First published in 1935, The Life and Writings of Giambattista Vico is a succinct biography of the Italian philosopher, Giambattista Vico. Carefully documented, the book comments on Vico's life as well as his oeuvre in a bid to extend his audience to the English-speaking population. From his early childhood to the influence of his writings after his death, the book provides a keen insight into the many facets of his philosophy. This book will be of interest to (...) students of philosophy and history. (shrink)

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the works of (...) Nietzsche and Max Weber. (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writings on his mature logic representation system known as Existential Graphs not only gives us a plethora of hitherto unpublished Peirce papers but also a new and in many ways (...)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)

Craig Nelson, the author of this unflaggingly engrossing book, comes from an impressive background in publishing, having been vice president and executive editor of Harper and Row, Hyperion, and Random House. In this respect, he reminds me of the better known Walter Isaacson, who was managing editor of Time magazine before turning his attention to writing biographies of Einstein, Steve Jobs, and Ben Franklin, and, most recently, a collective biography of the pioneers of the digital revolution. Although I (...) reach this conclusion on the basis of having read only one book by each, I would say that Isaacson’s oeuvre is more scholarly, Nelson’s more journalistic. A review in the New York Times of Nelson’s bestseller Rocket Men informs would-be readers that while the book “lacks the shapeliness and authority of some earlier lunar histories,…it ends up making an engaging contribution.” Comparing The Age of Radiance to the many similar histories of radioactivity and the making of the bomb that I .. (shrink)

This is a wide ranging and deeply learned examination of evolutionary developmental biology, and the foundations of life from the perspective of information theory. Hermeneutics was a method developed in the humanities to achieve understanding, in a given context, of texts, history, and artwork. In Readers of the Book of Life, the author shows that living beings are also hermeneutical interpreters of genetics texts saved in DNA; an interpretation based on the past experience of the cell (cell lineage, (...) species), confronted with and incorporating present environmental clues. This approach stresses the history, not only of the digital record saved in the DNA, but also of the flesh - the cellular organization which has a direct time-continuity with the very origins of life. This book is aimed at reconciling two opposite approaches to life. The first strictly sticking to a belief that all phenomena observed in the realm of the living can be explained from laws of physics. The opposite stressing the importance of features characteristic for a given level of description. To bring both views into a common understanding, the first part gives a comparison of the two problem solving strategies. The second part surveys the development of 20th century biology, bringing to light branches that never became part of the research mainstream. The third section of the book reviews a large body of recent evidence that can be interpreted in favor of the hermeneutic arguments. (shrink)

Can literature make it possible to represent histories that are otherwise ineffable? Making use of the Deleuzian concept of “the powers of the false,” Doro Wiese offers readings of three novels that deal with the Shoah, with colonialism, and with racialized identities. She argues that Jonathan Safran Foer’s _Everything Is Illuminated_, Richard Flanagan’s _Gould’s Book of Fish_, and Richard Powers’s _The Time of Our Singing _are novels in which a space for unvoiced, silent, or silenced difference is created. Seen (...) through the lens of Deleuze and his collaborators’ philosophy, literature is a means for mediating knowledge and affects about historical events. Going beyond any simple dichotomy between true and untrue accounts of what “really” happened in the past, literature’s powers of the false incite readers to long for a narrative space in which painful or shameful stories can be included. (shrink)

In _The History of the Race Idea: From Ray to Carus,_ Eric Voegelin places the rise of the race idea in the context of the development of modern philosophy. The history of the race idea, according to Voegelin, begins with the postChristian orientation toward a natural system of living forms. In the late seventeenth century, philosophy set about a new task--to oppose the devaluation of man's physical nature. By the middle of the eighteenth century the effort of philosophy (...) was to place man, with his variety of physical manifestations throughout the world, within a systemic order of nature. Voegelin perceives the problem of race as the epitome of the difficulties presented by this new theoretical approach. Part I covers the development of race theories from the English naturalist John Ray to Blumenbach and Kant. Voegelin, anticipating fairly recent genetic insights, explains that human beings must be seen as one speciesdifferent races must not be interpreted as emerging from separate species. In Part II, Voegelin discusses the evolution of the concepts of the body, the organism, and the person. The finite image of the person as a body-mind unit in which body is equal to mind in value provides the basis for Carl Gustav Carus' theory of race, the first significant racial ideology, in Voegelin's estimation. Voegelin's complex analysis levels a scathing critique at Nazi pretensions. He writes: "Compared to its classical form, the current condition of race theory is one of decay.... [T]hese men, with no eyes for the brilliance of the German spirit, want to interfere in human relations and ultimately presume to explicate the German nation to us and to the world--an undertaking with evil consequences.... [The] great thinkers of the past would have been orrified at somebody finding in himself all the traits of the Nordic race with the help of a book on anthropology and then imagining himself to be somebody special who does not have to do anything else. "Let us now take a look at contemporary race theory--we will see an image of destruction.... It is a nightmare to think that we should recognize the people whom we follow and whom we allow to come near us not by their looks, their words, and their gestures, but by their cranial index." Ultimately, Voegelin dismisses any attempt to reduce the human being--his existence, appearance, or actionsto a lower level: "Man as mind-body and historical substance cannot be 1explained' by an element that is less than man himself.". (shrink)

This paper deals with the so-called “external history” of the origin of Critique of the power of judgment that is based primarily on the philosopher’s correspondence in the period between May 1787 and October 1789. Two letters from Kant to Reinhold (28.12.1787 and 12.05.1789) as well as modifications in the interpretation of the term “aesthetics” in the first Critique (KrVA 22, B 35-36) are crucial for the evolution of the project Critique of Taste in the book Critique of (...) the Power of Judgment. Special attention was paid to the debate between some modern scholars and editors about the importance of the reports on ‘Grundlegung’ / ‘Grundlage’ of Critique of Taste in the initial phase of work on the text. However, the available evidence does not allow us to reconstruct the “internal history” of the development of Kant’s thought during the period of writing the third Critique. Some modern scholars try to establish other objective criteria for this kind of reconstruction by identification in the text of Critique direct or hidden hints or citations to the literature of the 18th century. The author considers that the use of so-called “reflections” from the philosopher’s manuscript heritage, which can be seen as the formation and development of certain concepts of Kant’s theory, can be fruitful. The well-known problem of dating the reflections can be partially solved if terminus a quo will be not the published works, but Kant’s lectures on anthropology and logic taught at that time. (shrink)

Can literature make it possible to represent histories that are otherwise ineffable? Making use of the Deleuzian concept of “the powers of the false,” Doro Wiese offers readings of three novels that deal with the Shoah, with colonialism, and with racialized identities. She argues that Jonathan Safran Foer’s Everything Is Illuminated, Richard Flanagan’s Gould’s Book of Fish, and Richard Powers’s The Time of Our Singing are novels in which a space for unvoiced, silent, or silenced difference is created. Seen (...) through the lens of Deleuze and his collaborators’ philosophy, literature is a means for mediating knowledge and affects about historical events. Going beyond any simple dichotomy between true and untrue accounts of what “really” happened in the past, literature’s powers of the false incite readers to long for a narrative space in which painful or shameful stories can be included. (shrink)

On the History of the Idea of Law is the first book ever to trace the development of the philosophical theory of law from its first appearance in Plato's writings to today. Professor Letwin finds important and positive insights and tensions in the theories of Plato, Aristotle, Augustine, and Hobbes. She finds confusions and serious errors introduced by Cicero, Aquinas, Bentham, and Marx. She harnesses the insights of H. L. A. Hart and especially Michael Oakeshott to mount a (...) devastating attack on the late twentieth-century theories of Ronald Dworkin, the Critical Legal Studies movement, and feminist jurisprudence. In all of this, Professor Letwin finds the rule of law to be the key to modern liberty and the standard of justice. This is the final work of the distinguished historian and theorist Shirley Robin Letwin, a major figure in the revival of Conservative thought and doctrine from 1960 onwards, who died in 1993. (shrink)

Professor Jack Goody builds on his own previous work to extend further his highly influential critique of what he sees as the pervasive eurocentric or occidentalist biases of so much western historical writing. Goody also examines the consequent 'theft' by the West of the achievements of other cultures in the invention of (notably) democracy, capitalism, individualism, and love. The Theft of History discusses a number of theorists in detail, including Marx, Weber and Norbert Elias, and engages with critical (...) admiration western historians like Fernand Braudel, Moses Finlay and Perry Anderson. Major questions of method are raised, and Goody proposes a new comparative methodology for cross-cultural analysis, one that gives a much more sophisticated basis for assessing divergent historical outcomes, and replaces outmoded simple differences between East and West. The Theft of History will be read by an unusually wide audience of historians, anthropologists and social theorists. (shrink)

Originally published anonymously in 1844, Vestiges proved to be as controversial as its author expected. Integrating research in the burgeoning sciences of anthropology, geology, astronomy, biology, economics, and chemistry, it was the first attempt to connect the natural sciences to a history of creation. The author, whose identity was not revealed until 1884, was Robert Chambers, a leading Scottish writer and publisher. Vestiges reached a huge popular audience and was widely read by the social and intellectual elite. It sparked (...) debate about natural law, setting the stage for the controversy over Darwin's Origin. In response to the surrounding debate and criticism, Chambers published Explanations: A Sequel, in which he offered a reasoned defense of his ideas about natural law, castigating what he saw as the narrowness of specialist science. With a new introduction by James Secord, a bibliography of reviews, and a new index, this volume adds to Vestiges and Explanations Chambers's earliest works on cosmology, an essay on Darwin, and an autobiographical essay, raising important issues about the changing meanings of popular science and religion and the rise of secular ideologies in Western culture. (shrink)

John of Salisbury (c. 1115-1180) was the foremost political theorist of his age. He was trained in scholastic theology and philosophy at Paris, and his writings are invaluable for summarizing many of the metaphysical speculations of his time. The Policraticus is his main work, and is regarded as the first complete work of political theory to be written in the Latin Middle Ages. Cary Nederman's new edition and translation, currently the only version available in English, is primarily aimed at undergraduate (...) students of the history of political thought and medieval history. His new translation shows how important this text is in understanding the mores, forms of conduct and beliefs of the most powerful and learned segments of twelfth century Western Europe. (shrink)

To review a book that deals with 1000 years of Byzantine history is just as bold an undertaking as the writing of the book itself. Treadgold (henceforth T.) took this challenge on, and we should be grateful to him for doing so. The reviewer admits that he is not informed equally well over all periods of the history of the Byzantine empire – there is probably no-one on the planet who could with a clear conscience (...) assert that they were. In this respect the reviewer admires T. for his lack of reserve in expressing his views on problems and periods of Byzantine history with which he is clearly less familiar than with those of the eighth and ninth centuries. (shrink)

Wolfgang Pauli referred to him as 'my discovery,' Robert Oppenheimer described him as 'one of the most gifted theorists' and Niels Bohr found him enormously stimulating. Who was the man in question, Gunnar Källén (1926-1968)? His appearance in the physics sky was like a shooting star. His contributions to the scientific debate caused excitement among young and old. Similar to his friend and mentor, Wolfgang Pauli, he demanded honesty and rigor in physics - a distinct dividing line between fact and (...) speculation. In his obituary, Arthur S. Wightman would write: 'Gunnar Källén was a proud continuer of the tradition in quantum field theory established by Wolfgang Pauli. His papers on quantum electrodynamics in the period 1950-1954 carried the non-perturbative approach to quantum electrodynamics forward to a point beyond which very little essential progress has been made up to the present day. At the time I was trying to puzzle out the grammar of the language of quantum field theory, and here was Källén already writing poetry in the language!'. In addition to being a remarkable scientist, Källén had a very interesting personality, well worth exploring. In her book, physicist Cecilia Jarlskog traces both the personal and scientific trajectory of this unsung hero of the early days of high-energy physics and quantum field theory. A number of invited contributions by members of the Källén family and distinguished researchers from the field, all of them personally acquainted with Källén, combine to form an authentic portrait of the researcher and the man. Last but not least, the reader will become acquainted with some aspects of the history of particle physics in those days, as related by Källén and those who corresponded with him. A commented selection of his most important and not easily accessible papers is included as an added bonus for specialists. (shrink)

This book traces the development of theories of the self and personal identity from the ancient Greeks to the present day. From Plato and Aristotle to Freud and Foucault, Raymond Martin and John Barresi explore the works of a wide range of thinkers and reveal the larger intellectual trends, controversies, and ideas that have revolutionized the way we think about ourselves. The authors open with ancient Greece, where the ideas of Plato, Aristotle, and the materialistic atomists laid the groundwork (...) for future theories. They then discuss the ideas of the church fathers and medieval and Renaissance philosophers, including St. Paul, Philo, Augustine, Aquinas, and Montaigne. In their coverage of the emergence of a new mechanistic conception of nature in the seventeenth century, Martin and Barresi note a shift away from religious and purely philosophical notions of self and personal identity to more scientific and social conceptions, a trend that has continued to the present day. They explore modern philosophy and psychology, including the origins of different traditions within each discipline, and explain both the theoretical relevance of feminism and gender and ethnic studies and also the ways that Derrida and other recent thinkers have challenged the very idea that a unified self or personal identity even exists. Martin and Barresi cover a number of issues broached by philosophers and psychologists, such as the existence of a fixed and unchanging self and whether the concept of the soul has a use outside of religious contexts. They address the question of whether notions of the soul and the self are still viable in today's world. Together, they reveal the fascinating ways in which great thinkers have grappled with these and other questions and the astounding impact their ideas have had on the development of self-understanding in the west. (shrink)

In 1993, an astonishing discovery was made at a tomb in Guodian in Hubei province (east central China). Written on strips of bamboo that have miraculously survived intact since 300 B.C., the "Guodian Laozi," is by far the earliest version of the _Tao Te Ching_ ever unearthed. Students of ancient Chinese civilization proclaimed the text a decisive breakthrough in the understanding of this famous text: it provides the most conclusive evidence to date that the text was the work of multiple (...) authors and editors over hundreds of years, rather than the achievement of a single individual writing during the time of Confucius. Robert Henricks now presents the first English translation of the "bamboo slip Laozi." Differing substantially from other versions we have of the text, the Guodian Laozi provides us with clues on how and when the text came into being. As Henricks's translation shows, many chapters are missing in this form of the text, and some chapters remain incomplete. All of this seems to suggest that the _Tao Te Ching_ was not yet "complete" when these slips were copied. In his translation, Henricks focuses attention on lines in each of the chapters that vary from readings in other editions. In addition, he shows how the sequence of chapters in this form of the text is totally unrelated to the sequence readers commonly see in the "standard" form of the text, i.e., in other translations. Here are just a few of the noteworthy features of this new _Tao Te Ching:_ • A lucid introduction to the Guodian Laozi, offering background on the archaeological interpretation of the discovery • Line-by-line comparisons of the Guodian Laozi against the Mawangdui and Wang Bi editions • Extensive notes on each chapter describing the unique elements of the Guodian Laozi in comparison with other versions • Transcriptions for each chapter, noting both the ancient and modern form of the characters in the chapter • An appendix featuring the official biography of Laozi written by Sima Qian, the Grand Historian of China, as well as Henricks's commentary and notes on this biography This groundbreaking work will lead to a reassessment of the history and significance of this well-known and critical work as well as a reevaluation of the role it played in the development of Taoism in early China. (shrink)

Sometime in 1355 the Northumbrian knight Sir Thomas Gray, meditating an ambition to write a history of England during his imprisonment by the Scots in Edinburgh, dreamed a dream. In it a Sibyl appears, to tutor him in his historical project. She takes him to a ladder leaning against a high wall in an orchard. As he climbs each of four rungs, he sees, through an opening in the wall, Walter, archdeacon of Exeter; Bede; the author of the Polychronicon (...) ; and the vicar of Tynemouth, author of the Historia aurea. The Sibyl explains that these writers cover the respective stages of insular history. The fifth and last rung concerns the future and is not for Sir Thomas to climb—the Sibyl quotes two prophecies, one by Merlin, and observes that deciphering them should be left to the divines. When the Sibyl instructs Gray to call his work Scalacronica— referring thus not only to the scaling ladder he is standing on but to his family arms—she makes his task clear: his history is to traverse the periods represented by the four figures and others, in a compilatory work. (shrink)

This comprehensive Handbook presents the major perspectives within philosophy and literary studies on the relations, overlaps and tensions between philosophy and literature. Drawing on recent work in philosophy and literature, literary theory, philosophical aesthetics, literature as philosophy and philosophy as literature, its twenty-nine chapters plus substantial Introduction and Afterword examine the ways in which philosophy and literature depend on each other and interact, while also contrasting with each other in that they necessarily exclude or incorporate each other. This book (...) establishes an enduring framework for structuring the broad themes defining the relations between philosophy and literature and organising the main topics in the field. Key Features • Structured in five parts addressing philosophy as literature, philosophy of literature, philosophical aesthetics, literary criticism and theory, and main areas of work within philosophy and literature • An Introduction setting out the main concerns of the field through discussion of the major themes along with the individual topics • An Afterword looking at the interactions between philosophy and literature through itself enacting philosophical and literary writing while examining the question of how they can be brought together The Palgrave Handbook of Philosophy and Literature is an essential resource for scholars, researchers and advanced students in philosophy of literature, philosophy as literature, literary theory, literature as philosophy, and the philosophical aesthetics of literature. It is an ideal volume for researchers, advanced students and scholars in philosophy, literary studies, philosophy and literature, cultural studies, classical studies and other related fields. (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: (...) an anonymous, distracted, deferred, and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

The dialectical method, Marx Insisted, was at the basis of his account of society. In 1858, in a letter to Engels, he wrote: In the method of treatment the fact that by mere accident I again glanced through Hegel's Logic has been of great service to me... If there should ever be the time for such work again, I would greatly like to make accessible to the ordinary human intelligence, in two or three printer's sheets, what is rational in the (...) method which Hegel discovered.1 But he never did find the time for this work. As a result, Marx's dialectical method and the ways in which it draws on Hegel's philosophy remain among the most controversial and least well understood aspects of Marx's work. My purpose in this paper is to explain some of the basic presuppositions of this method and to bring out their significance for Marx's theories. I shall do so by focusing critically on G.A. Cohen 's account of Marxism in Karl Marx's Theory of History: A Defence. In this important and influential work, Cohen contrives to give an account of 2 Marxism in entirely non-dialectical – indeed, in anti-dialectical – terms. By criticising Cohen 's views I will seek to show that the dialectical method is the necessary basis for an adequate theory of history and an indispensable part of Marx's thought. The major purpose of Cohen 's book is to develop and defend a particular interpretation of historical materialism, the Marxist theory of historical development. Cohen claims that his account is an `old-fashioned' and a `traditional' one ; and, indeed, in certain respects it is. For, in contrast to the tendency of much recent Marxist writing, Cohen strongly emphasises the materialistic and deterministic character of Marx's theory of history. He insists that the development of the productive forces is the primary motive force for historical change, and portrays Marxism as a form of technological determinism. However, there are various different forms of materialism, not all of them Marx's. (shrink)

This book rethinks Montaigne’s philosophical thought in terms of transversality by investigating the essayist’s debt to ancient life writers Diogenes Laertius and Plutarch. Its scope is of interest to scholars of ancient and early modern life writing, ancient and early modern philosophy, as well as scholars of early modern literary history.

First published in English in 1953, this important book from eminent philosopher Karl Jaspers deals with the philsophy of the history of mankind. More specifically, its avowed aim is to assist in heightening our awareness of the _present_ by placing it within the framework of the long obscurity of prehistory and the boundless realm of possibilities which lie within the undecided future.This analysis is split into 3 parts: World history The present and the future The meaning of (...) history. (shrink)

_Celebrating the fortieth anniversary of this seminal book, this new edition includes an illuminating foreword by Carlos Eire and Ronald K. Rittges_ The seeds of the swift and sweeping religious movement that reshaped European thought in the 1500s were sown in the late Middle Ages. In this book, Steven Ozment traces the growth and dissemination of dissenting intellectual trends through three centuries to their explosive burgeoning in the Reformations—both Protestant and Catholic—of the sixteenth century. He elucidates with great (...) clarity the complex philosophical and theological issues that inspired antagonistic schools, traditions, and movements from Aquinas to Calvin. This masterly synthesis of the intellectual and religious history of the period illuminates the impact of late medieval ideas on early modern society. With a new foreword by Carlos Eire and Ronald K. Rittgers, this modern classic is ripe for rediscovery by a new generation of students and scholars. (shrink)

From the late-fifteenth century onwards, scholars across Europe began to write books about how to read and evaluate histories. These pioneering works - which often take surprisingly modern-sounding positions - grew from complex early modern debates about law, religion, and classical scholarship. In this book, based on the Trevelyan Lectures of 2005, Anthony Grafton explains why so many of these works were written, why they attained so much insight - and why, in the centuries that followed, most scholars gradually (...) forgot that they had existed. Elegant and accessible, What Was History? is a deliberate evocation of E. H. Carr’s celebrated and icononclastic Trevelyan Lectures on What Is History?, and will appeal to a broad readership of students, scholars and historical enthusiasts. Anthony Grafton is one of the most celebrated historians writing in English today, and What Was History? is a powerful and imaginative exploration of some central themes in the history of European ideas. (shrink)

What are the ethical responsibilities of the historian in an age of mass murder and hyperreality? Can one be postmodern and still write history? For whom should history be written? Edith Wyschogrod animates such questions through the passionate figure of the "heterological historian." Realizing the philosophical impossibility of ever recovering "what really happened," this historian nevertheless acknowledges a moral imperative to speak for those who have been rendered voiceless, to give countenance to those who have become faceless, and (...) hope to the desolate. Wyschogrod also weighs the impact of modern archival methods, such as photographs, film, and the Internet, which bring with them new constraints on the writing of history and which mandate a new vision of community. Drawing on the works of continental philosophers, historiographers, cognitive scientists, and filmmakers, Wyschogrod creates a powerful new framework for the understanding of history and the ethical duties of the historian. (shrink)

17 November 1979 You were reading a somewhat retro loveletter, the last in history. But you have not yet received it. Yes, its lack or excess of address prepares it to fall into all hands: a post card, an open letter in which the secret appears, but indecipherably. What does a post card want to say to you? On what conditions is it possible? Its destination traverses you, you no longer know who you are. At the very instant when (...) from its address it interpellates, you, uniquely you, instead of reaching you it divides you or sets you aside, occasionally overlooks you. And you love and you do not love, it makes of you what you wish, it takes you, it leaves you, it gives you. On the other side of the card, look, a proposition is made to you, S and p, Socrates and plato. For once the former seems to write, and with his other hand he is even scratching. But what is Plato doing with his outstretched finger in his back? While you occupy yourself with turning it around in every direction, it is the picture that turns you around like a letter, in advance it deciphers you, it preoccupies space, it procures your words and gestures, all the bodies that you believe you invent in order to determine its outline. You find yourself, you, yourself, on its path. The thick support of the card, a book heavy and light, is also the specter of this scene, the analysis between Socrates and Plato, on the program of several others. Like the soothsayer, a "fortune-telling book" watches over and speculates on that-which-must-happen, on what it indeed might mean _to happen, to arrive, to have to happen_ or _arrive, to let _or _to make happen _or _arrive, to destine, to address, to send, to legate, to inherit_, etc., if it all still signifies, between here and there, the near and the far, _da und fort_, the one or the other. You situate the subject of the book: between the posts and the analytic movement, the pleasure principle and the history of telecommunications, the post card and the purloined letter, in a word the transference from Socrates to Freud, and beyond. This satire of epistolary literature had to be farci, stuffed with addresses, postal codes, crypted missives, anonymous letters, all of it confided to so many modes, genres, and tones. In it I also abuse dates, signatures, titles or references, language itself. J. D. "With _The Post Card_, as with _Glas_, Derrida appears more as writer than as philosopher. Or we could say that here, in what is in part a mock epistolary novel, he stages his writing more overtly than in the scholarly works.... _The Post Card_ also contains a series of self-reflective essays, largely focused on Freud, in which Derrida is beautifully lucid and direct."—Alexander Gelley, _Library Journal_. (shrink)

"I had read the book before in the shorter Harper Torchbook edition but read it again right through--and found it as interesting and exciting as before. I regard it as one of the seminal books in the history of ideas. Based on a prodigious amount of original research, it demonstrated conclusively and in fascinating details how the transmission of ancient skepticism was a bital factor in the formation of modern thought. The story is rich in implications for th (...) history of philosophy, the history of science, and the history of religious thought. Popkin's work has already inspired further work by others--and the new edition takes account of this, most importantly the work of Charles Schmitt. The two new chapters extend the story as far as Spinoza, with special reference to the beginnings of biblical criticism.... Popkin's history is of great potential interest to a wide readership--wider than most specialist publications and wider than it has (so far as I can tell) reached hitherto."--M.F. Burnyeat, Professor of Philosophy, University College London. (shrink)

Parallel to Kemp's interest in contemporary science, one of his most consistent themes is the historical exploration of the possibilities of perceived and represented structures and patterns as organisational imperatives in nature and cognition. Structures in the context of Kemp's writing not only relate to the privileged observation sites of modern science but also act as instruments for an art history of contextually examined yet philosophically approached continuities.

2003 Paul Bunge Prize of the Hans R. Jenemann Foundation for the History of Scientific Instruments Judging the brightness and color of light has long been contentious. Alternately described as impossible and routine, it was beset by problems both technical and social. How trustworthy could such measurements be? Was the best standard of intensity a gas lamp, an incandescent bulb, or a glowing pool of molten metal? And how much did the answers depend on the background of the specialist? (...) A History of Light and Colour Measurement: Science in the Shadows is a history of the hidden workings of physical science-a technical endeavor embedded in a social context. It argues that this "undisciplined" subject, straddling academia, commerce, and regulation, may be typical not only of 20th century science, but of its future. Attracting scientists, engineers, industrialists, and artists, the developing subject produced a new breed of practitioners having mixed provenance. The new measurers of light had to decide the shape not only of their specialism but of their careers: were they to be a part of physics, engineering, or psychology? The physical scientists who dominated the subject into the early 20th century made their central aim the replacement of the problematic human eye with physical detectors of light. For psychologists between the wars, though, describing the complexity of color was more important than quantifying a handful of its dimensions. And after WWII, military designers shaped the subject of radiometry and subsumed photometry and colorimetry within it. Never attaining a professional cachet, these various specialists moved fluidly between science and technology; through government, industry, and administration. (shrink)

This study discovers a pattern to Diderot's thinking, a fundamental dualism attributable largely to the attitudes and assumptions of the time and giving a common structure to his ideas and writing. Geoffrey Bremner draws widely on Diderot's works in studying his ideas on perception and action, aesthetics, ethics and politics, as well as his plays and fiction. The subtlety of the textual analysis and the analogies Dr Bremner draws provide a convincing and illuminating argument for his interpretation. He supports (...) this but emphasising the intellectual circumstances in which Diderot wrote and demonstrating his links to other eighteenth- and seventeenth-century writers. His study will therefore make a valuable contribution to the reassessment of the period that is currently underway, as well as to the central, elusive problem presented by Diderot's thought itself. (shrink)

The sixteen essays in this volume confront the current debate about the relationship between philosophy and its history. On the one hand intellectual historians commonly accuse philosophers of writing bad - anachronistic - history of philosophy, and on the other, philosophers have accused intellectual historians of writing bad - antiquarian - history of philosophy. The essays here address this controversy and ask what purpose the history of philosophy should serve. Part I contains more purely (...) theoretical and methodological discussion, of such questions as whether there are 'timeless' philosophical problems, whether the issues of one epoch are commensurable with those of another, and what style is appropriate to the historiography of the subject. The essays in Part II consider a number of case-histories. They present important revisionist scholarship and original contributions on topics drawn from ancient, early modern and more recent philosophy. All the essays have been specially commissioned, and the contributors include many of the leading figures in the field. The volume as a whole will be of vital interest to everyone concerned with the study of philosophy and of its history. (shrink)

Around 1800, print culture became a particularly rich source for metaphors about thinking as well as writing, nowhere more so than in the German tradition of _Dichter und Denker_. Goethe, Jean Paul, and Hegel used the _preface_ in order to reflect on the problems of writing itself, and its interpretation. If Sterne teaches us that a material book enables mind games as much as it gives expression to them, the Germans made these games more theoretical still. Weaving (...) in authors from Antiquity to Agamben, Williams shows how European–and, above all, German–Romanticism was a watershed in the history of the preface. The playful, paradoxical strategies that Romantic writers invented are later played out in continental philosophy, and in post-Structuralist literature. The preface is a prompt for playful thinking with texts, as much as it is conventionally the prosaic product of such an exercise. (shrink)

In this collection of recent essays (several appearing in English for the first time), John Dunn brings his characteristically acute and penetrative insight to a wide range of political issues. In the first essay, 'The history of political theory', Professor Dunn argues for the importance of a historical perspective in the study of political thought. Other pieces engage with central concepts of political philosophy such as obligation, trust, freedom of conscience and property. A group of studies tackle specific contemporary (...) problems and future dangers, for example racism and the dilemma of humanitarian intervention. The volume as a whole articulates the many dangers, but also the huge importance of, contemporary politics, and provides a representative collection of work by one of the most astute political commentators writing today. (shrink)

Mary Somerville (1780-1872), after whom Somerville College Oxford was named, was the first woman scientist to win an international reputation entirely in her own right, rather than through association with a scientific brother or father. She was active in astronomy, one of the most demanding areas of science of the day, and flourished in the unique British tradition of Grand Amateurs, who paid their own way and were not affiliated with any academic institution. Mary Somerville was to science what Jane (...) Austen was to literature and Frances Trollope to travel writing. Allan Chapman's vivid account brings to light the story of an exceptional woman, whose achievements in a field dominated by men deserve to be very widely known. (shrink)

Head of Rugby School for over a decade, Thomas Arnold became Regius Professor of Modern History at Oxford in the final year of his life. Known for his controversial ideas on schooling and religion, he was a prominent and influential figure in the history of British education. First published in 1844, this two-volume work presents a diverse collection of Arnold's correspondence, compiled by his friend and former pupil Arthur Penrhyn Stanley, Dean of Westminster. Interspersed with biographical commentary by (...) Stanley, the letters in Volume 1 illuminate Arnold's early life and work, and his career at Rugby up to 1835. In them he discusses his ideas for reform in both teaching and religion, revealing his unfailing dedication to both. Offering insights into the role of school and church in the early nineteenth century, Arnold's writings continue to interest scholars of both religion and education. (shrink)

A core principle of modern science holds that a scientific explanation must not attribute will or agency to natural phenomena.The Restless Clock examines the origins and history of this, in particular as it applies to the science of living things. This is also the story of a tradition of radicals—dissenters who embraced the opposite view, that agency is an essential and ineradicable part of nature. Beginning with the church and courtly automata of early modern Europe, Jessica Riskin guides us (...) through our thinking about the extent to which animals might be understood as mere machines. We encounter fantastic robots and cyborgs as well as a cast of scientific and philosophical luminaries, including Descartes and Leibnitz, Lamarck and Darwin, whose ideas gain new relevance in Riskin's hands. The book ends with a riveting discussion of how the dialectic continues in genetics, epigenetics, and evolutionary biology, where work continues to naturalize different forms of agency.The Restless Clock reveals the deeply buried roots of current debates in artificial intelligence, cognitive science, and evolutionary biology. (shrink)

Why would I spend a good portion of my time over the last 35 years gathering information on the Gymnosophists? The story begins even earlier. As an undergraduate student in the Flint College of the University of Michigan, I pursued an English major with a strong history minor-always looking for something between the two, and rarely finding it. Then in my practice teaching, I happened into one of the early experimental high school courses in Interdisciplinary Humanities. With the exciting (...) interrelationships between art, literature, music, philosophy and history, I said YES-this was what I had been looking for. So I pioneered in teaching high school Humanities for the next few years. Interdisciplinary Humanities was a bottom-up movement. Gradually, colleges began offering Masters programs to give teachers the rich background they needed. I decided I was not tied to Michigan where it was cold; I would find the best Masters program in Humanities anywhere in the world, and go there. Well, it turned out that the best Masters program in the world was at Wayne State University in Detroit, of all places. Unlike other programs that were really just double majors, Wayne offered truly interdisciplinary classes. Moreover, they offered an Eastern track and a Western track. Knowing that I would never find that Eastern track anywhere else, I studied interdisciplinary courses in the cultures of India, China, Japan, and Egypt. (The middle-eastern professor was on sabbatical when I was there.) I especially liked India-perhaps because I had already travelled around the world, and India impressed me the most. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Future of the Book: Images of Reading in the American Utopian Novel by Kevin J. HayesMatthew LeggattKevin J. Hayes. The Future of the Book: Images of Reading in the American Utopian Novel. Oxford: Oxford University Press, 2022. E-book, 192 pp. ISBN 9780192670960.Kevin J. Hayes is a writer of high regard, having published many books over his distinguished career, including biographical studies such as Herman (...) Melville, Mark Twain, George Washington: A Life in Books, and several on Edgar Allen Poe. Works like the 2020 monograph Shakespeare and the Making of America showcase his intersecting interests in biography, literature, and American political history. It is these interests that are very much on display in his 2022 monograph The Future of the Book: Images of Reading in the American Utopian Novel, and we should be thankful that Hayes has turned his attention to the subject of utopian fiction as he certainly has much to add to the discussion. The book is clearly a labor of love and Hayes writes with a great degree of detail and authority suggesting he has always held a deep interest in the utopian novel. In fact, from the preface, it is clear the research supporting this book has spanned many years.The preface sets it all up very neatly. Immediately, the reader is invited into the research story of the book. Hayes has an evocative and methodical style that carries that research throughout. The author is also careful in this preface to assert his expertise in the field. Having read “virtually every utopian novel in American literature published before 1910” on microfilm gives Hayes the opportunity to explore many of the obscure and lesser-known works of the period (ix), which he notes in his introduction is primarily between 1880 and 1915. Since many of these novels are yet to be digitized, his insight is notably rare.Aside from an introduction and conclusion, the book is divided into five chapters. The first is titled “The Residential Library” and is centrally about [End Page 601] books in home-spaces, from personal libraries to books on shelves in someone’s living room. Chapter 2, “The Public Library,” explores depictions of public libraries and ways that collected knowledge might be organized and made accessible in utopian visions. “The Idea of Authorship,” chapter 3, is about the professional/amateur status of authors in utopian societies. In this section, Hayes also explores ideas about literary quality and attempts to answer concerns that a utopian age would necessarily be incapable of producing great literature. Chapter 4, titled “The Newspaper,” details the struggles utopian authors have had with the newspaper format. Finally, “The Printed Page and the Written Word” examines ways in which utopian authors sought to refine the printed and written word and their innovative suggestions in this area. Each of these chapters opens by considering Edward Bellamy’s Looking Backward in relation to the subject at hand and Bellamy’s 1888 novel is referred to extensively throughout The Future of the Book, offering a frame for Hayes’s exploration of utopian literature’s inner dialogue with the printed word.In his introduction, Hayes highlights that much of the scholarly work in this area has focused on dystopias. Indeed, when I think about the representation of literature in speculative fiction I tend, first, to think of the great dystopias like Orwell’s Nineteen Eighty-Four, in which history is erased and rewritten by The Party, or Ray Bradbury’s Fahrenheit 451, in which books are considered dangerous and thus are rigorously hunted and burned by the ironically named Firemen of the future. Alternatively, postapocalyptic movies spring to mind. Taking shelter in the New York Public Library, Sam Hall (played by Jake Gyllenhaal) frantically burns books for warmth despite the protests of several other characters in Roland Emmerich’s 2004 blockbuster The Day After Tomorrow. Likewise, in “Marooned” (1989), an episode of the British SF sitcom Red Dwarf (1988–), of which I was particularly fond during my formative years, a copy of the collected works of Shakespeare is burned to keep the last remaining human, David Lister (played by Craig Charles), alive. In the opposite direction, some postapocalyptic... (shrink)

David Hume is the greatest and also one of the most provocative philosophers to have written in the English language. No philosopher is more important for his careful, critical, and deeply perceptive examination of the grounds for belief in divine powers and for his sceptical accounts of the causes and consequences of religious belief, expressed most powerfully in the Dialogues Concerning Natural Religion and The Natural History of Religion. The Dialogues ask if belief in God can be inferred from (...) the nature of the universe or whether it is even consistent with what we know about the universe. The Natural History of Religion investigates the origins of belief, and follows its development from harmless polytheism to dogmatic monotheism. Together they constitute the most formidable attack upon the rationality of religious belief ever mounted by a philosopher. This edition also includes Section XI of The Enquiry Concerning Human Understanding and a letter concerning the Dialogues, as well as particularly helpful critical apparatus and abstracts of the main texts, enabling the reader to locate or relocate key topics. (shrink)

Howard Zinn's A People's History of the United States is a polarizing historical survey that has become a common subject of social studies curricular battles. This mixed methods study uses survey data and interviews with teachers who frequently assign the book to understand who uses this text and why. Findings reveal that the text has functional, pedagogical, and political appeal for teachers who are committed to including multiple perspectives and critiquing historical narratives. That these teachers are not primarily (...) animated by Zinn's intention for the text to inspire students’ participation in social movements should undermine critics’ fears of indoctrination and sloppy history teaching, but may disappoint supporters of the text hoping for more critical pedagogical motivations. (shrink)

This volume presents a colourful and entertaining overview of German intellectual history by a central figure in its development. Heinrich Heine (1797-1856), famous poet, journalist, and political exile, studied with Hegel and was personally acquainted with the leading figures of the most important generation of German writers and philosophers. In his groundbreaking History he discusses the history of religion, philosophy, and literature in Germany up to his time, seen through his own highly opinionated, politically aware, philosophically astute, (...) and always ironic perspective. This work, and other writings focussing especially on Heine's rethinking of Hegel's philosophy, are presented here in a new translation by Howard Pollack-Milgate. The volume also includes an introduction by Terry Pinkard which examines Heine both in relation to Hegel and Nietzsche and as a thinker in his own right. (shrink)

"This book examines the longstanding debate between philosophical optimism and pessimism in the history of philosophy, focusing on Aristotle, Maimonides, Spinoza, Schopenhauer, Nietzsche and Camus. Philosophical optimists maintain that the world is optimally arranged and is accordingly valuable, and that the existence of human beings is preferable over their nonexistence. Philosophical pessimists, by contrast, hold that the world is in a woeful condition and ultimately valueless, and that human nonexistence would have been preferable over our existence. Schopenhauer criticizes (...) the optimism he locates in the Hebrew Bible and in Spinoza for being unable to square the presumed perfection of the world and its parts, including human life, with the suffering and misfortunes observable in them, and for leading to egoism and thereby to cruelty. Nietzsche, in turn, criticizes Schopenhauer's overtly pessimistic view, inter alia, for furtively positing a perfect state for one to aspire to, thus being latently optimistic. Similarly, Camus charges Nietzsche, who announces his rejection of both optimism and pessimism, with deifying the world and oneself, thereby reverting to optimism. Interestingly, Aristotle countenances an optimistic theory, later adopted and developed by Maimonides, that is arguably capable of facing Schopenhauer's challenge. Aristotelian optimism accounts for the perfection of the world in terms of a hierarchy of value between its parts, with human beings ranked relatively low, and recommends an attitude congruent with that ranking"--. (shrink)

Review by A. Kanamori, Boston University (author of The Higher Infinite), review in The Bulletin of Symbolic Logic: “Notwithstanding and braving the daunting complexities of this labyrinth, José Ferreirós has written a magisterial account of the history of set theory which is panoramic, balanced and engaging. Not only does this book synthesize much previous work and provide fresh insights and points of view, but it also features a major innovation, a full-fledged treatment of the emergence of the set-theoretic (...) approach in mathematics from the early nineteenth century. Much of history is in the details, and much of good history is in tone, emphasis, and the drawing together of different strands. Without being Whiggish, Ferreirós is never far from major synthetic themes, themes that in the main work toward balance and pull back from excesses of emphasis of some recent histories. The main criticism of the book would have to be on matters of broad interpretation. Yet, Ferreirós brings a considerable mathematical acuity and expertise to his enterprise, and this makes his viewpoints the more compelling.” . (shrink)