Troeltsch, Meinecke, and Huizinga. Without exaggerating it, Lamanna points to the strain of "inquietude" and restlessness which shows itself in much of the early twentieth-century philosophizing, especially (...) in its attacks on rationalism, and which serves to foreshadow the greater anxieties that will be portrayed in the second volume of the trilogy. I add only two small observations, not by way of criticism, but merely to supplement the expositions (which seem to me to be excellent) of two men whom I happen to know well. Giuseppe Prezzolini appears with Papini (as he should) as a founder and leader o[ the pragmatist periodical Leonardo. Whereas Papini's adventures in philosophical romance were quite extravagant, Prezzolini's contributions were satirically ironical His L'Arte di persuadere, which to a hasty reader might well appear as a "manuale per i bugiardi" (p. 308), really appears, in view of his subsequent career in La Voce and in his Vita di Macehiavelli as a brilliant Macchiavellian satire. Similarly there is an undercurrent of genial satire in the pragmatisms of James and Schiller. The criticism in Dewey's social philosophy of what he refers to as the bourgeois Utilitarian liberalism and individualism of early nineteenth-century Britain appears in Lamanna 's pages (as in other scholarly European works) as a criticism of "Americanism." Dewey called his political philosophy a "new individualism" which was about the same as the doctrines of European social democrats. It was very democratic in contrast to the liberalism of the early utilitarians. But this early individualistic liberalism is no more American than it is European. Certainly Dewey's democracy is at least as American as the "Americanism" which he criticized. If we must use these terms, we could say that the socalled "Americanization of Europe" coincided with the Europeanization of America. James was politically an individualist and Dewey was a socialist; both were equally American and equally concerned to be cosmopolitan. These terminological problematics are not intended as a criticism of Lamanna's exposition of Dewey's philosophy, which seems to me one of the very best of the many I have read. On p. 245 "Cominger" should be Commager. HERBERT W. SCHNEIDER Claremont, California Aus den A nfiingen der Psychoanalyse. Briefe an Wilhelm Fliess. A bhandlungen und Notizen aus den Jahren 1887-1902. By Sigmund Freud. (Frankfurt am Main: S. Fischer Verlag, 1962. Copyright, Imago Publishing Co., London, 1950.) This selection of the letters, notes and treatises sent to the Berlin physician and biologist Wilhelm Fliess makes fascinating reading today, twenty-five years after Freud's death. Most of this material originates in the years 1893-1901 and therefore covers not only the period of Freud's shift from neurology to psychology but also the period of his most vigorous creativity in psychoanalysis itself, namely the publication together with his predecessor, Josef Breuer, of Studien iiber Hysterie. It is the period of his self-analysis which laid the groundwork for psychoanalytic therapy, the years during which he conceived and published his basic work Interpretation of Dreams. It is also the time when he wrote Sexuality in the Etiology of Neuroses, Ueber den Traum, and Zur Psychopathologie des Alltagslebens. 282 HISTORY OF PHILOSOPHY Included in this volume of papers sent to Fliess is The Draft of a Psychology written in a burst of enthusiasm during three weeks in the autumn of 1895 (pp. 305-384 of the text). This important paper deals not only with emotive life but with the origin of cognitive thought, a topic which went in part into Chapter 7 of the Interpretation of Dreams. In this paper Freud still tries to combine his ideas of the physiology of the brain with his psychological and psychopathological findings. It is therefore a watershed of his intellectual endeavors, although Freud abandoned on the whole the effort to incorporate a theory of cognitive thought into his writings. Some rudiments of the Draft reappeared, however, in Das Ich und das... (shrink)

"Of all the economic bubbles that have been pricked," the editors of The Economist recently observed, "few have burst more spectacularly than the reputation of economics itself." Indeed, the financial crisis that crested in 2008 destroyed the credibility of the economic thinking that had guided policymakers for a generation. But what will take its place? In How the Economy Works, one of our leading economists provides a jargon-free exploration of the current crisis, offering a powerful argument for how economics must (...) change to get us out of it. Roger E. A. Farmer traces the swings between classical and Keynesian economics since the early twentieth century, gracefully explaining the elements of both theories. During the Great Depression, Keynes challenged the longstanding idea that an economy was a self-correcting mechanism; but his school gave way to a resurgence of classical economics in the 1970s-a rise that ended with the current crisis. Rather than simply allowing the pendulum to swing back, Farmer writes, we must synthesize the two. From classical economics, he takes the idea that a sound theory must explain how individuals behave-how our collective choices shape the economy. From Keynesian economics, he adopts the principle that markets do not always work well, that capitalism needs some guidance. The goal, he writes, is to correct the excesses of a free-market economy without stifling entrepreneurship and instituting central planning.Recent events have shown that we cannot afford to treat economics as an ivory-tower abstraction. It has a direct impact on our lives by guiding regulators and policymakers as they make decisions with far-reaching practical consequences. Written in clear, accessible language, How the Economy Works makes an argument that no one should ignore. (shrink)

Provides evidence that human consciousness can never be reproduced and exposes the perils of artificial intelligence. Explains how consciousness transcends the brain and body through quantum theory and accounts of consciousness in the clinically dead. Shares scientific evidence of how the image on the Shroud of Turin was produced and connects these findings to evidence concerning near-death experiences. Reveals how consciousness cannot be reproduced by a machine and how attempts to do so threaten what makes us human.

In an analysis of three college lectures, Corts and Pollio found that figurative language and gesture often appeared together in ‘bursts’. These bursts were initially characterized as novel figurative expression that centered on the primary topic of the lecture. The current study is an attempt to provide clearer description of how and why figurative language and gesture so often appear together in academic discourse. In addition, this study extends earlier findings to additional speakers and academic disciplines to improve (...) generalizability. In accordance with Corts and Pollio, the bursts of figurative activity are predominately novel rather than cliched, coherent with a root metaphor, and centered around the main topics of the lecture. The present study adds that figures within bursts largely include analogies and metaphor that represent a concept whereas topical figures outside of bursts are descriptive phrases that often include other types of figures such as hyperbole, litote, etc. The regularity of such bursts suggests that they serve an important cognitive function independent of personal style of the lecturer or any demands of a particular academic field. (shrink)

Writing in 2007, French social philosopher André Gorz was remarkably prophetic, foretelling the international economic meltdown of 2008: “The real economy is becoming an appendage of the speculative bubbles sustained by the finance industry—until that inevitable point when the bubbles burst, leading to serial bank crashes and threatening the global system of credit with collapse and the real economy with a severe, prolonged depression.” This prescient article is collected in _Ecologica _alongside many of Gorz’s final writings and interviews, which (...) together offer practical and often path-breaking set of solutions to our current economic and political problems. In his writings Gorz condemns the speculative global economic system and anatomizes its terminal crisis. Advocating an exit from capitalism through the self-limitation of needs and the networked use of the latest technologies, he outlines a practical, democratically based solution to our current predicament. Compiled by Gorz, _Ecologica_ is intended as a final distillation of his work and thought, a guide to the survival of our planet. It is a work of _political, _rather than scientific ecology—Gorz aruges that the key to planetary survival is not a surrender to environmental experts and eco-technocrats, but a switch to non-consumerist modes of living that would amount to a type of cultural revolution. Praise for André Gorz “To my mind the greatest of modern French social thinkers.”—Herbert Gintis, author of _Schooling in Capitalist America_ “Gorz’s work was always within the Utopian tradition—a label he welcomed but which was used pejoratively by his opponents.... Many of his derided early warnings about globalization and environmental degradation have become commonplace discourses in political debates today. Ultimately, Gorz’s Utopianism was expressed in a very practical sense—we never know how far along the road we are if we have no idea of the destination.”—_Independent _ __. (shrink)

Summary of my book, Writing the Book of the World, for a symposium. The book defends realism about structure, the view that there is a privileged way to describe the world.

This book provides an original and provocative combination of ethnomethodological analysis and the concepts of linguistic philosophy with a breadth and clarity unusual in this field of writing. It is designed to be read by sociologists, psychologists and philosophers and concerns itself with the contributions of Wittgenstein, defending the claim for his relevance to the human sciences. However, this book goes some way beyond the usual limitations of such interdisciplinary works by outlining some empirical applications of ideas derived from (...) the Wittgenstein tradition. (shrink)

Father Lord, author of Armchair Philosophy, herein offers to a wider audience some notes from a recent talk to the Philosophers in St. Louis. He believes that writing is necessary not only to express, but also really to assimilate philosophy.

Father Lord, author of Armchair Philosophy, herein offers to a wider audience some notes from a recent talk to the Philosophers in St. Louis. He believes that writing is necessary not only to express, but also really to assimilate philosophy.

Since the first edition of this work, _Checklist of Writings about John Dewey, 1887–1973, _appeared in 1974, more_ _than three hundred new works—pub­lished and unpublished—about John Dewey have been written. In addition, many items from the years covered by the first edition have been discovered. All these writings are listed here in the “Supplement to the First Edition,” which, like the earlier edition, is thor­oughly indexed by author and by title. As the first exhaustive compilation of information about such works, (...) the _Checklist, _now comprising more than twenty-five hundred entries, will be the indispensable starting point for future scholarly study of any facet of Dewey’s career. (shrink)

Report submitted by Gregory B. Sadler, Pilot Project Coordinator to Sonya Brown, WAC Activity Director, Fayetteville State University, June 28 2011. -/- A Pilot program focused on improving student performance in carrying out Close Readings in humanities-based discipline courses was developed and implemented under the auspices of Writing Across the Curriculum and Title III at Fayetteville State University in Winter and Spring 2011. Five faculty were involved in the Pilot, myself as the coordinator, and four other faculty from four (...) different disciplines as participants. -/- The central idea behind the Pilot was that by focusing on the lower-order skills which are scaffolded as components into the higher-order activity of Close Reading of texts, and redesigning courses to emphasize development of these lower-order skills, student performances in Close Readings would also be improved. This did turn out to be the case. Most of the supporting data is qualitative rather than quantitative. -/- It is recommended that similar activities be continued, but that participating faculty be required to provide much more prescriptively structured and detailed assessment data and information about their course design. (shrink)

The essays collected in Persecution and the Art of Writing all deal with one problem--the relation between philosophy and politics. Here, Strauss sets forth the thesis that many philosophers, especially political philosophers, have reacted to the threat of persecution by disguising their most controversial and heterodox ideas.

This study was undertaken to investigate the outcome of using the activity based learning method on the development of writing skills of students of grade 6. The study used pretest post-test equivalent group design. 50 students were randomly selected from a government school as sample for this study. They were divided into experimental and control groups based on the scores they achieved in pre-test. Students in the experimentalgroup received instruction through activity based method of learning. In contrast, the traditional (...) method of teaching writing was used for teaching the control group. A comparison of pre- and post-test scores on writing measure evidenced that the experimental group performed better that the control group on writing post-test. It was concluded that activities helped enhance the writing skills of the experimental group. This finding suggests that students of elementary level should be engaged in activity based learning to enhance their writing skills. (shrink)

While there is growing awareness of the existence and activities of Academic Custom Writing websites, which form a small part of the contract cheating industry, how they work remains poorly understood. Very little research has been done on these sites, probably because it has been assumed that it is impossible to see behind their firewalls and password protection. We have found that, with some close scrutiny, it is indeed possible to find some ‘cracks’ in these sites through which we (...) can look to gain insights into the business processes that operate within them. We have reverse engineered the business processes that operate within some of these sites. From this we have also been able to identify three different business models that are supported by these sites. Our analysis supports important findings about how these sites operate that can be used to inform future strategies to detect and deter contract cheating. (shrink)

The early 20th century a new style of Chinese women sector, is in the "revolution in the text," the social context, in Liang "new style" reality show ideas and writing demonstration, with the women's liberation movement since the commencement of the body into its . Revolution in women's Evans into the text, thus producing a unique application of magic; from the women's liberation movement of the actual needs, to break old stereotypes composition, heart open style, so that harvest unprecedented (...) in the history of Chinese literary masterpiece and a rare woman beauty of the text; the use of affinity with the woman in the language of expression, so that large group of women "do not have a magic." Women's world has become a new style of new literature written in accessible modern woman's "magic" of the bridge, it is not only acting on the Revolution of 1911 nation / state / women's liberation movement, but also for "54" period, even after the development of the modern women's writing laid the strong foundation. The new type of writing for the womenfolk in the early 20th century began with the liberation movement of the women in the social background of "Literature Revolutionary" which guided by the new type writing of Liang Qichao. There are several characteristics of the new type writing as following: Firstly, it was much attractive with the revolutionary of womenfolk; Secondly, many great literary works came out in Chinese literature history with breaking the old style of article; Thirdly, a loving and harmonious article style for women had been adopted which was attractive strongly for the womenfolk. Therefore, the new type of writing for the womenfolk just likes a bridge for the women modem new literature which not only acted on the liberation movement of the nation and women during the Xinhai Revolutionary period but also provided a stable base for the modem women literature during and afterwards May Fourth period. (shrink)

Nursing programs are complex systems that articulate values of relationality and holism, while developing curriculums that privilege metric‐driven competency‐based pedagogies. This study used an interpretive approach to analyze interviews from 20 nursing students at two Canadian Baccalaureate programs to understand how nursing's educational context, including its hidden curriculums, impacted student writing activities. We viewed this qualitative data through the lens of activity theory. Students spoke about navigating a rigid writing context. This resulted in a hyper‐focus on “figuring out” (...) the teacher with minimal focus on the act of writing. Students used a form of behavioral “code‐switching” to maximize their grade while considering how their “valuing” of the assignment fit within their writing motives. Hidden curriculum messages taught students that academic success was assured whether their writing mirrored instructor preferences. Instructional practices of rigidity reinforced unequal social conditions for some minority students. Faculty can counteract the impact of the hidden curriculum through encouragement of choice and independent thinking about writing activities. Acknowledging power relationships and their influence on how students navigate writing assignments and nursing discourse may relieve pressures on students who fear penalties for countering norms and result in a more flexible learning environment. (shrink)

In this article, we discuss ethical issues related to using and disclosing artificial intelligence (AI) tools, such as ChatGPT and other systems based on large language models (LLMs), to write or edit scholarly manuscripts. Some journals, such as Science, have banned the use of LLMs because of the ethical problems they raise concerning responsible authorship. We argue that this is not a reasonable response to the moral conundrums created by the use of LLMs because bans are unenforceable and would encourage (...) undisclosed use of LLMs. Furthermore, LLMs can be useful in writing, reviewing and editing text, and promote equity in science. Others have argued that LLMs should be mentioned in the acknowledgments since they do not meet all the authorship criteria. We argue that naming LLMs as authors or mentioning them in the acknowledgments are both inappropriate forms of recognition because LLMs do not have free will and therefore cannot be held morally or legally responsible for what they do. Tools in general, and software in particular, are usually cited in-text, followed by being mentioned in the references. We provide suggestions to improve APA Style for referencing ChatGPT to specifically indicate the contributor who used LLMs (because interactions are stored on personal user accounts), the used version and model (because the same version could use different language models and generate dissimilar responses, e.g., ChatGPT May 12 Version GPT3.5 or GPT4), and the time of usage (because LLMs evolve fast and generate dissimilar responses over time). We recommend that researchers who use LLMs: (1) disclose their use in the introduction or methods section to transparently describe details such as used prompts and note which parts of the text are affected, (2) use in-text citations and references (to recognize their used applications and improve findability and indexing), and (3) record and submit their relevant interactions with LLMs as supplementary material or appendices. (shrink)

Examines the true purpose of writing history, explains how history can be understood in terms of plot, and discusses the progress of history.

In this paper I investigate ‘the confessional’ as an aspect of Wittgenstein's style both as a mode of philosophising and as a mode of ‘writing the self’, tied explicitly to pedagogical practices. There are strong links between Wittgenstein's confessional mode of philosophising and his life—for him philosophy is a way of life —and interesting theoretical connections between confessional practices and pedagogy, usefully explored in the writings of the French philosopher, Michel Foucault. The Investigations provides a basis and springboard for (...) understanding the notion of ‘writing the self’ as a pedagogical practice which encourages a confessional mode compelling us to tell the truth about ourselves and, thus, creating the conditions for ethico-poetical self-constitution. (shrink)