PUBLISHER'S NOTE "The Philosophy of the Teachings of Islam" is a well known essay on Islam by Hadhrat Mirza Ghulam Ahmad, Founder of the Ahmadiyya Movement ...

The myth of true, lifelong love promoted low divorce rates among farmers who depended on each other for survival. In the urban ecology after industrialization, it became increas­ingly clear that long-term monogamy goes against human nature. In the Scandinavian Modern Breakthrough, a late-1800s literary movement, Henrik Ibsen, August Strindberg, and others clashed in a battle over modern mating morality. Each interpreted Darwin to fit their own agenda, suggesting naturalistic understandings of “free love” and “true mar­riage,” some of which were (...) laughable while others landed authors in prison. Evolutionary theory from our present era suggests that human mate choice is guided by three brain systems: erotic lust, romantic love, and feelings of deep attachment; our species thus evolved for serial pair-bonding with extra-pair copulation. Using these and other evolutionary insights, this article evaluates narratives from the Modern Breakthrough, which laid the foundation for today’s gender-equal and sexually liberal Nordic societies. (shrink)

Mad liberation — the former mental patient self-help movement — is characterized in this paper as a true progressive social movement. A sociology of knowledge perspective is used to account for much of the research literature that argues, to the contrary, that self-help groups do not represent a true social movement. Based on the "myth of individualism" and the "myth of simplicity," the psychological literature on self-help has defined empowerment in self-help groups as an individual-change or therapeutic (...) orientation. This paper, adopting a sociological perspective, argues that, in fact, empowerment in the mad liberation movement is typically a socio-political concept used to promote social change and the civil rights of mental patients. Accordingly, examples of social changes brought about by members of the mad liberation movement are cited in support of the claim that this movement fits the criteria of a progressive social movement. (shrink)

Historical study of philosophical movements from ancient times to 19th century.

The mental health recovery movement promotes patient self-determination and opposes coercive psychiatric treatment. While it has made great strides towards these ends, its rhetoric impairs its political efficacy. We illustrate how psychiatry can share recovery values and yet appear to violate them. In certain criminal proceedings, for example, forensic psychiatrists routinely argue that persons with mental illness who have committed crimes are not full moral agents. Such arguments align with the recovery movement’s aim of providing appropriate treatment and (...) services for people with severe mental illness, but contradict its fundamental principle of self-determination. We suggest that this contradiction should be addressed with some urgency, and we recommend a multidisciplinary collaborative effort involving ethics, law, psychiatry, and social policy to address this and other ethical questions that arise as the United States strives to implement recovery-oriented programs. (shrink)

The US psychologist Gail Hornstein’s monograph, Agnes’s Jacket: A Psychologist’s Search for the Meanings of Madness, is an important intervention in the identity politics of the mad movement. Hornstein offers a resignified vision of mad identity that embroiders the central trope of an “anti-colonial” struggle to reclaim the experiential world “colonized” by psychiatry. A series of literal and figurative appeals makes recourse to the inner world and cultural world of the mad as well as to the ethno-symbolic cultural materials (...) of dormant nationhood. This rhetoric is augmented by a model in which the mad comprise a diaspora without an origin, coalescing into a single transnational community. The mad are also depicted as persons displaced from their metaphorical homeland, the “inner” world “colonized” by the psychiatric regime. There are a number of difficulties with Hornstein’s rhetoric, however. Her “ethnicity-and-rights” response to the oppression of the mad is symptomatic of Western parochialism, while her proposed transmutation of putative psychopathology from limit upon identity to parameter of successful identity is open to contestation. Moreover, unless one accepts Hornstein’s porous vision of mad identity, her self-ascribed insider status in relation to the mad community may present a problematic “re-colonization” of mad experience. (shrink)

The body of the one deemed mad often remains a sexual body with sexual needs. Mental health services respond to these demands of the body in various ways, including constructing rules around physical movement. In this context, we were interested in how mental health clinicians problematized the sexual needs and practices of residents of a long‐stay mental health rehabilitation facility and how solutions were constructed in relation to the residents’ sexual desires. This paper reports findings from mental health clinicians, (...) as part of a case study where we addressed this question. Mental health clinicians responded to residents’ sexuality from a discourse of risk. The notion of the engagement with each resident as a sexual subject was subordinated to the paternalistic notion of protecting the patient from risk. The resident became an object to be monitored and protected rather than a subject with sexual desire and agency. This paternalism also showed itself in relation to a ‘no‐sex on‐site’ rule that allowed for a shift of risk from the organization to the resident. Residents, rather than having a relatively safe place to have sexual relations, were required to find a place elsewhere, potentially unsafe, outside the facility. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Texts and interviews from the period that saw the publication of Deleuze's major works. People tend to confuse winning freedom with conversion to capitalism. It is doubtful that the joys of capitalism are enough to free peoples.... The American “revolution” failed long ago, long before the Soviet one. Revolutionary situations and attempts are born of capitalism itself and will not soon disappear, alas. Philosophy remains tied to a revolutionary becoming that is not to be confused with the history of revolutions.—from (...) Two Regimes of Madness Covering the last twenty years of Gilles Deleuze's life, the texts and interviews gathered in this volume complete those collected in Desert Islands and Other Texts. This period saw the publication of his major works: A Thousand Plateaus, Cinema I: Image-Movement, Cinema II: Image-Time, all leading through language, concept and art to What is Philosophy?. Two Regimes of Madness also documents Deleuze's increasing involvement with politics. Both volumes were conceived by the author himself and will be his last. Michel Foucault famously wrote: “One day, perhaps, this century will be Deleuzian.” This book provides a prodigious entry into the work of the most important philosopher of our time. Unlike Foucault, Deleuze never stopped digging further into the same furrow. Concepts for him came from life. He was a vitalist and remained one to the last. This volume restores the full text of the original French edition. (shrink)

A basic question of philosophy of psychiatry is “what is madness (mental illness, mental disorder…)?” Contemporary thinkers err by framing the problem as one of defining madness in contrast with sanity. For the Late Modern theorist of madness, the problem was not one of defining madness in contrast with sanity, but in contrast with “idiocy”—the apparent diminution or abolition of one’s reasoning power. This altered reading of the problem has an important consequence. For what distinguishes madness from idiocy is not (...) the failure, absence, or lack of reason, but its presence—albeit in a perverse and mutated form. For the Late Modern theorist, madness was always, by its very nature, infused with reason. This “infusion” of madness by reason has two consequences for philosophy of psychiatry today: it reframes the project of defining “mental disorder,” and it provides intellectual scaffolding for the emerging movement known as Mad Pride, mad resistance, or mad activism. (shrink)

Christine Buci-Glucksmann’s The Madness of Vision is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, (...) actually dazzles and distorts the perception of reality. In each of the nine essays that form The Madness of Vision Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s Saint Teresa and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s Judith Beheading Holofernes, the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s El Criticón; Monteverdi’s opera Orfeo; the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

Christine Buci-Glucksmann’s__ _The Madness of Vision_ is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, (...) actually dazzles and distorts the perception of reality. In each of the nine essays that form _The Madness of Vision_ Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s _Saint Teresa_ and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s _Judith Beheading Holofernes,_ the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s_ El Criticón_; Monteverdi’s opera _Orfeo; _the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

In this article, I explore Seth Farber’s critique in _The Spiritual Gift of Madness_ that the leaders of the Mad Pride movement are failing to realize his vision of the mad as spiritual vanguard of sociopolitical transformation. First, I show how, contra Farber’s polemic, several postmodern theorists are well suited for this leadership (especially the Argentinian post-Marxist philosopher Ernesto Laclau). Second, I reinterpret the first book by the Icarus Project, _Navigating the Space between Brilliance and Madness_, by reimagining its (...) central metaphor of Icarus in the context of late capitalism as a prison world. Finally, I conclude with four strategies derived therefrom for higher functioning mad leaders to transform our penitentiary world. (shrink)

This article investigates “impaired insight,” a controversial psychiatric category describing a mad person unable to know his or her madness. Like “moral insanity” and other concepts before it, impaired insight offers a way to link the disparate logics of human responsibility in psychiatry and the law. I attribute its development to changes wrought by deinstitutionalization, the rise of antipsychotic medication, and patient incarceration in penal settings. In a system that aims to govern psychiatric patients through their freedom, the logic of (...) impaired insight introduces a wrinkle: can a person make an informed choice to refuse treatment if madness itself impairs awareness of illness? Drawing on tools from the sociology of science, I trace the process by which researchers recast psychodynamic “denial” as a neurological and therefore non-volitional “impairment” in the 1990s. I then show how social movement actors mobilized the materialized form in the legal and policy fields in the 2000s, bringing insight science to bear upon the very questions of custodial management and patient rights that gave birth to it. At stake is this dilemma: how can societies that simultaneously privilege individual responsibility and somatic accounts of behavior govern those at the border of legal capacity, and with what justification? (shrink)

With migration featuring prominently in political and popular discourse in recent years, this article examines five dilemmas that continue to dog policymakers. It is argued that any cogent and coherent policies in this area need to resolve these five basic challenges in migration policymaking: who can enter and the rules of their entry (admission); what rights and services migrants have access to (entitlements); how effectively they integrate with their host society (integration); what impact their movement has on their erstwhile (...) home (overseas impact); and how to handle those already in a country but living and working without permission (undocumented migrants). (shrink)

In this article, I argue that phenomenological psychopathologists, despite their critical attitude toward mainstream psychiatry, still hold problematic prejudices about the nature of psychiatric conditions as illness or disorder. I suggest that phenomenological psychopathologists turn to resources in the neurodiversity and mad pride movements to critically reflect upon these prejudices and appreciate the methodological problems that they pose.

Storytelling is a central device in cultures of resistance, which enables us to trace back such cultures to precedents in the history of literature that in turn can furnish new strategies of resistance by providing narrative tactics. This paper argues that Charlotte Perkins Gilman’s short story The Yellow Wallpaper develops narrative tactics of resistance which can be fruitful for contemporary Mad Pride activism and poetic practices. To do so, I borrow a Foucauldian approach to account for how Gilman challenges the (...) psychiatric industrial medical complex in her writing. First, the story is contextualized in nineteenth-century American psychiatry, and some critical warnings on the writer’s position concerning liberation movements are offered. Subsequently, I focus on three narrative tactics of resistance deployed in The Yellow Wallpaper: (1) an indetermination of genre, (2) a tension between form and dementia, and (3) a double subjectivity in the oscillation between the pronouns “one” and “I”. Finally, the reassessment of Gilman’s writing from the lens of Disability Justice is summarized in two results: first, it strengthens the grounds of Mad Pride by imbricating it in American literary and philosophical canons and, second, it provides tactics to open spaces of resistance for contemporary authors in the movement. (shrink)

Sensation of Movement explores the role of sensation in motor control, bodily self-recognition and sense of agency. The sensation of movement is dependent on a range of information received by the brain, from signalling in the peripheral sensory organs to the establishment of higher order goals. Through the integration of neuroscientific knowledge with psychological and philosophical perspectives, this book questions whether one type of information is more relevant for the ability to sense and control movement. Addressing conscious (...) sensations of movement, experimental designs and measures, and the possible functions of proprioceptive and kinaesthetic information in motor control and bodily cognition, the book advocates the integration of neuroscientific knowledge and philosophical perspectives. With an awareness of the diverse ideas and theories from these distinct fields, the book brings together leading researchers to bridge these divides and lay the groundwork for future research. -/- Contributors: Thor Grünbaum and Mark Schram Christensen Andreas Kalckert Myrto Mylopoulos Mads Jensen, Mia Dong, Mikkel C. Vinding, and Morten Overgaard Anne Kavounoudias Matthew R. Longo Hong Yu Wong. (shrink)

People tend to confuse winning freedom with conversion to capitalism. It is doubtful that the joys of capitalism are enough to free peoples.... The American "revolution" failed long ago, long before the Soviet one. Revolutionary situations and attempts are born of capitalism itself and will not soon disappear, alas. Philosophy remains tied to a revolutionary becoming that is not to be confused with the history of revolutions.--from Two Regimes of MadnessCovering the last twenty years of Gilles Deleuze's life, the texts (...) and interviews gathered in this volume complete those collected in Desert Islands and Other Texts. This period saw the publication of his major works: A Thousand Plateaus, Cinema I: Image-Movement, Cinema II: Image-Time, all leading through language, concept and art to What is Philosophy?. Two Regimes of Madness also documents Deleuze's increasing involvement with politics. Both volumes were conceived by the author himself and will be his last. Michel Foucault famously wrote: "One day, perhaps, this century will be Deleuzian." This book provides a prodigious entry into the work of the most important philosopher of our time. Unlike Foucault, Deleuze never stopped digging further into the same furrow. Concepts for him came from life. He was a vitalist and remained one to the last. This volume restores the full text of the original French edition.The philosopher Gilles Deleuze published twenty-five books, including five in collaboration with Félix Guattari. (shrink)

In this paper I argue that there are seven stages, or orientations, of thought about divine madness (initially understood by Plato as eros) with each stage offering claims, or critiques of claims, about its nature. Moreover, each orientation offers a claim, or a critique of a claim, about a relation to the Good that comes through divine madness. My account of the stages is greatly indebted to, but divergent from, the work of William Desmond. Hence, my thought is metaxological and (...) the discussion of the stages takes its bearings from the "between" of eros and agape. I make reference to Desmond's work in order to develop and contrast my own view of the Good as both agapeic and erotic. I argue that the agapeic activity of the Good has an erotic aspect. This aspect of the Good is not an incompleteness or need; rather, it is an absence that "contains" the Good's agapeic activity of creation. Further, this aspect serves not to realize the Good but to ground the becoming in creation (including the movement of our eros through the seven stages of divine madness). I develop how in the seventh stage our eros dynamically images the erotic aspect of the Good's activity by consciously intermediating its relations to the other. (shrink)

Contributing to renewed scholarly interest in R. D. Laing and his circle, and in the radical therapeutic community of Kingsley Hall, London, this article offers the first article-length reading of Mary Barnes’ and Joseph Berke’s Mary Barnes: Two Accounts of a Journey through Madness. This text offers views of anti-psychiatry ‘on the ground’ that critique the 1960s utopianism of Laing’s championing of madness as a metanoic, quasi-psychedelic voyage. Barnes’ story, too, reveals tensions within the anti-psychiatric movement. Moving beyond existing (...) criticism of the text, Barnes, it is argued here, emerges as far more than an exemplary patient, victim or anti-psychiatric puppet. Particular attention is paid in this reading of Two Accounts to the following: the ways in which the spiritually inclined Barnes and the psychoanalytic Berke differ in this dual narrative text; the ways in which each differs from Laing; the metaphor of the journey; and the setting of Barnes’ story in the often conflicted, experimental household of Kingsley Hall. (shrink)

The history of the recovery movement began with a pushback against treatment, and the philosophies that it was founded upon still have relevant applications to contemporary social work practice. Financial aspects of service provision for people with serious mental illnesses have enabled other actors in the medical model of psychosis treatment to benefit, while disempowering and dehumanizing the consumers of those services. Since then, other movements like Psychopolitics and the Mad Movement have helped empower psychosis survivors to advocate (...) for their right to self-determination amid the epistemological pressure to identify as disabled. Social workers would like to believe that the field has moved beyond the philosophies that perpetuated institutionalization of people with serious mental illnesses. Contemporary examples, however, reveal how social services in the US maintain the status quo of sanism for psychosis survivors. (shrink)

In the late 1960s, the Federal Bureau of Investigation (FBI), a United States of America (US) intelligence agency, developed what is famously known as Counter Intelligence Program (COINTELPRO). Its mission was to surveil, misinform, misdirect and subvert or destroy black ‘subversive’ militant groups. The main intention of COINTELPRO was to ‘prevent the rise of a messiah’ who could ‘unify, and electrify, the militant black nationalist movement’. This insight is important as it reveals how those outside of black life (FBI) (...) would invoke biblical language to define the possibility of revolution. This article through Black liberation theology seeks to present the idea of messianism as both an experience of Africans and oppressed peoples in the Global North and Global South. The idea of messianism is part of biblical reception in Africa and the African experience of colonialism. In South Africa, messianism would be observed from the perspective of African Christianity, while another form of messianism would be seen from Nat The Prophet Turner as well as the radical identity of Christ in Black liberation theology. The article will not take lightly the idea of surveillance of black militant groups in the same way as the priestly class surveillance Christ ministry. At the same time, the article would reflect on why lunacy is associated with those that seek to subvert oppression. This article seeks to discuss the role of messianism and militancy in Black or African Christianity and highlighting biblical reception and African affectivity. Contribution: This article explores the imaginative ways the Bible or its themes have been used by both the oppressor and the oppressed, often the latter using the Bible for its prerogative, namely, revolution and liberation. (shrink)

The anti-psychiatry movement of the 20th century has notably denounced the role of values and social norms in the shaping of psychiatric categories. Recent activist movements also recognize that psychiatry is value-laden, however, they do not fight for a value-free psychiatry. On the contrary, some activist movements of the 21st century advocate for self-advocacy in sciences of mental health in order to reach a more accurate understanding of psychiatric categories/mental distress. By aiming at such epistemic gain, they depart from (...) the anti-psychiatry movement. Through the analysis of the epistemic and political influence of two of these movements – Neurodiversity and the Mad Studies, we show how this new activism has taken a scientific turn compatible with current philosophical scientific frameworks, while still developing a critical approach on psychiatry. (shrink)

This paper is dealing with one of the greatest novels in the British literature, The Golden Notebook by Doris Lessing. The novel and its main character, Anna Wulf can be interpreted in myriad ways, but our analysis is a psychoanalytical one. The introductory part of the paper gives the definitions of the psychoanalytical words that will be later on used in the paper.In The Golden Notebook, the life of Lessing’s main character offers an understanding of issues such as political repression, (...) sexual abuse, single parenthood, writer’s block, and the women’s movement. Anna Wulf’s fragmented personality is caught in the four notebooks that she writes, each one being concerned with one of Anna’s selves. Anna is the most complicated heroine analysed and we will try to discover which of her various selves are confirmed and which are repressed. In Anna’s process of healing, there are two moments of climactic confirmation: the first one when she admits that she is mad and the second one when she admits she has a writer’s block. (shrink)

This essay focuses on three moments in Foucault's lifelong engagement with the pressing political question of the relationship between power and the subject. The first moment involves Foucault's examination of madness and Foucault's account of the relationship between the social‐institutional and conceptual exclusion of madness and the constitution of the rational subject in modernity, as this is articulated in the History of Madness (HM). The second moment focuses on Foucault's later account of subjection and normalization, as presented in Foucault's famous (...) genealogical works, Discipline and Punish (DP) and History of Sexuality (HS). Foucault's lectures on Psychiatric Power (C‐PP) serve as a bridge between these first two moments. The third moment involves Foucault's exploration of technologies of the self in the context of ancient Greek and Roman ethics. There is a movement to Foucault's thought from madness as the condition of impossibility of thought to disciplinary subjection to the Stoic idea of conversion. (shrink)

Bolesław Leśmian’s The Mad Violinist contains many suggestions concerning the musical side of the drama, especially its properties of sound and expression. The violin and violin playing fulfill an important function – coloristic, dramaturgic and symbolic – in the work. Also appearing are the sounds of other instruments (gong, dulcimer, plucked string instrument), refined musical timbres and acoustic effects (sound portrait of the Woodland Water Nymph), musical profiling of the characters (Alaryel plays the violin, Chryza dances on stilts, the Witch (...) strikes the clock) and ‘ballet’ scenes – solo and ensemble (Chryza’s dance, Chryza and the Water Nymph’s dramatic duet, the dance suite in the Second Delusion). The poet also described very suggestively the expressive categories of the fragments set to music. Their skillful distribution in time and combination on a contrast principle, as well as the utilization of their dramatic potential, contribute to the reinforcement of their power of expression. Alaryel’s virtuoso showpiece, maintained in a furioso-type tone, leads to a true explosion of sound and contrasts with the lyrical and wistful lamentoso played over the grave of the Water Nymph. However, the ethereal timbre of the Water Nymph, who is accompanied by an indigo dawn, emphasizes the symbolic significance of this character. The musical components in The Mad Violinist blend perfectly with the other elements – word, gesture, stage movement and the visual side of the drama, creating an extraordinary whole of great artistic value. The present article also proposes a reference to the violin music of Belgian violinist and composer Eugène Ysaÿe, whose oeuvre fits into the European Symbolist trend. His Six Sonatas for Violin Solo op. 27 from 1927 form a peculiar interpretative context for Leśmian’s drama. The point here is not to suggest any actual relationship, but rather to draw attention to the similar type of artistic sensitivity and imagination, feel for color and deeply sensual manner of experiencing the world. (shrink)

As Holderlin was to Martin Heidegger and Mallarme to Jacques Derrida, so is H.P. Lovecraft to the Speculative Realist philosophers. Lovecraft was one of the brightest stars of the horror and science fiction magazines, but died in poverty and relative obscurity in the 1930s. In 2005 he was finally elevated from pulp status to the classical literary canon with the release of a Library of America volume dedicated to his work. The impact of Lovecraft on philosophy has been building for (...) more than a decade. Initially championed by shadowy guru Nick Land at Warwick during the 1990s, he was later discovered to be an object of private fascination for all four original members of the twenty-first century Speculative Realist movement. In this book, Graham Harman extracts the basic philosophical concepts underlying the work of Lovecraft, yielding a weird realism capable of freeing continental philosophy from its current soul-crushing impasse. Abandoning pious references by Heidegger to Holderlin and the Greeks, Harman develops a new philosophical mythology centered in such Lovecraftian figures as Cthulhu, Wilbur Whately, and the rat-like monstrosity Brown Jenkin. The Miskatonic River replaces the Rhine and the Ister, while Holderlin's Caucasus gives way to Lovecraft's Antarctic mountains of madness. (shrink)

Where is logic heading today? There is a general feeling that the discipline is broadening its scope and agenda beyond classical foundational issues, and maybe even a concern that, like Stephen Leacock’s famous horseman, it is ‘riding off madly in all directions’. So, what is the resultant vector? There seem to be two broad answers in circulation today. One is logical pluralism, locating the new scope of logic in charting a wide variety of reasoning styles, often marked by non-classical structural (...) rules of inference. This is the new program that I subscribed to in my work on sub-structural logics around 1990, and it is a powerful movement today. But gradually, I have changed my mind about the crux of what logic should become. I would now say that the main issue is not variety of reasoning styles and notions of consequence, but the variety of informational tasks performed by intelligent interacting agents, of which inference is only one among many, involving observation, memory, questions and answers, dialogue, or general communication. And logical systems should deal with a wide variety of these, making information-carrying events first-class citizens in their set-up. The purpose of this brief paper is to contrast and compare the two approaches, drawing freely on some insights from earlier published papers. In particular, I will argue that logical dynamics sets itself the more ambitious diagnostic goal of explaining why substructural phenomena occur, by ‘deconstructing’ them into classical logic plus an explicit account of the relevant informational events. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 402-414 [Access article in PDF] Past's Weight, Future's Promise:Reading Electra William Junker I SOPHOCLES' Electrapresents as its main character a woman who is tortured by the remembrance of things past: Even my pitiful bed remembers, there in that dreadful house, my long night-watches grieving my unlucky father who found no foreign resting place in war but died when my mother and Aegisthus, her lover, (...) took an axe to his head as a woodman does a tree. (85-95) 1The story she tells is a familiar one. Her father, Agamemnon, having returned from the Trojan War, is murdered by Clytemnestra and her lover Aegisthus. Clytemnestra's motives are complex and unclear, for Agamemnon had previously sacrificed their daughter, Iphigenia, in order to ensure military success, and it is an open question as to what extent maternal vengeance as opposed to romantic intrigue motivated [End Page 402] her action. After the murder, Electra rescues her brother Orestes from probable death by sending him abroad (Aegisthus fearing revenge would have killed the child) while she grows and lives as an outcast in her own home, awaiting the day when the grown Orestes will return and bring their father's murderers to justice.The story, and its ensuing consequences, had already been handled masterfully in Aeschylus' Oresteia; but in Sophocles' play there is considerably more interest shown in Electra herself. 2 This focus results in a magnification of Electra's mourning for her father along with a sustained meditation upon how this mourning results in her inability to live, in any full sense, with the knowledge of his death. She cannot escape the memory of the injustice done him, and this memory fuels her hopes for Orestes' return even as it renders her, for all practical purposes, incapacitated.Her character thus described draws continual attention during the course of the play, and in their first appearance the Chorus admonishes her: "When you go on too far with grief, / you come to endless anguish, and destroy yourself. / There is no salvation from your troubles here, / so why should you persist in suffering" (136-39). Electra herself views her persistent suffering as necessary and noble, a show of allegiance to her murdered father and a refusal to compromise with his killers. The Chorus and Chrysothemis, however, argue that by so carrying on Electra is in reality causing more damage to herself than her situation warrants. Her ragged appearance, quite noticeable stench, and public outcries do nothing to help redress her father's honor; they rather highlight her mania and point toward insanity. At one point Chrysothemis implies as much. To Electra's accusation that her position of political compromise is dishonorable, she rebuts: "There's honor in not letting madness defeat you" (395)—suggesting both a different conception of honor and a veiled appraisal of her sister's mental health. In the service of life and sanity, the Chorus and Chrysothemis seem to say, leave off your suffering. In the service of honor and the dead, Electra rejoins, I cannot. The movement of the play in fact continually juxtaposes the position of Electra with that of her critics, and this juxtaposition is one that calls for interpretive elucidation. 3An especially fertile way of adjudicating these issues in Electra is afforded us by Nietzsche, and, specifically, by his On the Advantage and Disadvantage of History for Life. This is the case because, as I want to suggest, Nietzsche's essay provides a framework which reconstructs, and in a unique way, the central problem of Electra. That problem is [End Page 403] essentially one of reconciling the conflicting claims of familial honor and memory with the claims of life. Through Nietzsche's exposition of history and its relation to life, this problem is both illumined and given greater subtlety—illumined, in that the potential agôn between history and life, while present in Sophocles' Electra, is not just obvious; and made subtle, in that Nietzsche's proposed solution to this agôn allows for a reading of the... (shrink)

Independent on Sunday October 2nd One of the country's lead­ing philosophical counsellers, and chairman of the Society for Philosophy in Practice (SPP), Tim LeBon, said it typically took around six 50 ­minute sessions for a client to move from confusion to resolution. Mr LeBon, who has 'published a book on the subject, Wise Therapy, said philoso­phy was perfectly suited to this type of therapy, dealing as it does with timeless human issues such as love, purpose, happiness and emo­tional challenges. `Wise (...) Therapy, is part of a series aimed at promoting an integrative attitude as its ethos. Among all the many perspectives of psychotherapists and counselors, philosophy needs to take its place and needs to find its voice. Tim LeBon has provided an effective means by which counselors can bring philosophy into their work with clients' - APPA journal `Tim Le Bon's Wise Therapy is a comprehensible and well argued book dealing with the practical therapeutic applications of philosophical research that may well be of interest to philosophers but -- as the author himself intends -- will be of most obvious benefit to therapists and counselors, both by informing their dialogue with clients in new ways and by helping them become more informed about ways to resolve the ethical dilemmas arising within the context of their own work' - Metapsychology `A fascinating workshop for therapists and clients, backed up a thorough degree if philosophical acuity' - Journal of the Society for Existential Analysis `I strongly recommend the book for philosophers as well as practitioners, teachers, students and supervisors in counselling and psychotherapy' - Self and Society `Provides some additional and valuable arrows for the therapist's quiver' - Irvin Yalom, author of Love's Executioner `Like Aristotle, Tim LeBon examines what is said and extracts what is best from it…. There are many fascinating exercises designed to bring out and enlighten the client's values, conception of the good life, well-being, happiness, pleasure, and the proper place of reason in life…. Wise Therapy is well written and engaging. The case histories are illuminating examples of therapeutic techniques at work, the thought experiments are well designed, and the philosophical position adapted from the internal debates of the philosophers is level headed…. I recommend it highly to philosophers with an interest in counselling, and psychological counsellors with an interest in philosophy' - Jeff Mason, The Philosophers' Magazine `Tim LeBon has… authored a text which should become a staple on the philosophical counsellor's bookshelf…. Wise Therapy is a concise, well-written book…. His ability to relate philosophical concepts to counselling concerns is admirable and attests to the skill and knowledge he possesses as a working counsellor. But, by far the most important part of Tim LeBon's book to PC is the last chapter, "The Counsellor's Philosophical Toolbox"' - Craig Munns in The Examined Life ` Tim LeBon has done a good job of offering practical approaches to some of the most important and vexing issues that arise in counselling…. Tim LeBon's book contains helpful suggestions, practical information, and useful examples, and would make a good addition to the library of any counsellors willing to allow philosophy to turn mere client sessions into wise therapy' - Peter Raabe, Practical Philosophy Wise Therapy is an original and practical guide to how philosophy can benefit counselling and psychotherapy. Tim LeBon argues that therapy, informed by philosophy, can help clients make better decision and achieve emotional wisdom. He uses philosophical approaches to explore issues of right and wrong, the emotions and reasons, well-being and the meaning of life, and develops a 'counsellor's toolbox' of techniques that can help practitioners apply the wisdom of philosophy to good therapeutic practice. For counsellors who may find philosophical approaches to therapy useful, this work addresses key philosophical topics - the emotions, free will, the meaning of life and ethics. It is jargon-free where possible and assumes no previous philosophical training. From The Independent, 16th November 2004 Plato is my agony aunt It was the end of a love affair that broke her heart. Could the wisdom of the great philosophers show her how to be happy again? Claire Smith tries a novel form of therapy "The unexamined life is not worth living," Socrates said. Nor is the life you're left with after your boyfriend has left you for another woman - at least, that's how it felt in October last year when mine broke rank and went off with an art student from Cleveland, Ohio. We were over there for the opening of his new art exhibition. He'd flown over four days before me and had met her at a party. Supposedly, they "connected". The five months that followed were a roller-coaster of confusion, vitriol and despair. I knew there'd been problems in our relationship. We saw the world very differently; he delighted in the charm of the ordinary, I wanted maximum divinity. He walked; I galloped. He drank tea; I loathed the stuff. But, along the banks of the Thames, we'd made a promise to always stick together. Our love was something unique: "transcendental", I called it. And besides, we recycled. Surely a commitment to save the world would save our relationship? Alas, no. So there I was, a woman scorned. Hell truly hath no greater fury. And what made it worse was that I still believed in our transcendental love. If I wanted to change the way I was feeling, I needed to alter the way I was thinking. But how? A few bottles of wine and a sharp blow to the head might have done the trick. Fortunately, there's an older, more trusted way of turning your head on its head that counsellors are starting to use: philosophy. The idea of employing Plato as an agony aunt was begun in 1981 by the German philosopher Gerd Achenbach. Although philosophy spends a lot of its time asking real-life questions that affect real-life people - What is happiness? And is it always wrong to lie? - most of the debate goes on in ivory towers. What Achenbach and subsequent philosophers including Tim LeBon, the chairman of the UK's Society for Philosophy in Practice, wanted to do was "give practical application" to this gigantic library of great thoughts. So how does it work? Like most types of therapy, you sign up for a set of sessions. "Two would give you a new perspective on one issue; six would help you to make a major life-decision, like a career change; with 12 you can start to rethink your entire life philosophy," explains LeBon. Each session lasts 50 minutes and costs £50 - and, no, you don't have to have any previous knowledge of philosophy. "If you think of Friends, it would suit Ross and Chandler more than Joey," LeBon says. "It's for anyone who wants to make their emotions more intelligent. Or for those who have tried other kinds of therapy, and want something more cerebral." The first session begins with the patient venting off about whatever's troubling them. The rant over, the counsellor then picks out some key concepts that are crucial to the problem - in the case of heartbreak, it is love and happiness that come hurtling to the fore - and then gets the patient to define what they mean. So, what is love? What is happiness? To kick-start the patient's thinking, LeBon describes what a great philosopher had to say about it. In my case, he tells me what Plato wrote about love in his Symposium: that to stop man fighting the gods, Zeus decided to cut each human in two, so they would lose their strength. "This, then, is the source of our desire to love each other," Plato said. "Each of us is a 'matching half' of a human whole, because each was sliced like a flatfish, two out of one, and each of us is always seeking the half that matches him." This method of probing what we might think are "obvious" ideas, such as love and happiness, was devised by Socrates in the squares of Athens. "The only I thing I know is that I know nothing at all," he boasted. What Socrates showed was that although many of the thinkers of his time thought they knew what justice, happiness and goodness meant, their understanding was tied in to their personal agenda and world view, and, what's more, when pushed, their ideas often contradicted themselves. A bit like me on love. Whereas part of my understanding of love was something that gave life meaning, made it worth living and bound us together, I also believed that true love was "transcendental": that it was out of this world, and it didn't matter if the two people who loved each other couldn't get along in the day-to-day. Love was bigger than the mundane. But when it came to the next stage of the therapy, critical thinking - "to check out whether your assumptions stand up to examination" - I walked head first into a contradiction. If I think love's purpose is to make life worth living, but then say it's irrelevant to daily life, surely my two ideas of love are not compatible? As the cogs in my brain start to creak into motion, I feel myself taking a step back from my predicament: thinking about how I've been thinking. This idea I had of transcendental love might have started off as a romantic dream. But when the relationship stopped working, and I found myself feeling trapped and frustrated, I used it to justify the mechanics of a relationship that just didn't work in the daily grind. I used it to lie to myself. In the final stage, LeBon gets me to start thinking about how to go forward. "You can't change what has happened," he says. "You can't change that he's left you, or how you behaved in the relationship. So, as the Stoics did, let's work on controlling the controllables: the things that you can change." To work out what can be changed, he gets me to try out a thought experiment, a method often used in philosophy to imagine other worlds where people can have different codes of behaviour. Thought experiments shatter your preconceived ideas of how the world should be and let your imagination run wild to how the world could be. "I find Viktor Frankl very useful here, the Austrian psychiatrist and concentration-camp survivor who actually believed that everything in life happens for a purpose," LeBon says. "Suppose this break-up did happen for a reason that will work to your benefit," he suggests. "What might that be? The answer might be that you can now focus on something important that was denied in the relationship. Or - the Hollywood version - so you'll meet someone who is really right for you." Temporarily freed of any sense of responsibility for the relationship that was, and its sorry demise, the list came fast. I could now travel more; he didn't like me travelling on my own, but too often he didn't want to go anywhere, preferring to stay in his studio and make art. I'd love to meet someone with a similar sense of adventure to mine. For the first time in two years, I was being honest with myself about what I really wanted - listening to those voices that we all have inside our heads, and too often try to muzzle. So did philosophy save me? Well, I'm now dating a travel writer I have to run to keep up with. I still haven't got over the fact that my replacement came from Cleveland, Ohio. But I guess I never will. Tim LeBon can be reached by e-mail at [email protected] A FEW WORDS FROM THE WISE Compiled by Ed Caesar · "At the touch of love, everyone becomes a poet" - Plato · "There is always some madness in love. But there is also always some reason in madness" - Friedrich Nietzsche · "That man shall live as his own master and in happiness who can say each day 'I have lived'" - Horace · "The good of man is the active exercise of his soul's faculties in conformity with excellence or virtue... Moreover this activity must occupy a complete lifetime; for one swallow does not make spring, nor does one fine day; and similarly one day or a brief period of happiness does not make a man supremely blessed and happy" - Aristotle · "There is nothing on this earth more to be prized than friendship" - Thomas Aquinas · "Whatever you do... love those who love you" - Voltaire · "Happiness is not an ideal of reason but of imagination" - Immanuel Kant · "Happiness is a state of which you are unconscious. The moment you are aware that you are happy, you cease to be happy" - Jiddu Krishnamurti · "Love is an ideal thing. Marriage is a real thing" - Johann Wolfgang von Goethe I shrink, therefore I am Therapy has many answers, but some questions require the help of a philosopher, says Clint Witchalls Sunday November 21, 2004 The Observer Danny had worked in the City of London for 10 years. As a research analyst, stockbroker and fund manager, he'd made a lot of valuable contacts, earnt a lot of cash, and learnt some important business skills. However, as he approached his mid-thirties, he no longer felt good about himself or what he did for a living, and he found his colleagues cold and unfriendly. A chronic illness made him realise his mortality, and he began to reassess his priorities. Danny had been struggling with his career conundrum for nearly five years when he met David Arnaud, a philosophical counsellor. After a few soul-searching sessions, Danny arrived at a decision. Today, he teaches economics to sixth-formers, and he loves it. 'It's a much better lifestyle,' he says. Many people are turning to philosophical counsellors to get answers to questions such as: 'How do I make sense of myself?' 'What is important to me?' 'Where am I going?' These are perhaps not the sort of questions that require psychiatric intervention, but Arnaud, who recently completed the first empirical study of philosophical counselling in the UK, has found that within just five sessions the majority of clients, with important decisions to make, tend to move from a state of concern and confusion to a resolution. Modern philosophical counselling can be traced back to 1981, when the philosopher Gerd Achenbach opened the first practice near Cologne. Achenbach referred to the new discipline as 'therapy for the sane.' Today, there are hundreds of philosophical counsellors around the world, with the movement particularly strong in the US, Britain and the Netherlands. 'The dilemmas people face aren't always primarily psychological,' says Alex Howard, a philosophical counsellor from Newcastle. 'If people face problems that are social or economic, it doesn't make sense to define their problems in purely psychological terms.' Tim LeBon, a founder member of the Society for Philosophy in Practice (SPP) and author of Wise Therapy, adds: 'We are faced with far more life choices than our grandparents, yet have far fewer resources to deal with them. Our grandparents may have gone to a priest or to other family members for advice; most people don't trust these solutions any more and so want to make their own well-informed, well thought-out choices. Philosophical counselling can help these people - people in mid-life crises who are wondering how to make the most of the rest of their life. People who want to take stock of their values.' Where stressed executives might once have been prescribed a course of tranquillisers or antidepressants, they can now get a dose of Bertrand Russell instead: 'Success is too dearly purchased if all the other ingredients have been sacrificed to obtain it.' While some philosophical counsellors do recommend books for their clients to read, most sessions are about helping the client identify faulty thoughts. For example, a briefing in Aristotelian logic might show a client why their beliefs are erroneous. The person might infer that they're a screw-up because they've screwed up. The counsellor could point out that they're making an error called 'fallacy of composition' - that is, what's true of the part isn't necessarily true of the whole. In philosophical counselling, problems aren't pathologised as they are by the psychiatric profession, and the dialogue between client and counsellor is more like a meeting of equals, compared to many therapies where the client is treated like a patient and seen as someone who is, in some way, inadequate. 'Anybody can benefit from philosophical counselling,' says Howard. 'But it does require someone who is willing to take stock.' Lou Marinoff, author of international bestseller Plato Not Prozac! has done much to promote philosophical counselling. 'Some people who have stabilised their neurochemistry and validated their emotions now wish to examine or re-examine the criteria of their beliefs, the principles of their conduct, or the meaning of their lives,' he says. 'With whom shall they do this? Psychologists and psychiatrists can shed light on such issues - as can rabbis, priests, imams and gurus. Philosophers are now rejoining the ranks of helpers.' LeBon believes certain therapies (such as cognitive behavioural therapy) don't go far enough in helping their clients. 'For instance, if you are anxious about your relationship, a cognitive therapist would try to dispute your catastrophising and jump to conclusions to make you feel less anxious,' says LeBon. 'A philosophical counsellor would do this, but would also look for existential meaning in your anxiety - perhaps you really don't want to be in the relationship and that is what your anxiety is telling you.' LeBon also gives short shrift to psychoanalysts. 'There's very little evidence for the Freudian unconscious, and it's time to move on to more intellectually satisfying and helpful therapies,' he says. However, Alain de Botton, the man who popularised philosophy as self-help, isn't ready to bury psychologists and their ilk just yet. 'The truth is that psychoanalysis grew out of philosophy - it's not some completely new idea, and in fact, done properly, psychoanalysis is philosophical anyway. It may even be dangerous to the mental health of some people to suggest a philosopher rather than a properly trained analyst. The knowledge of analysts when it comes to many emotional problems is now much greater than that of most philosophers.' Guardian Unlimited © Guardian Newspapers Limited 2004. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wuthering Heights: The Romantic AscentMartha NussbaumI“If I were in heaven, Nelly,” she said, “I should be extremely miserable.”“I dreamt, once, that I was there.... [H]eaven did not seem to be my home; and I broke my heart with weeping to come back to earth; and the angels were so angry that they flung me out, into the middle of the heath on the top of Wuthering Heights, where I (...) woke sobbing for joy.” 1Cathy’s soul cannot live in the Christian heaven. For her soul, she explains, is the same as Heathcliff’s soul, and the heavenly soul of Linton is as different from theirs “as a moonbeam from lightning, or frost from fire” (p. 95). Much later, as she lies on her deathbed, now the wife of Edgar Linton, thinking the Linton thought that what she wants is an escape into “that glorious world” of paradise and peace, Heathcliff watches her with burning eyes. At last she calls to him:In her eagerness she rose and supported herself on the arm of the chair. At that earnest appeal he turned to her, looking absolutely desperate. His eyes, wide and wet, at last flashed fiercely on her; his breast heaved convulsively. An instant they held asunder, and then how they met I hardly saw, but Catherine made a spring, and he caught her, and they were locked in an embrace from which I thought my mistress would never be released alive: in fact, to my eyes, she seemed directly insensible. He flung himself into the nearest seat, and on my approaching hurriedly to ascertain if she had fainted, he gnashed at me, and foamed like a mad dog, and gathered her to him with greedy jealousy. I did not feel as if I were in the company of a creature of my own species: it appeared that he would not understand, though I spoke to him; so I stood off, and held my tongue, in great perplexity.(pp. 188–89) [End Page 362]Brontë’s description alludes to the imagery of the Christian ascent tradition. As in Augustine and Dante, love is a flame that animates the eyes, a lightning bolt that pierces the fog of our obtuse daily condition; as in that tradition, love’s energy causes the lover to leap away from the petty egoism of the daily into an ecstatic and mutually loving embrace. But we know we are far from the world of the Christian ascent, even its erotic Augustinian form. Cathy’s spring is not an upward, but a horizontal movement—not toward heaven, but toward her beloved moors and winds, severed from which she would find heaven miserable; not toward God but toward Heathcliff, the lover of her soul. Nor is there redemption into heaven in this work; there is, if anything, a redemption from a world dominated by the imagination of heaven, into a world that the pious Ellen Dean can recognize only as an animal world, a world inhabited by creatures of a different species, who probably do not understand language, so thoroughly are they identified with the energy of the body. A few hours after Cathy’s death Heathcliff, as Ellen Dean tells us, in a sudden “paroxysm of ungovernable passion,” dashes his head against the knotted trunk of a tree, splashing the bark with blood, “and, lifting up his eyes, howled, not like a man, but like a savage beast being goaded to death with knives and spears” (p. 197). It is in his world alone, it would seem, that flame is truly found. As Cathy said to Edgar Linton, “Your cold blood cannot be worked into a fever: your veins are full of ice-water; but mine are boiling, and the sight of such chillness makes them dance.”Brontë’s novel situates itself within a long tradition of writing about love and its ascent or purification. This tradition, inaugurated by Socrates’ description of the ladder of love in Plato’s Symposium, is continued by later Platonists, and radically reformulated by Christian thinkers, who stress, against Plato, the soul’s receptivity and vulnerability to the inscrutable operations of grace. In both the Platonic and... (shrink)

Antisthenes was famous in antiquity for his studies of Homer's poems, his affiliation with Gorgias and the sophistic movement, his pure Attic writing style, and his inspiration of Diogenes of Sinope, who founded the Cynic philosophical movement. Antisthenes stands at two of the greatest turning points in ancient intellectual history: from pre-Socraticism to Socraticism, and from classical Athens to the Hellenistic period. Antisthenes' works form the path to a better understanding of the intellectual culture of Athens that shaped (...) Plato and laid the foundations for Hellenistic philosophy and literature. Antisthenes of Athens keeps in mind the goals and polemics framing each philosophical and textual discussion. The volume considers the ancient traditions about Antisthenes' rejection of Plato's “Theory of Forms,” his assertion of the paradox, “It is impossible to gainsay,” and his denial that definition of essence is possible, as well as the plausible intentions of Antisthenes. In cases where these questions are not easily settled, and where modern interpretation has varied, Susan H. Prince identifies the roots of the disagreements. The goal and meaning of Antisthenes' other famous ancient paradox, “I would rather go mad than have pleasure,” is illuminated by comparison with other evidence showing that pleasure does have a place in his ideology. Evidence for his relationship to Diogenes of Sinope, and for his receptions by the Cynics, Stoics, Skeptics, Christians, and Neo-Pagans is examined for both its historical value and its distorting tendencies. (shrink)

In his New Science of Politics, Eric Voegelin offers an analysis of modernity: at its heart, it is a radicalization of Christianity—a radicalization that counts as a betrayal. Like other movements of its time, Christianity judged this world in terms of another—one wherein all of us were brothers and sisters, wherein justice mattered more than victory and mercy more than justice. But rather than endure in patience their own limitations, those whom Voegelin calls “gnostics” tried to build heaven on earth—inevitably, (...) by violence. This serves as his postmortem on the twentieth century: liberalism, communism, and fascism are all, according to Voegelin, trying to do what cannot be done—specifically, to do what Voegelin calls “immanentizing the eschaton.” Each is, in its own way, a revolt against the human condition—and so a revolt against God. -/- But these gnostics would hardly have seen themselves in this demonic light. Indeed, they often called themselves “rationalists” and saw themselves as a brave few who might lead humanity out of the madness of the past. Of course, Voegelin would hardly grant that Plato or Saint Augustine were less rational than, say, Thomas Hobbes. But he would certainly grant that the gnostics hoped to render the world “rational” by abolishing whatever aspects of the human condition were “irrational”—in the case of Hobbes, our capacity for mystical experience of God. -/- Of course, this is hardly how contemporary political scientists would explain Hobbes. In the introduction to his New Science of Politics, though, Voegelin offers an indirect explanation of this. He warns that the social sciences are prisoners of their idolatry of the natural sciences: they ignore any data that cannot be rendered in language that is entirely descriptive—insisting as they do so that this methodology is only “rational.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.3 (2002) 501-519 [Access article in PDF] Nietzsche and Early Romanticism Judith Norman Nietzsche was in many ways a quintessentially romantic figure, a lonely genius with a tragic love-life, wandering endlessly (through Italy, no less) before going dramatically mad, taken by his gods into the protection of madness (to quote Heidegger's epithet on Hölderlin, one of Nietzsche's childhood favorites). 1 But this is (...) to be a romantic in an uncapitalized manner, and has nothing to do with the literary movement of Romanticism, a movement from which, as is well-known, Nietzsche distanced himself loudly and vigorously. Nietzsche famously follows Goethe in his verdict that Romanticism is a form of sickness and classicism a form of strength, and commentators, for the most part, have accepted this self-description. 2 That is, they do not blithely identify Nietzsche with that nineteenth-century artistic movement, whose proponents include Victor Hugo, Eugene Delacroix, and Richard Wagner. 3But Romanticism is a plural phenomenon. When Goethe made his famously dismissive remark, he was clearly not talking about Hugo and Wagner; he meant Romanticism in an earlier incarnation. Commentators have been less reticent about finding all sorts of affinities between Nietzsche and some of these earlier movements. In particular Nietzsche is frequently and positively compared to Jena Romanticism (also known as early Romanticism), a movement whose principal figures included August and Friedrich Schlegel, Novalis, Tieck, Schleiermacher, and Schelling, and the writings they published in the 1790s, principally in the journal, Athenaeum. It is this romantic movement that will be the focus of my paper. Jena romantics, while Grecophile, had nothing to do with Rousseauean primitivism (they were well aware that their image of the [End Page 501] Greeks reflected contemporary fantasies more than historical reality), they had no cult of the genius, and they did not valorize emotion above reason. 4 What was central to their movement was profound skepticism about the viability of traditional attitudes towards truth, an intellectually rigorous theory of art that gave particular weight to playfulness, fragmented writing, the notion of literary irony, a sense that the philosopher ought to be or become more of an artist (though not a genius)—and, correlatively, that philosophy is or ought to become more artistic. All of which sounds decidedly Nietzschean. Romanticizing Nietzsche While Nietzsche himself never makes the connection, he never explicitly distances himself from the authors of Jena romanticism in the way he does from later romantic figures. 5 Indeed, he barely mentions the Jena romantics by name and probably never read Friedrich Schlegel, the figure most closely associated with this romantic movement. 6 As such, there is certainly space for commentators to argue for a close if tacit intellectual connection between Nietzsche and Jena romanticism; indeed, one commentator speaks of a fundamental affinity, 7 another calls Nietzsche the last romanticist, and yet another claims that "[Nietzsche's] story makes sense only when read in the larger context of his Romantic predecessors' history." 8It is undeniable that Nietzsche came out of a philological tradition inaugurated by the Schlegels (and developed by Schelling) which juxtaposed the Dionysian and the Apollinian in Greek tragedy. According to Lacoue-Labarthe, "an entire tradition of academic philosophy (which, on his own initiative, Nietzsche had joined) revolved around precisely this opposition." 9 At least in [End Page 502] his earlier works Nietzsche's view of the Greeks was influenced by (if not predicated on) the scholarly research and interpretative theories of figures associated with Jena romanticism. How profound and enduring this influence might have been is an interesting question, but not one I will explore at present. I will not discuss the influence of the Jena romantics in their scholarly capacity as classical philologists, but rather focus on any impact they may have had as philosophically minded literary critics during the 1790s. Similarly, I will not look at The Birth of Tragedy but rather focus on claims made concerning the romantic tendencies of Nietzsche's later work. A body of scholarship has been building which claims that the critical theories of Jena... (shrink)

A key focus for agri-food scholars today pertains to emerging “alternative food movements,” particularly their long-term viability, and their potential to induce transitions in our prevailing conventional global agri-food systems. One under-studied element in recent research on sustainability transitions more broadly is the role of disruptive events in the emergence or expansion of these movements. We present the findings of a case study of the effect of a sudden acute food safety crisis—bovine spongiform encephalopathy, or mad cow disease—on alternative beef (...) production in the Province of Alberta, Canada. Employing the conceptual lens of Sustainability Transition Theory, we explore the perspectives of conventional and alternative beef producers, treating alternative beef production as a niche operating within the dominant regime of global industrial agri-business. Three key findings are presented here. First, food safety risks and disruptive events can emerge as a direct consequence of the socio-ecological contradictions embedded in industrial agriculture, representing an opportunity for expansion of agricultural niches. Second, certain features of socio-economic regimes can also contribute to niche emergence, such as an economic system that disenfranchises beef-producing families. Finally, our study highlights the high level of diversity among niche agents and the complex and nuanced nature of their support for the niche. (shrink)

Plato’s Phaedrus is a dialogue of journeys, a tale of transitions. It begins with Socrates’ question, ‘Where to and from whence, my dear Phaedrus?’ and concludes with the Socrates’ decision, ‘Let’s go’ (sc. back into the city from whence they’ve come). In the speech that forms its centre-piece Socrates narrates another famous journey—the descent of the soul into the body and its reascent to the realm of Forms through erotic madness. It is not too implausible to suppose that Plato himself (...) saw fit to relate his powerful images of the human soul’s fall and re-ascent by dramatic means that highlight the movement from one place to another. This explains how Hermias of Alexandria -- author of the longest sustained work on the Phaedrus to survive from antiquity related the physical journey to the Ilissus to the soul's descent and ascent. This seemingly implausible allegorising gains a certain kind of sense when we consider that the Neoplatonic commentary tradition formed part of a philosophic way of life with an ethical telos. (shrink)

Frederick Douglass (1817–1895) argued that newly emancipated black Americans should assimilate into Anglo-American society and culture. Social assimilation would then lead to the entire physical amalgamation of the two groups, and the emergence of a new intermediate group that would be fully American. He, like those who were to follow, was driven by a vision of universal human fraternity in the light of which the varieties of human difference were incidental and far less important than the ethical, religious, and political (...) idea of personhood. Douglass’s version of this vision was formed by natural law theories, and a Protestant Christian conception of universal human fraternity, as it was for much of the abolition movement in the US and Britain. His vision and his fierce commitment to abolitionism, moreover, were characterized by his own experience of slavery. His political and ethical vision, his moral universe, generated his conception of America, his interpretation of the US constitution, and his solution to the Nation’s race problem. Unpacking Douglass’s vision will help us understand those positions that follow his legacy. Just as those who argue that race ought to be conserved turn to the figure of W.E.B. Du Bois, those who disagree with the conservation of race need to consider Douglass’s arguments, and their relationship to Douglass’s assimilation-amalgamation solution. Moreover, those that work under the long shadow of Douglass would do well to carefully consider the historical reasons why Du Bois’s and Booker T. Washington’s strategies for racial justice eclipsed Douglass’s. This chapter reviews Douglass’s religious and political ideals, his application of them to the issues of race, black American identity, and constitutional interpretation, and how his ideals and positions developed into his projection about the future of race in the US. All of these matters are guiding features of the anti-race and racial nominalist positions in the contemporary conservation of race debate. Additionally, this paper asks that we consider the cognitive and emotional conflicts that arise within us as we reflect upon Douglass’s vision and this Nation’s contradictions and failures in its long racial history. Douglass, of course, frequently referenced this conflict; it was at the center of his experience of being American. In his first narrative, Douglass characterized this conflict as his “soul’s complaint.” As a slave he yearned for freedom, and came to understand the liberal political and religious ideals that surrounded him. God’s justice or the ideal of American justice were not immanent; this gave him much pain and caused in him a good measure of moral disorientation, yet he resolved to make up for the absence of divine and natural justice through his own and other subaltern resources. And as a freeman and abolitionist he yearned for a greater reconciliation of the Nation: between black and white, and between the Nation and its ideals. In both instances the obstacles to his desires, the enormity of the task, and the elusiveness of Justice often left him somewhere between madness and reconciliation to his misery. His turmoil, a reaction of moral indignation and disorientation, a reaction to bondage in the putative land of liberty, is ours as well. (shrink)

During its most vigorous period, the Vienna Circle movement was, by and large, kept rather marginal by the political and academic forces in its European home; they tended to see it as a dangerous search, in the Enlightenment tradition, for a world conception that would be free from metaphysical illusions, free from the kind of clericalism that had a strangle-hold on state and university, and free from the romantic madness of the rising fascist ideology. The wonder, in fact, is (...) that in its day, against such opposition, the Vienna Circle commanded adherence by such an array of distinguished intellectuals, even if they were only a small fraction of the total intelligentsia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eclecticism or Skepticism? A Problem of the Early EnlightenmentMartin MulsowEclecticism has its own logic.1 According to this logic, eclecticism is an attitude which seeks to free itself from sectarian doctrines and to achieve a more objective position above all such groups. However, many revolutions end by catching their own tails, and this attitude quickly deteriorates into the definition of just another sect, taking the original argument for eclecticism with (...) it. Germany’s self-styled “eclectic” philosophy found itself in just such a self-destructive phase at the beginning of the eighteenth century, the very point at which the concept was beginning to be used much more widely, as a recent comprehensive study by Michael Albrecht has demonstrated.2 Taking Albrecht’s observations as my basis, I wish to draw upon the example provided by two thinkers and some previously neglected material to consider in greater depth a problem which characterizes a part of the eclectic movement of the early German Enlightenment: the tense relationship between eclecticism and radical skepticism.3 [End Page 465]Jakob Friedrich Reimmann, SkepticAs a young man, Jakob Friedrich Reimmann, the great scholar and historian of philosophy and scholarship, was one of the most resolutely skeptical philosophers of the early Enlightenment.4 In an anonymous contribution to the eighth volume of the Observationes selectae, which appeared in 1704, Reimmann raises the question: was Solomon a skeptic?5 The anonymity which protected this article, as it did all others which appeared in Halle’s periodical,6 made it possible for Reimmann to experiment with unorthodox ideas, including some which had to do with the then-fashionable eclecticism. He could thus include such criticism of eclecticism as:[I]t is not so, as you say, that a distinction must be made between sectarians and eclectics. For it is possible to prove from induction that eclectics also disagree among themselves about knowledge of fundamentals, and that they do not agree among themselves any better than the clocks of a large town. What could be found wiser, what more pious, what better than the hypotheses of the Pyrrhonists?7Contemporary eclecticism, he asserted, was nothing other than a reproduction of the various individual sects because its own arguments mirrored their fundamental differences. Reimmann’s risky suggestion was that this eclecticism should be replaced by a pyrrhonism which would be better able to fulfil the original intentions of the “eclectic” philosophers. [End Page 466]Reimmann’s article has a somewhat cryptic relationship to Joachim Lange’s Medicina Mentis of 1704.8 Reimmann replies to this work without referring to it explicitly. Lange had written a history of philosophy as a history of corruption (a historia philomoriae, of the love of madness), according to which philosophy could only become blinder when, after the fall of Adam and the loss of Old Testament wisdom, it moved away from its origin. This argument was combined with an eclectic psychological logic in the style of Buddeus and Poiret. Reimmann is revenging himself for the “collubus,” that is, for Lange’s twisting of the ideas which Reimmann had discussed with him in confidence to portray them falsely as godless. The tensions between Thomasius and Lange, which increased after 1702, may also have played a role in the background. It is possible here to see the close contact and discussions which preceded the publication of books in Halle. From the safety of his anonymity Reimmann responds that it is ridiculous to try to sell the patriarchs as philosophers, but that, if one must do so, then Solomon can only be seen as a skeptic, if not a pyrrhonist. French libertines had already shocked the church with this assertion at the beginning of the seventeenth century,9 and it is significant that this tendency [End Page 467] reappears in the midst of the eclecticism of the early Enlightenment. Reimmann cites La Mothe le Vayer extensively.It seems logical, then, that Reimmann should have taken a critical position against Thomasian eclecticism as early as 1697 in his Schediasma philosophicum de Logices Aristotelicae, Rameae, Cartesianae & Electivae insufficientia.10 With Johann Jakob von Ryssel, a student of Thomasius, Reimmann develops the concept of “eclectic doubt”; his growing experience... (shrink)

Volume one looks at the language of spirituality to deepen our understanding of the suicidal crisis. Spirituality remains the primary motivation for my work. However, two other significant influences have emerged in my research. The first is the intellectual tradition from the school of philosophy known as phenomenology. The second is only at an embryonic stage as a academic discourse. This is the social change, human rights movement that is becoming known as Mad Culture. The accompanying volume to this (...) exegesis, Thinking About Suicide, gives expression to the lived experience of suicidality as I have lived it and in my own words. Throughout Thinking About Suicide there is a theme of story-telling, a theme that continues here. Two distinct voices are used to tell the stories of Thinking About Suicide - a narrative voice that tells of my personal journey into and out of suicidality, and a commentary voice that reflects on that history. The aim of Thinking About Suicide is to encourage and contribute to a broad community conversation about suicide, so both these voices are in plain language to speak to that audience. In this exegesis, a third voice is heard, an academic voice telling academic 'stories'. These stories are told here through a selection of the academic papers that were written during the research and which represent the three central issues of my thesis and this exegesis: firstly, a phenomenology of the subjective, lived experience of suicidality; secondly, an anthropological or cultural critique of suicidology; and thirdly, a role for spirituality in understanding the suicidal crisis of the self. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Innova dies nostros, sicut a principio:Novelty and Nostalgia in Thomas of Celano's First and Second Lives of St. FrancisBarbara Newman (bio)IntroductionIn his sixth-century compendium of hagiography, Gregory of Tours argued that one should always speak of the vita patrum or vita sanctorum in the singular. According to Pliny, he noted, grammarians did not believe the noun vita had a plural. More to the point, although "there is a diversity (...) of merits and virtues among [the saints], … the one life of the body sustains them all in this world."1 Just as the Church, the body of Christ, is one, so too the saints. Their project of imitatio Christi re-presents the one and only life of Christ for each new generation. As a literary genre, hagiography fleshes out this insight, for no other genre is so steeped in self-citation. Every vita is such a tissue of biblical verses that, to edit a saint's Life before Google, one had to know Scripture by heart or spend endless hours with a concordance. After the Bible, quotations from a few classic vitae were constantly recycled: Athanasius' Life of St. Antony, Sulpicius Severus' Life of St. Martin, Gregory the Great's Life of St. Benedict. With the passage of time, newer classics joined older ones to produce one vast, self-referential monument, incarnate in the Acta Sanctorum: Gregory's vita sanctorum multiplied ad infinitum. So deep did this tendency run that, when an obscure saint needed a vita to justify a cult, shameless hagiographers would plagiarize whole paragraphs, plundering stories and miracles from earlier vitae to serve their turn.2 [End Page 169]It is small wonder, then, that the hagiographic genre is so often characterized as "traditional" or "conservative." It is nostalgic, too, in the sense that each saint's words and deeds bring a glorious Golden Age back to life—most often the apostolic age or the time of the Desert Fathers, but sometimes the graced beginnings of a religious order. Such memorials enabled later generations to idealize their glorious founders. This tendency to exalt the new as a renovation of the old has deep roots in Christianity; even the evangelist Matthew systematically represents Jesus as a new Moses. In the same vein, it is not unusual to find a saint identified as a new Jacob or a second David. On the other hand, many saints' Lives make an insistent claim to newness, renovatio. For the saints were, and are, extraordinary—not merely good men and women, but radical figures whose words and deeds shocked those around them, beginning with their parents. Like Jesus, they had not only admirers, but detractors in plenty. If their publicists held them up as exemplars of virtue, theirs was no ordinary kind, for the heroic virtue that gave saints their charisma could look much like madness. Despite the precedents of earlier vitae, their ascetic feats and challenging behavior often struck observers as new and unheard-of. In hagiography, therefore, claims of novelty play a key role that balances the familiar topoi. Sometimes the newness of a saint's charism is cause for joyful celebration. Jesus, after all, had declared ecce nova facio omnia (Rev 21:5). But "novelties" also had to be handled with care, for they could easily be condemned as heresies or extreme practices deviating from the tradition of the elders.This tension between novelty and nostalgia emerges most clearly in the vitae of saints who founded genuinely new forms of religious life. In this paper I will explore the way it plays out in two early Lives of Francis of Assisi, perhaps the most popular saint of all time. After his death in 1226, Francis set a speed record for canonization—one that would be surpassed in the Middle Ages only by his disciple, St. Anthony of Padua, and by the Dominican martyr Peter of Verona.3 Aside from his charisma and the exponential growth of the Franciscan Order, the fast-track canonization is due to Pope Gregory IX, who as Cardinal Hugolino had been personally close to Francis and supported his movement. For the ceremony in July 1228, less than two years after the... (shrink)

En Heracles de Eurípides, el héroe en un ataque de locura mata a su familia. Una vez que toma conciencia de lo que ha hecho decide suicidarse, pero Teseo es capaz de persuadirlo para que no se quite la vida. Dada la particularidad de esta tragedia en comparación con otras que abordan la misma temática, analizaré la función curativa de la palabra en la recuperación de Heracles, para luego abordar la influencia del movimiento sofistico -en particular Protágoras y Gorgias- en (...) la obra de Eurípides, dado que propongo que la condición para el desarrollo de una cura por la palabra es el estudio de la función persuasiva del lógos que realizan los sofistas. On Euripides' Heracles, the Dorian hero kills his family in a fit of madness. Once he is aware of what he has done, he decides to commit suicide, but Theseus persuades him otherwise. Given the peculiarity of this tragedy -in comparison with others that raise the same subject- I will analyse the healing power of the word in Heracles' recovery. I will focus on the influence of the sophist movement, particularly the figures of Protagoras and Gorgias in Euripides' work since I consider that the condition to develop a cure using words is the study that the sophists do on the persuasive function of the lógos. (shrink)

The challenge: the most difficult battle ever fought -- The universal crime -- Slave owners for abolition -- We are all nazis and if i quit eating meat, i'll have to admit -- That to myself -- The crown of creation and the acme of evolution -- Follow the money -- Optimism of the will -- The environment: a dark age was about to begin -- It ain't what you do, it's the time that you do it -- The empire (...) strikes back -- The madness of more -- Creating a universal rights movement -- We're not in kansas anymore -- The response: the prize and the plow -- Agitators and politicians -- In the beginning -- The movement turns to politics -- Abolitionism: the agitation-only approach to animal rights -- How welfare reforms promote liberation -- The proof of the pudding -- Suffering matters -- Public policy and private morality -- Why violence can't change the game for animals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Oppression1Françoise Lionnet (bio)In her disquietingly incandescent poetic novella, La vie de Josephin le fou, completed with the energy of urgency in just two weeks in November 2002,2 Mauritian author Ananda Devi explores Joséphin's relationship with the protective aquatic environment that becomes his refuge from domestic abuse and maternal rejection:J'ai pris l'habitude d'aller dans la mer chaque fois que le monde d'en haut criait trop fort. La mer m'a accueilli (...) chaque fois sans poser de questions, elle avait pas de voix, la mer, que des sons transparents et mouillés, des sons qui vous bercent et vous endorment et vous cicatrisent et vous guérissent….(20)Going into the ocean became a habit every time the world up above would scream too loud. The ocean welcomed me every time, without asking any questions--the ocean had no voice, only sounds, transparent and soaked, sounds that could rock you to sleep and heal your wounds…..(27)The French-language narrative plays with the homonyms mer (sea/ocean) and mère (mother) to underline the nurturing maternal qualities of the deep, which it contrasts with the behavior of the abused and abusive human mother. Caught in a vortex of violence on land where he must always hold his breath and his tongue, Joséphin has developed the ability to survive without much air. This learned ability to restrict his breathing has prepared him for life under water:J'avais pas besoin de respirer. J'avais tellement retenu ma respiration depuis bébé pour pas la mettre en colère… que c'était facile de le faire de nouveau pour rester longtemps longtemps sous l'eau. Vivre là, en captant quelques bulles d'air échappées des coquilles.(22)I didn't need to breathe. I had held my breath for so long as a baby to not make her mad…. that it was easy to do it again, to stay a long long time under water, to live there, off of a few air bubbles escaped from sea shells.(28)In a story that takes on the generic characteristics of the fantastic, Devi thematizes the relationship between social or familial oppression and the physiological constriction of lungs due to oxygen deficiency. Joséphin's (self-)denial of air speaks to us today, eloquently, of an urgent issue that became prominent in the past two years: choking as a form of torture inflicted upon victims of police brutality. The oft repeated slogan, "I can't breathe," militant words of the international Black Lives Matter movement, [End Page 169] have become a rallying cry against oppression. "I can't breathe" is recognizable everywhere as a sign of outrage against gratuitous human cruelty, and in 2020, George Floyd became its most famous contemporary symbol, after Eric Garner's death in a choke hold first drew attention to the issue. Journalist Lonnae O'Neal has discussed Floyd's fate, his tragic last moments, his call to his absent, deceased mother. O'Neal dwells on the words he uttered as he lay in the street: "Momma! Momma! I am through." In her elegy to black motherhood, O'Neal asserts that a dying man's call to his mother "is a prayer to be seen," "a sacred invocation" that expresses the poignant hope that memory and justice will prevail. She invokes Floyd's need to be recognized as a human being, to testify to his humanity with his last breaths, and thus to be remembered as having mattered. Her lyrical prose contains direct echoes of Martinican poet Aimé Césaire's poem "Le cri" in which the narrator forces recognition of his humanity by leaving traces of his "souffle," his breath, in the invisible presence-absence of air:Le vent novice de la mémoire des méandress'offenseÀ vif que par mon soufflede mon souffle il suffisepour à tous signifierprésents et avenirqu'un homme était làet qu'il a crié[…]The wind, inexpert at remembering meandersis stungto the quick that my breathmy breath alone sufficesto signify to allnow and foreverthat a man was... (shrink)

Guattari’s prescient final text, Chaosmosis, argues that the conditions of Capital responsible for the current social-psychic-ecological crisis of migration demand modes of analysis capable of grasping their complexity, ones grounded in the ethico-aesthetic. It is a text that draws directly from the therapeutic practice that he, Tosquelles, Oury, and others in the Institutional Psychotherapy (IP) movement developed in their clinics. This work entailed the inclusion of aesthetic practices that work to deterritorialise the institution, shifting from carceral sites and creating (...) therapeutic spaces of care and refuge. This article explores the centrality of an ethico-aesthetic approach to the understanding of therapeutic space within the sites and clinical practice of Institutional Psychotherapy. Looking especially at daily life and the inclusion of aesthetic practice, it examines the particular notion of asylum that emerged in these sites that so informed the clinical and critical work of Guattari and Deleuze, and draws connections to the current global crisis of migration in the necessity of such sites to the forced segregation between those deemed mad and sane. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Beautiful Soul:From Hegel to BeckettDrew Milne (bio)The "beautiful soul," lacking an actual existence, entangled in the contradiction between its pure self and the necessity of that self to externalize itself and change itself into an actual existence, and dwelling in the immediacy of this firmly held antithesis—an immediacy which alone is the middle term reconciling the antithesis, which has been intensified to its pure abstraction, and is pure (...) being or empty nothingness—this "beautiful soul," then, being conscious of this contradiction in its unreconciled immediacy, is disordered to the point of madness, wastes itself in yearning and pines away in consumption.—G. W. F. Hegel, Phenomenology of SpiritThe figure of the beautiful soul marks out a limit of representation. Its persistence is that of a literary fiction which cannot be actualized, but whose imaginative lure is no less powerful for being so resistant to embodiment. The beautiful soul emerges in a shift from philosophical reflections on moral beauty into the romantic novel, but for Robert E. Norton, the history of the beautiful soul is brought to a close by Hegel [139]. Nevertheless, the way this figure stands between philosophy and literature, and between moral agency and the literary imagination, casts shadows over contemporary thought. Unreconciled immediacy, disordered by consciousness of its contradiction and proximity to pure abstraction, becomes the sign of modern art, perhaps most explicitly in the writings of Samuel Beckett. In The Broken Middle, Gillian Rose projects the beautiful soul out of Hegel and Goethe into a speculative account of modern thought's ethical equivocations. For Allen Speight, Hegel's recourse to the awkward literary and novelistic status of the beautiful soul reveals how "inescapable questions discernible in the products of modern literary artists are ones that concern the account we give of our freedom as modern agents" [135]. This essay seeks to unravel some of the contemporary relevance of the beautiful soul, exploring the instability of this figure as a mediation between philosophy and literature, in particular as a tension in the interpretation of Hegel's Phenomenology of Spirit.The difficulties posed by the beautiful soul for interpreting Hegel can be gleaned from Terry Pinkard's impressively lucid survey German Philosophy, 1760-1860. Pinkard notes how Hegel's discussion of the beautiful soul in the Phenomenology of Spirit "makes oblique reference to Goethe, Friedrich Schlegel, Fichte, Fries, Novalis, perhaps Rousseau, and maybe even Hölderlin" [240n19] before ascribing centrality in Hegel's discussion to Jacobi's novel Waldemar. Oblique reference folds into a structure whose indeterminacy concerns both the freedom claimed by literary representations of the beautiful soul, and the inability of this freedom to amount to more than a confession of conceptual paralysis or impotence. The beautiful soul proves resistant to interpretation, a literary-philosophical compound that destabilizes conventions of referentiality. The beautiful soul threatens to dissolve philosophy from the perspective of an inward delicacy of moral feeling, claiming [End Page 63] [Begin Page 65] the authenticity of a subjectivity that will do no wrong and knows no other as an object on which to act. Philosophical interpretations are often too brusque with the reflexive irony through which the beautiful soul is represented, or insufficiently literal-minded to capture its content as form. In turn, the self-critical claims of literary representation often dissolve into an ironic indifference to determinate consequences.The beautiful soul, however, can hardly be said to have existed outside its representation in writing. It recurs in manifold guises more as an aspiration to be, or appear, morally sensitive but incapable of action. Donald Phillip Verene sketches its background in the Romantic movement but suggests that: "The beautiful soul is not difficult to understand, as Hegel sketches it in the several pages he devotes to it. We are familiar in ordinary experience with types of persons that approximate to the stance of the beautiful soul, that is, if we keep polite company and associate from time to time with delicate people" [100-01]. Anyone who has spent time with aesthetes or poets who claim a delicacy of moral insight without feeling the need of justification or labor to actualize their insights knows the ills this shape of... (shrink)