Cet article se demande pourquoi Sartre a tellement tenu à croire que le récit biographique, celui qu’il pratique dans sa psychanalyse existentielle, pouvait révéler la vérité d’un individu. Il remonte, pour cela, à ce que les Carnets de la drôle de guerre appellent « l’illusion biographique », qui consiste à penser qu’une vie vécue peut ressembler à une vie racontée. Sartre fonde pourtant sa propre pratique de la biographie sur cette illusion, car seule la biographie peut donner au sujet sartrien (...) l’identité et l’unité dont il est dépourvu. Nous nous efforçons alors de distinguer la psychanalyse existentielle de la psychanalyse freudienne, qui prétend elle aussi accéder à la vérité du sujet. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Illusions of KnowingMatthew T. Kapstein (bio)Knowing Illusion: Bringing a Tibetan Debate into Contemporary Discourse, Volume I: A Philosophical History of the Debate, and Volume II: Translations. By The Yakherds ( José Cabezón, Ryan Conlon, Thomas Doctor, Douglas Duckworth, Jed Forman, Jay Garfield, John Powers, Sonam Thakchöe, Tashi Tsering, and Geshé Yeshes Thabkhas). New York: Oxford University Press, 2020.Metaphysics is a subject much more curious than useful, the knowledge of (...) which, like that of a sunken reef, serves chiefly to enable us to keep clear of it.Charles S. Peirce, "How to Make Our Ideas Clear"I. The Elusive Way to the MiddleKnowing Illusion: Bringing a Tibetan Debate into Contemporary Discourse is the fruit of collaborative efforts by the Yakherds, a group of scholars stemming from the earlier Cowherds, in which two of the present herdsmen—Sonam Thakchöe and Jay Garfield—were active as well.1 In moving from the broad issues of Buddhist philosophy that occupied the Cowherds to a tightly focused study of a particular debate in Tibet, the group has parted from the gentle cattle of the Indian plains to tend more rugged Himalayan stock. The present work, in two volumes, offers an exceptionally lucid guide to some of the main lines of Madhyamaka thought in Tibet and the disputes that these engendered. It constitutes an essential contribution to our knowledge of the philosophical traditions of Tibetan Buddhism, but, beyond this, merits the attention of those focusing on their Indian background and on Buddhist philosophies more generally. Indeed, Knowing Illusion is among the rare works in this area that may be profitably taken up by philosophers who are not specifically concerned with Buddhist or other Asian ways of thought, but who may wish to explore approaches beyond those of the Euro-American tradition to some of the central topics of philosophy overall: truth and falsehood, knowledge and ignorance, existence and illusion, belief and argument. Of the many interesting [End Page 1023] questions raised in Knowing Illusion, whether from the perspective of specialized Tibetan Buddhist Studies or of philosophy more broadly, only a sample can be addressed in the space of this review.The unifying thread in Knowing Illusion is a series of written disputes that were provoked by a fifteenth-century teacher belonging to the Sakyapa order of Tibetan Buddhism, Taktsang Sherab Rinchen (1405–1477), in his treatise titled Freedom from Extremes Accomplished through Comprehensive Knowledge of Philosophy (hereinafter Comprehensive Knowledge of Philosophy).2 Central to these debates was the challenge of squaring the Madhyamaka philosophy of Nāgārjuna (second century c.e.), whose teaching of ultimate emptiness (śūnyatā) seemed to undermine most—perhaps all—claims to knowledge, with the positive theory of knowledge (pramāṇa) advanced by Dignāga (fifth century c.e.) and Dharmakīrti (sixth century c.e.). The problem had already preoccupied Indian Buddhist thinkers, including philosophers Bhāviveka (sixth century c.e.) and Śāntarakṣita (eighth century c.e.), who sought to harmonize the insights of Madhyamaka with those of the pramāṇa school, and Dharmakīrti's contemporary Candrakīrti, whose trenchant interpretations of Nāgārjuna appeared to undermine the entire project of a 'theory of knowledge'.3 In Tibet, thinkers of the former camp came to be known as proponents of Svātantrika-Mādhyamika (so-called because they affirmed that emptiness could be established through positive proof, svatantra), while those allied with Candrakīrti were said to follow Prāsaṅgika-Mādhyamika (who allowed only indirect proof, reductio ad absurdum, or prasaṅga).4The debate reemerged forcefully in Tibet, and not merely as a historical exercise, in tandem with the expansion of monastic colleges there during the twelfth century, as Tibetan teachers increasingly elaborated original perspectives on the Indian classics. Many aspects of the Svātantrika/Prāsaṅgika split were co. (shrink)

The hermeneutical model of illusion, just as that of projection, has always been part of the psychoanalytic views of religion. The author presents a brief critical summary on this subject, and underlines that in relational psychoanalysis, the concept of illusion refers not to religion as such, but to the subjective experiences of desire and relatedness, that is, the source of the desire for God in man. Because of personal conflicts and their outcome, besides illusions one encounters also in such experiences, (...) disillusion, disappointment, and even delusion. The author, while challenging the views of many scholars taking part in this debate: a) maintains that psychoanalytic interpretation is not concerned with the question of religious truth but with the formation and transformation of the process of believing; b) calls for special attention to the fact when speaking of religious representation, the focus is on the process rather than on the objects represented; c) raises his criticism at the often used expression, "unconscious representation of God", because according to him, religion gives a name to the object of desire only when placed at the conscious and cultural level. Coherent with his basic distinction between conscious religious behaviour and the deep psychological pre-conditions, the author underlines the differences between the unconscious processes of desire and the religious concepts, particularly, between the representation of God and the concept of God; between the parental imagos and the transcendent God; and between the capacity to "believe in anything at all" and religious faith. The author concludes that in the illusion model, it is suggested that as part of religious maturity, one could construct the representation of God as something that is deeply connected with primary objects, while at the same time, assuming the capacity to take the necessary distance from personal desires and projections. (shrink)

This book is a comprehensive study of the writings of Jean-Paul Sartre. As well as examining the drama and the fiction, the book analyses the evolution of his philosophy, explores his concern with ethics, psychoanalysis, literary theory, biography and autobiography and includes a lengthy section on the still much-neglected study of Flaubert, L'Idiot de la famille. One important aim of the book is to rebut the charges made by many theorists and philosophers by revealing that Sartre is in fact a (...) major source for concepts such as the decentred subject and detotalised truth and for the revolt against individualistic humanism. Dr Howells also takes into account much posthumously published material, in particular the Chaiers pour une morale, but also the Lettres au Castor and the Cranets de la drole de guerre. The work is a substantial contribution to Sartre studies, but has been written with the non-specialist in mind; to that end all quotations are translated into English and gathered in an appendix. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Overcoming Violence in Practice1Sarah K. PinnockIn Christian thought, the classic theological response to evil and suffering, known as "theodicy," operates on a metaphysical level. It aims to elucidate questions about God: God's power to prevent evil, God's goodness and justice, and God's purposes in allowing evil. It also examines questions about humanity: Are humans chronically prone to sin and violence? Does suffering serve good purposes? Does God redeem suffering? (...) In recent Christian attempts at theodicy, attention has focused on divine omnipotence and human freedom in attempts to exculpate God for cruelty in allowing the magnitude of suffering visible in such events as the Holocaust, where six million Jews and five million Poles, gypsies, homosexuals, and other noncombatants were killed under Nazi orders. Symmetrical with exploration of the "front end" explanatory questions of why bad things happen in a supposedly good world, theodicies also explore the "back end" justificatory questions of how God can heal the damage, unevenly and unfairly distributed, in this life or the afterlife. Key exemplars of modern theodicy are Leibniz and Hegel, thinkers who have greatly influenced twentieth-century analytic and continental philosophy of religion, respectively. Despite the urgency of responding to evil, theodicy has been criticized for its abstract, global approach to suffering and its programmatic focus on justifying God in the face of violence. My own critique of theodicy has epistemic and moral components. Theodicy rests on epistemological hubris, building precarious intellectual systems in pursuing knowledge of God. Additionally, theodicy is guilty of moral turpitude on account of its single-minded focus on explanation, which smooths over the scandal of suffering and overlooks the prevention and alleviation of violence.2Fortunately, there are more promising alternatives than theodicy in Christian thought. Particularly in the twentieth century, existentialist and Marxian philosophical movements have contributed to practical rather than theoretical emphases in response to theodicy questions. Reflection on the situatedness of the subject has prompted this shift as theology becomes more self-conscious of its cultural assumptions. Especially since the 1960s, contextual varieties of theology have emerged that recognize its socially embedded character. Theology is never purely dislocated conceptual reflection, innocent of ethical consequences, but a discourse with practical origins and effects. To use Marxian vocabulary, all theology is an "ideology" expressing the conscious and unconscious interests of a social group or class. This insight [End Page 73] does not dismiss the truth and power of theology, but forces closer examination of its production and implications. As Marx wrote in his "Theses on Feuerbach," "philosophers [and theologians] have only interpreted the world in various ways; the point, however, is to change it."3 Theology as a discourse must attend to how it functions within society to motivate opposition or acceptance of violence. Also, it must attend to how reliably it exposes and articulates violence within its vocabulary, and what social cases of violence it addresses.I propose that the shift toward practical or contextual Christian anti-theodicy responses to violence resonates with Buddhist attention to practice, rather than speculation, in answer to suffering. To use a well-known image from the Buddha's teaching, all human beings are like persons pierced with poisoned arrows. All suffer grievously because of craving and desire, and desperately long for relief. In such a condition of life, sliding toward death while suffering, what is the most urgent need: to find out how to remove the poisoned arrow and heal the wound, or to find out where the arrow came from and why it was shot?4 Of course, the moral of the story is that the alleviation of suffering is primary and urgent. It would be foolish to searchfor an explanation instead of a cure for the poison. Understanding the cosmic origins of suffering is a distraction, irrelevant to alleviating suffering and detrimental to practice. Preoccupation with metaphysical speculation does not produce wisdom. Such wisdom is the fruit of awareness resulting from meditation training.In presenting my ideas to a forum for Buddhist-Christian dialogue, I am very much aware of the perils of comparative thinking. My understanding of Buddhism reflects the Westernized transmission of Mahayana Zen Buddhist traditions, based on writings intended for an... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Truth about Narrative, Or:How Does Narrative Matter?Ruth Ronen and Efrat BibermanIn the summer of 1898, a sixteen-year-old girl, intelligent and good looking, entered Freud's clinic in Vienna. The girl, whom Freud would call Dora, suffered recurrent attacks of aphonia (inability to speak) and of coughing, attacks that came on and passed off spontaneously. Freud soon discovers that Dora's illness is connected to the love affair her father is (...) having with a Frau K., a family acquaintance, while the lover's husband is courting Dora herself. In analyzing the history of Dora, Freud unfolds the course of events that brought Dora to the clinic and produces her case by means of a fragmentary discourse consisting of Dora's speech, her dreams and thoughts as revealed to Freud while the analysis was going on. The psychoanalytic discourse yet also consists of Freud's own reports and interpretations of Dora's dreams, actions and speech and of his overall understanding of her case, an understanding that undergoes a few radical changes during the analysis. When Dora decides to leave the treatment three months later, which is much too soon in Freud's view, Freud interprets her act as an act of vengeance against himself, repeating her neurotic reactions to the romantic complexity she recounted through the person of Freud. However, when Freud learns later that Dora got married and has overcome her hysterical sicknesses, he re-reads her second dream as announcing that Dora was about to tear herself free from her father (from Mr. K. she tore herself free through an act of vengeance) and "had been reclaimed once more by the realities of life."1How has the narration of the case of Dora by herself and by Freud, changed her situation from a hysterical subject who suffers from severe symptoms, to a subject "able to be reclaimed by the realities of life"? [End Page 118] How has Dora's spoken words to Freud, and his way of responding and directing her speech, changed her situation so radically? What is the power of narrative in changing or affecting the object of narration? What constitutes the "true story" of a subject and how is it affected by the narrative modes by which the story is presented? Can narrative change the facts of the matter narrated? In this paper, as part of the attempt to define the constitutive power of narrative, a power that cannot yet reduce the constituted subject to an effect of discourse (Dora after psychoanalysis surely cannot be viewed as a construct of discourse, yet is so different from what she was prior to analysis), we will examine these questions as addressed in two, apparently diverse, contexts: that of analytic aesthetics and that of psychoanalytic thought. We will show that these two perspectives tackle similar problems regarding narrativity yet choose to solve them in ways that raise important questions regarding the effects of narrative.IIt is a widely spread opinion about narrative that it creates its own world in the act of telling, that "the structures of narrative impose some kind of barrier between language and fact; rather than being directly 'mirrored', the facts, as represented in narrative, are filtered through layers of linguistic artifice."2 The diagnosis that narrative somehow distorts or constructs the events it recounts, that narration changes the modality of what is narrated, is one important implication of the booming interest in narrative in the 1980s and 90s. To understand how such an implication was drawn, requires that the nature of the interest in narrative is more closely qualified as part of the growing attention paid to the pervasiveness of narrative in discourses traditionally considered to lie outside the domain of narrative rendering, and to the naturalness of narrative presentation in extra-literary contexts. These pervasiveness and naturalness of narrative were often interpreted as reflecting the literariness or fictionality of discourses that officially claim to be committed to reality and truth.Yet, how did it come about that the discovery of narrative elements in a wide variety of contexts was interpreted as entailing the fictionalizing of these discursive contexts? As narrative entails the imposition of structure on... (shrink)

Existentialist philosophy offers an understanding of how trying to eliminate ambiguities that inevitably mark the human condition only seemingly leads to freedom. This existentialist outlook can also serve to shed light on how democratic politics may similarly show tendencies which aim at overcoming immanent tensions. Such tendencies in democratic politics can be clarified using Sartre’s notion of ignorance – and truth as its counterpart. His concept of ignorance goes beyond merely facts or knowledge and refers to a mode of being. (...) It expresses a subject’s desire to avoid, rather than confront, resistances stemming from the world. Based on a distinction of different forms in which this orientation can manifest itself, this article shows how democratic politics, too, can be threatened by ignorance as a way of doing politics. This ignorance comes in different guises which all express a desire to eliminate tensions that democratic politics cannot overcome without undermining itself. (shrink)

Most of Kierkegaard’s thought can best be understood as a series of reactions to what he regarded as the excesses of Hegelian speculation. In this work Professor Hamilton provides a stimulating and comprehensive examination of these reactions. He explains in detail how Hegel’s method of direct communication with its claim to the possession of total truth provoked Kierkegaard to imitate Socrates’ ‘maieutic art’ by employing indirect communication through the use of pseudonyms. Then too, Hegel’s preoccupation with the development of the (...) Absolute in world-history served only to cause Kierkegaard to respond with his emphasis on the significance of the individual. Furthermore, the unification of the finite with the infinite within the System seemed to Kierkegaard to be a crude form of pantheism and aroused him to affirm a gulf between the creature and the Absolute. Hegel’s preoccupation with abstraction and Reason only intensified Kierkegaard’s concern for the concrete historical moment in which the individual must struggle to make his leap of faith in the face of the Absolute Paradox. Partly because the Hegelian System viewed faith as ‘an immediate certainty’, Kierkegaard could reiterate that faith is a process and must be constantly achieved. The System’s concern for objective truth and its reduction of Christianity to a philosophical doctrine only reinforced Kierkegaard’s conviction that truth is subjectivity and cannot be learned through abstractions but must be lived with intense passion. Finally, Hegel’s emphasis on a fluid logic increased Kierkegaard’s enthusiasm for the traditional logic and his insistence that this logic should not be distorted by being used to interpret the movements of freedom. In presenting these oppositions to Hegel the work can help to provide an effective introduction to Kierkegaard. However, the work is limited since it merely assumes that Kierkegaard’s interpretations of Hegel are valid. Recent scholarship, particularly by Knox and Seeberger, would indicate that some of these interpretations are highly debatable. (shrink)

With increasing influence of illiberalism, freedom should not be considered or interpreted lightly. Post-truth contexts provide grounds for alt-right movements to capture and pervert notions of freedom of speech, making universities battlefields of politicised emotions and expressions. In societies facing these pressures around the world, academic freedom has never been challenged as much as it is today. As Peters and colleagues note, conceptualisations of ‘facts’ and ‘evidences’ are politically, socially, and epistemically reconstructed in post-truth contexts. At the same time, with (...) intelligence commodified, reified or marginalised, freedom of speech and of mobility can entail fights for entitlements, or escapes from local responsibilities. The decline and corruptions of democratic free speech and academic freedom, or the absence of forces to defend them, are thus serious challenges. These challenges grow as the competition of ideas, sometimes under the rubric of academic freedom, often implies the power struggle and questioning of statuses in the so-called ‘marketplace of ideas’. Competition as a value invoked in some conceptualisations of freedom, becomes more important than human dignity, which was originally supposed to expand and strengthen under democratic conceptions of freedom in higher education. What had been happening to freedoms, of speech, teaching, and learning, across different subject positions and cultures of higher education, remains largely underexplored, as alt-right movements, neoliberalism and illiberalism, and post-truthism values and orientations expand. (shrink)

Jean Baudrillard is one of the most important and provocative writers in the contemporary era. Widely acclaimed as the prophet of postmodernism, he has famously announced the disappearance of the subject, meaning, truth, class and the notion of reality itself. Although he worked as a sociologist, his writing has enjoyed a wide interdisciplinary popularity and influence. He is read by students of sociology, cultural studies, philosophy, literature, French and geography. Organized into eight sections, the volumes provide the most complete guide (...) to Baudrillard currently available: Section 1: Theoretical Issues In this section the central themes informing Baudrillard's work are defined and discussed. Baudrillard's place in contemporary social thought is examined through considerations of how his work has been received. The importance of signs and the sign economy in Baudrillard's analysis is highlighted. The case for treating Baudrillard as a seminal theorist in contemporary social thought is elucidated. Section 2: Postmodernism Baudrillard is reluctant to regard himself as a postmodernist. Nonetheless, it is as the leading theorist of postmodernism that he is widely celebrated and generally known. This section explores Baudrillard's relation to postmodernism and demonstrates his specific contribution. Questions of Baudrillards relation to capitalism, commodification, fatalism, Lyotard, Jameson and politics are explored. Section 3: Culture It is now commonplace to refer to the period since the late 1980s as `the cultural turn'. Baudrillard's work provided a leading exponent of the significance of culture in understanding contemporary life. Included here are reflections on Baudrillard and corporate culturalism, power, ideology, simulation, mass media, Disney, hyperreality and leisure. Section 4: War In the 1990s Baudrillard became famous for the thesis that `the gulf war did not happen'. For some critics, it revealed the poverty of Baudrillard's approach. For others it showed more profoundly why his thought is an indispensable tool in grappling with the complexities of contemporary society. At all events, Baudrillard's treatment of the war represented a climacteric in critical responses to Baudrillard. In this section the various range of responses to Baudrillard's intervention are precisely delineated, providing the reader with the essential data required to decide if Baudrillard's thesis is right or wrong. Section 5: America America dazzles and appalls Baudrillard. In America and of Cool Memories 1&2, he documents his violent responses to America as an idea; a physical space. Included here are reflections on Baudrillard, America and postmodernism; Baudrillard's significance as an ethnographer of US life; Baudrillard and American film; Baudrillard and Reagan's America; and Baudrillard, America and the politics of simulation. Section 6: Seduction Baudrillard's theory of seduction is, like much else in his work, controversial. This section examines how the theory has been interpreted and criticized. The relationship between Baudrillard and feminism is examined. Applications of his theory to art and work are explored. Section 7: Fiction and Art Baudrillard is an unusual contemporary thinker, in as much as his writing is taken seriously by artists. Baudrillard himself has responded to this, by becoming more interested in photography in the last ten years. This section aims to provide an essential guide to the relationship between Baudrillard and art. Included here are enquiries into Baudrillard and science fiction, the relationship between Baudrillard and J G Ballard's `Crash'; Baudrillard and abstract painting; Baudrillard and Francis Bacon; Baudrillard, Benjamin and Lichtenstein; Baudrillard, Barthes and photography; and Baudrillard's theory of communication. Section 8: Baudrillard and Other Social Theorists The concluding part of the collection aims to situate Baudrillard in the field of contemporary social theory. Interestingly, Baudrillard himself has never attempted to compare and contrast his theoretical ideas with those of others. The 14 contributions included in this section, seek to rectify this shortcoming. The contributions cover Baudrillard and Marx; Baudrillard, Durkheim and Rousseau; Baudrillard and psychoanalysis; Baudrillard and Bataille; existentialism, postmodernism and Baudrillard; Baudrillard and McLuhan; Baudrillard and Critical Theory; Baudrillard and Habermas; Baudrillard and Deleuze; Baudrillard and de Certeau; and the fictional Baudrillard, as dreamt up by Alan Sokal and Jean Bricmont. The contributions are selected and introduced by Mike Gane, Professor of Sociology at the University of Loughborough. With publications like Baudrillard's Bestiary, Baudrillard: Critical & Fatal Theory and Baudrillard Live, Gane is widely recognized as the leading secondary commentator on the work of Baudrillard. No-one else matches him in the appreciation and critical understanding of Baudrillard. In a full length `Introduction' to the volumes, written with verve and penetration, Gane shows exactly why Baudrillard is a key thinker of our times. Mike Gane is Professor of Sociology at University of Loughborough. (shrink)

Named one of the Ten Best Books of 2016 by the New York Times, a spirited account of a major intellectual movement of the twentieth century and the revolutionary thinkers who came to shape it, by the best-selling author of How to Live Sarah Bakewell. Paris, 1933: three contemporaries meet over apricot cocktails at the Bec-de-Gaz bar on the rue Montparnasse. They are the young Jean-Paul Sartre, Simone de Beauvoir, and longtime friend Raymond Aron, a fellow philosopher who raves to (...) them about a new conceptual framework from Berlin called Phenomenology. "You see," he says, "if you are a phenomenologist you can talk about this cocktail and make philosophy out of it!" It was this simple phrase that would ignite a movement, inspiring Sartre to integrate Phenomenology into his own French, humanistic sensibility, thereby creating an entirely new philosophical approach inspired by themes of radical freedom, authentic being, and political activism. This movement would sweep through the jazz clubs and cafés of the Left Bank before making its way across the world as Existentialism. Featuring not only philosophers, but also playwrights, anthropologists, convicts, and revolutionaries, At the Existentialist Café follows the existentialists' story, from the first rebellious spark through the Second World War, to its role in postwar liberation movements such as anti-colonialism, feminism, and gay rights. Interweaving biography and philosophy, it is the epic account of passionate encounters--fights, love affairs, mentorships, rebellions, and long partnerships--and a vital investigation into what the existentialists have to offer us today, at a moment when we are once again confronting the major questions of freedom, global responsibility, and human authenticity in a fractious and technology-driven world. (shrink)

The article interprets Kierkegaard’s thesis that “truth is subjectivity,” unfolding four possible meanings:1. the deepest kinds of knowledge can only come from lived experience;2. self-knowledge is essential for metanoia or change;3. if the “how” is right, then the “what” or the truth will also be given; and4. the deepest importance of truth lies in living it.These reflections are then related to personalist themes: the incarnate person as responsible, as inviolable, and as averse to coercion; the incarnate person as having a (...) mysterious interiority, an infinite abyss of existence, and as never reducible to a mere part of a whole nor simply determined from within or without; this interiority is not isolating but opens up toward others; and freedom is not arbitrary but implies universal moral and particular religious calls.Finally, I ask whether Kierkegaard’s personalism is too individualistic and does not do full justice to some of the themes here. (shrink)

My aim in this paper is to draw attention to the position of psychoanalysis regarding the opposition between the quest for truth and relativism. It is a conventional opposition of contemporary thought. On one hand, the quest for truth, and on the other, relativism, as the fundament of our intellectual and political life. I do this by means of Lacanian teachings. My objective is to take on the theoretical tools of psychoanalysis and the consequences of clinical facts, in order to (...) enable a critical reflection on this topic. Before proceeding to the precise argument, I briefly introduce the historical ground correlated to modern subjectivity, characterized by the vanishing of the guarantee of both truth and knowledge. Then I then go into the topic by means of a survey of Lacan’s reading of the path of modern logic. Lacan interprets the whole history of logic as a bungled action, “every bungled action is a successful discourse.” In fact, it points to the cardinal place of lack, which is the topic of psychoanalysis. It opens towards a deeper understanding of the role of the signifier of signification – the Bedeutung des Phallus. Lacan’s interpretation of the whole history of logic transforms the achievements of modern logical thought into the writings of a point de capiton for collective rationality. The key here is to focus on the capital role of what I call in conclusion “an inaccessible point” for both individual and collective life. This is the issue I address in the last point. The article is divided into five points: 1. the relativistic drift; 2. the guarantee of knowledge; 3. the guarantee of truth; 4. logic and point de capiton; and 5. the signification (Bedeutung) of the Phallus. (shrink)

An artistic interpretation of historical facts is quite relevant in the literature and non-fiction of a post-totalitarian society. Prose works on historical themes are valuable and interesting in that they create an illusion for readers to be present in a certain period of historical time, and it is the artistic modeling of events that makes priceless facts of history completely disappear. The historical past is an inexhaustible material that word artists have been referring to for centuries, creating the best (...) examples of fiction. Prose texts of historical subjects are perceived by each next generation in a new way, historical events and phenomena are interpreted from different angles, the activities of famous figures of the past are widely covered. Non-fiction literature is a kind of literature that is on the verge of artistry and documentary. The main non-fiction genres are a diary, autobiography, biography, memoirs, confession, letters, etc. On the one hand, non-fiction literature claims to recognize the author’s subjective truth about him in her texts; on the other hand, only the reader can either, demonstrating full confidence in the author, call this text documentary, or admit the presence of poetry and aesthetics in the work and tilt the scales in the direction of artistry. The material for observation and research of the phenomenon of artistic modeling are works that allow us to trace the most common, in our opinion, models of correlation of historical and artistic consciousness in postmodern literature and non-fiction of a post-totalitarian society. (shrink)

Essays address the major themes of Pareyson’s hermeneutic philosophy in the context of his existentialist approach to personhood. What if the inexhaustible were the only mode of self-revelation of truth? The question of the inexhaustibility of truth, and its relation to being and interpretation, is the challenge posed by the philosophy of the prominent Italian thinker Luigi Pareyson (1918–1991). Art, the interpretation of truth, and the theory of being as the ontology of both inexhaustibility and freedom constitute the (...) main themes of Pareyson’s distinctive form of philosophical hermeneutics, which develops also on the basis of another fundamental concept, that of personhood understood in the radically existentialist sense of the human being. In Thinking the Inexhaustible, Silvia Benso and Brian Schroeder bring together essays devoted to Pareyson’s hermeneutic philosophy by important international scholars, including well-known Italian thinkers Umberto Eco and Gianni Vattimo, who were both students of Pareyson. Pareyson’s philosophy of inexhaustibility unfolds in conversation with major figures in Western intellectual history—from Croce to Valéry, Dostoevsky, and Berdyaev; from Kant to Fichte, Hegel, and German romanticism; and from Pascal to Schelling, Kierkegaard, Marcel, Jaspers, and Heidegger. “This book introduces, in a way that has not been done before, the central ideas from Pareyson’s long philosophical career. It opens up pathways for further critical analysis and fills in a neglected history within the broader scope of continental philosophy.” — James Risser, editor of Heidegger toward the Turn: Essays on the Work of the 1930s. (shrink)

Addressing such issues as the claims of critics that the application of psychoanalysis to literature, philosophy, the arts, and history results in interpretations that are speculative, externally imposed, reductionistic, and subjective, Hanly (philosophy, U. of Toronto; training analyst, Toronto Psychoanalytic Institute) searches for objectivity in the epistemological foundations and methods of applied psychoanalysis. Annotation copyrighted by Book News, Inc., Portland, OR.

Explores the theoretical and ethical implications inherent in Freudian psychoanalysis, Rogerian client-centered therapy, and Existentialist psychotherapy, under the premise that these are essentially ideologically motivated utopian statements. Because each of these 3 traditions privileges an idyllic conception of mental health and well-being, achievable only through strict adherence to restrictive codes of prescribed beliefs and behaviors, they ultimately reduce human freedom and possibility. In contrast to these traditional approaches, an alternative which seeks to radically reunderstand psychotherapeutic theory and practice in light (...) of writings of the French philosopher E. Levinas is explored. In this alternative approach, psychotherapeutic praxis is seen to break from its absorption in an imaginary order so as to fulfill an ethical obligation to "dwell-with" an Other in the here-and-now immediacy of their suffering. 2012 APA, all rights reserved). (shrink)

In this article, I aim to interpret and contextualize Heidegger’s short interpretation of Kant’s Critique of the Power of Judgement. I provide a more accurate picture of Heidegger’s interpretation of Kant, showing that his reading is both appreciative and original, if speculative. I argue that Heidegger’s analysis of Kant’s aesthetics is surprisingly at odds with his general characterization and criticism of modern aesthetics. The latter can be captured by two basic theses—art is determined by a subject’s experience and (...) art reveals metaphysical truth—but neither of these theses applies to Heidegger’s Kant. Instead, Heidegger understands Kant and the third Critique’s notions of disinterestedness and purposiveness as sources of insight, offering an interpretation of Kantian disinterestedness as analogous to his own notion of ‘letting be’. The seeming inconsistency between Heidegger’s general story and his interpretation of Kant is revealing of Heidegger’s twofold use of history, as allowing for a diagnosis of the present, as well as positive inspiration for a future aesthetics. (shrink)

Heidegger and Sartre developed the projects of their fundamental ontologies within the framework of the phenomenological approach. The traditional view of reality is based on dualistic oppositions of ideal and material, spirit and body, reality and possibility, and visibility and essence. According to both authors, phenomenology enables elimination of the above-mentioned dualisms and restoration of the world’s ontological unity on a reliable foundation. A special attention is paid to a problem of authenticity and transcendence from the point of view of (...) above-mentioned ontological concepts. The problem of authenticity is one of the main issues of human life: the person can come up against a situation of a tough choice and get to a special paradigm of submission that it is practically similar to loss of own authenticity. Method of a research is the comparative analysis of approaches of Sartre and Heidegger to phenomena of freedom, authenticity, the truth and being. In addition, the analysis of a modern discussion on this subject is carried out. The main conclusion of this research is that though Sartre's existentialism was exposed to criticism both from right, and from the left intellectuals, and is not a "fashionable" current at present, and the fundamental ontology of Heidegger was estimated by Levinas as ontology of the power subject-centered line, nevertheless the author considers that attention which is paid in these concepts to such phenomena as the voice of conscience, care and freedom represents the most urgent philosophical value nowadays; the author in this regard points to insufficient validity of modern criticism of approaches of Heidegger and Sartre, in particular - reproaches in a subject-centered line from adherents of "ontology of the Other". (shrink)

Heidegger and Sartre developed the projects of their fundamental ontologies within the framework of the phenomenological approach. The traditional view of reality is based on dualistic oppositions of ideal and material, spirit and body, reality and possibility, and visibility and essence. It is phenomenology that enables elimination of the above-mentioned dualisms and restoration of the world’s ontological unity on a reliable foundation. Though Sartre’s existentialism was exposed to criticism both from right, and from the left intellectuals, and is not a (...) “fashionable” current at present, and the fundamental ontology of Heidegger was estimated by Levinas as ontology of the power subject-centred line, nevertheless the author considers that attention which is paid in these concepts to such phenomena as the voice of conscience, care and freedom represents the most urgent philosophical value nowadays; the author in this regard points to insufficient validity of modern criticism of approaches of Heidegger and Sartre, in particular–reproaches in a subject-centred line from adherents of “ontology of the Other”. (shrink)

Freud is often credited with having revealed the irrational content of psychology and thus undermined traditional ideas of human rationality. This is only part of the truth. Psychoanalysis also questions traditional ideas of irrationality. It shows that dreams, neurotic symptoms and other apparently irrational psychological phenomena have a meaning and a rationality. Phenomenological (Laing) and hermeneutic (Ricoeur) accounts are criticized. Freud argues that there is a continuity between rationality and irrationality. He associates rationality with control by consciousness and freedom. However, (...) there are contradictions in Freud's account which enable it to be interpreted either as a conservative or radical social philosophy. (shrink)

Determinist thought with its sui generis view on life, nature and being as a whole is a point of view that could be observed in many different cultures and beliefs. It was thanks to Greek thought that it ceased to be a cultural element and transformed into a systematic cosmology. Schools such as Leucippos, then Democritos and Stoa attempted to integrate the determinist philosophy into ontology and cosmology. In the course of time, physics and metaphysics-based determinism approaches were introduced, and (...) a wide spectrum has emerged from genetics to behaviorism, from culture to psychology, from atomism to divinity. Determinism, whether physical or metaphysical origin, ignores freedom of will and deny agency competence over human behavior. Due to this feature, it is opposed by ethical theories, legal philosophies and religions. When the arguments for determinism are possible to disprove logically and philosophically, this is not so easy when the claims base themselves on scientific base. As the logical consequence of this novel fact, it is important to question the epistemological value of scientific knowledge and critically analyze the data of experiments and clinical studies in terms of methodology when answering any hypothesis such as neuro-biological, neuro-psychological, or neuro-theological argumentations. On the other hand, it is necessary to reach alternative experiments on the same subject or to show that it is possible to interpret them in different ways, as in the example of the Libet experiment. The neurobiological determinism based on biological reductionism, emerged as the result of ignoring the ontological difference of the mind, equating the mind with the brain, or defining mentality as an epiphenomenon of the brain. The main divergence stems from the acceptance of materialist philosophy. Paradigms that reduce existence only to matter do not take the metaphysical possibilities into account. In this case, although the problems called qualia or subjective experience stand there unresolved, the claim is preserved. Although many new developments such as the discovery of the entropy law, the big bang theory, and quantum physics have shaken the materialist philosophy, modern science resists an epistemological revision. However, with the current epistemology, it does not seem possible to grasp both the universe and the being as a whole. This is the most important reason why every attempt to understand the nature and spiritual side of human beings fails despite numerous experiments on the brain. However, the human brain is an organ that seems sophisticated and its secrets cannot be easily solved. Since there is not enough information about the brain, there is not enough evidence to claim that the brain, and therefore the mind, are part of the deterministic universe. Increasing brain researches since the last quarter of the twentieth century has revealed that genes, neurons and particularly brain chemistry claim much greater role than expected in human behavior. These results have been instrumentalized by some researchers for a radical claim that free will is an illusion, while by others it has led to the acceptance of will as less important over actions than was thought. Both ideas adopted a model of biological determinism in which freedom of will was ignored. Hypotheses based on controversial interpretations of various experiments raised concerns about religious, moral, and legal responsibility. Although man cannot be thought of as a non-free being from the point of view of common sense, the smog screen over the truth would not be lifted unless the scientific data in question had a correct interpretation. At first glance, it seems unreasonable to discuss universal determinism in the quantum universe. Nevertheless, the claim that strong causality prevails in the material world, including consciousness, remains in place. Therefore, firstly criticizing determinism and then examining biological determinism will help to fix the conceptual framework. This article aims to explain why genetics and neurobiology, while acknowledging their importance in the realization of behavior, can’t completely abolish moral agency. Some hypotheses attribute consciousness and free will to the physico-shimic structure of the brain, the random activity of neurons, or the ability to automatically transform inputs into outputs with the advantage of genetic information. This is the most sensitive and important point of being human; it attacks free will. Paradoxically, while global civilization of our time promises infinite freedom to human beings the science of the same age tries to prove that it is not free. (shrink)

Webber argues for a new interpretation of Sartrean existentialism. On this reading, Sartre is arguing that each person’s character consists in the projects they choose to pursue and that we are all already aware of this but prefer not to face it. Careful consideration of his existentialist writings shows this to be the unifying theme of his theories of consciousness, freedom, the self, bad faith, personal relationships, existential psychoanalysis, and the possibility of authenticity. Developing this account affords many insights (...) into various aspects of his philosophy, not least concerning the origins, structure, and effects of bad faith and the resulting ethic of authenticity. This discussion makes clear the contributions that Sartre’s work can make to current debates over the objectivity of ethics and the psychology of agency, character, and selfhood. Written in an accessible style and illustrated with reference to Sartre’s fiction, this book should appeal to general readers and students as well as to specialists. (shrink)

It has been commonly argued that there are traces of Jean Paul Sartre on the philosophical system of his partner, Simone de Beauvoir. Some claim that Beauvoir was not original enough when constructing her system and developing her thoughts; according to some others, she even was not a philosopher. From the perspective of Beauvoir, she didn’t even consider herself as a philosopher but as an author. For her, to call somebody a philosopher, they should be like Spinoza, Hegel, or Sartre (...) who constructs a comprehensive philosophical system, loves philosophy, teaches philosophy, understands philosophy, and uses philosophy in their works. Given these criteria, Sartre was a philosopher for her and she admits that Sartre’s philosophy influenced her a lot. Furthermore, she clearly expresses that there was a mutual influence indeed, which means she also influenced Sartre, but her impacts on him were in terms of literature, not philosophy. To give an example, after writing his biography books, Sartre wrote The Words where the traces of Beauvoir can be seen quite easily. This point can also be derived from Sartre’s admittance that he got the clarity and truth in his works--especially when describing a gesture, analyzing a situation, or observing an incident--by means of Beauvoir’s meticulous style and rich experiences. Sartre also indicates that Beauvoir was a perfect complement and privileged reader for him.In this work, our primary focus will be on the details of the influence of Sartre on Beauvoir. Here, I have to point out that even though the title of this paper is determined as “The Impacts of Sartre on Beauvoir” indeed the word “benefit,” instead of “impact,” would do better for our purpose. It is because though Beauvoir was influenced from Sartre’s philosophical identity, when building her thoughts we must say she mostly “benefited” from Sartre’s philosophy. We can easily see the examples of this point in several contexts: first, in the notion of ambiguity, and second, in her analysis of the position of woman. Also, in her notion of “the other” which is a threat for the independence of an individual, she shares the same ideas with Sartre in her early writings, but later, she changed her direction and adopted a different view.If we examine the notion of Beauvoir’s “ambiguity,” though it has various meanings, what she means is that a person is a free and unique subject on the one hand; and on the other hand that person is an object for others. Here, Beauvoir benefits from Sartre’s existential types. She agrees with Sartre on the idea that human existence contains both being-in-itself and being-for-itself; however, she thinks that having these two types of being together in their existence leads to an ambiguity for human beings. Sartre sees humans as beings that are always in a relationship with the other. And in this relationship, when being-for-itselfsubmit to the other, it becomes an object for the other’s freedom. While being-for-itself perceives the other as subject, she, herself, becomes an object. This fact expresses an ambiguity for Beauvoir.Another issue we can associate with the notion of “ambiguity” is related to the relationship between self and the other, the relationship that relies on the confrontation of the consciousness of the self with the consciousness of the other. At this point, the “I” who identifies himself as an absolute being sees the other’s consciousness as a threat and acts like an enemy towards it. It is because the subject that was exposed to the perspective of the other becomes an object now and she loses her freedom due to the intervention of the other. The other makes her an unguarded being. Now, the subject is not an active being but the object of the other. Thus, due to these restraints of the other on the subject’s freedom, the subject must deny the hegemony of the other and get over the problem by making the other an object. Similar to Sartre, Beauvoir, too, sees the existence of the other or others as a danger for her own freedom at the beginning. She considers freedom in individualistic way and sees the others as barriers for her freedom. But later, she changes her stance, and begins to consider the other as a necessary condition for her own freedom.The last point I am going to focus on is the philosophical source of The Second Sex. One of her masterpieces, The Second Sex, in which she gives the explanation of the oppressions women face and established the principles of modern feminism, is about the women who represent “the other gender” due to fact that women are always identified in terms of the differences of their oppressors, men. In The Second Sex, she examines the essential features that make a woman a woman and at the end she comes up with the notion of “the other.” When reaching this notion, in order to show how she applied existentialist ideas of ontology and ethics, she says that men perceive themselves as “I” or “the subject” and women perceive themselves as “the other.” Beauvoir improves the claims of Sartre in The Second Sex in a unique way, and further put forwards that women are regarded as “the other” and men are called as “the subject.” At this point, if the other becomes a threat for the subject or “I,” then, it can be said that women, too, become a similar threat for men.Surely, there are other points that can be said about the impacts of Sartre on Beauvoir. We will also be examining those points as well as the above ones in this work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Freud and Leonardo in Egypt DANIEL ORRELLS Stories of selfhood were central to the nineteenth -century cultural and literary imagination.1 For numerous intellectuals of the nineteenth century, the Italian Renaissance had become a privileged site for thinking about the emergence of the category of the individualized self in the history of the West, in a grand narrative about the rupture from ecclesiastical authority to secular and scientific thinking. The (...) life-story of Leonardo Da Vinci, artist and scientist, was a crucial example for nineteenth-century historiography about the origins of modern individualist subjectivity.2 It is hardly surprising, then, that Freud turned to concentrate on Leonardo in his 1910 biography of the Renaissance man, to construct the psychoanalytic account of the history of the self. What is remarkable and fascinating, however, is that ancient Egypt should be so important in Freud’s biography: it reveals Freud’s investment in Egyptology for the development of the psychoanalytic narrative of selfhood. If the Italian Renaissance was figured as the rebirth of Graeco-Roman paganism in the history of European culture, as late nineteenth-century commentators such as Walter Pater—read and imbibed by Freud—had argued, then what did ancient Egypt have to do with Leonardo?3 This essay excavates Freud’s fascination with the place of Egypt in understanding the beginnings of the self in his 1910 biography of Leonardo, whose pre-Oedipal relationship with his mother was crucial for Freud’s portrait of the Renaissance man. The complicated place of ancient Egypt within arion 28.3 winter 2021 106 freud and leonardo in egypt the modern European cultural imagination—both the object of linguistic and racial anthropologies and the archive of the truth of the biblical narrative—profoundly informed Freud’s psychobiography of Leonardo. On the one hand, the possibility that Egypt was at the origins of the story of what it means to be human—before Oedipus, before Greece—that Egyptian archaeology might contain timeless, esoteric truths was crucial to Freud’s understanding of the subject at the dawn of desire. And yet, on the other, the early-twentieth-century investment in the scientificity of the new discipline of Egyptology provided Freud with a support mechanism for his own “scientific,” psychoanalytic investigations into Leonardo’s life-story. Indeed, Leonardo was such a fascinating figure for Freud—a figure for identification—precisely because, as the quintessential Renaissance man, Leonardo was both artist and scientist. Freud’s interest in the classical and sacred art of Leonardo as well as Leonardo’s scientific investigations reflected Freud’s own complex intellectual identity, informed by his classical humanistic education and his medical training. As Richard Armstrong has put it so well, the Leonardo essay can be “read as a key for understanding Freud’s personalized genealogy of empirical science.”4 The complexity of the position of Egyptology at the turn of the century, then, will be crucial to any understanding of Freud’s own precarious epistemological authority as it was explored in relation to Leonardo.5 We will begin by examining the importance of Egyptian archaeology for Freud’s understanding of Leonardo’s early relationship with his mother, which in turn provided Freud with a method for interpreting Leonardo’s paintings. Freud will invoke the heroics of modern Egyptologists, such as Jean-François Champollion, who in the 1820s had successfully deciphered hieroglyphic writing, in order to characterize the psychoanalyst as the decipherer of the hidden meaning of Leonardo’s art. And yet, as we shall see, the overdetermined position of Egypt in the European public imagination Daniel Orrells 107 since the Enlightenment would also encourage Freud to turn back to the Egyptology before Champollion’s decipherment. Freud’s Egyptological excavations would also allow him to intervene in early twentieth-century debates in the “racial” sciences which were developing increasingly hardening views about the “Aryan” and the “Semitic” “races.” If Leonardo’s biography was such an important narrative for the story of the origins of the western self, then it was not only Leonardo ’s mix of artist and scientist which was important for Freud. By linking Leonardo back to Egyptian origins, Freud was able to make a point about the “Aryan” / “Semitic... (shrink)

Ṣāliḥ bin ʿAbd al-Quddūs of Persian origin was born in Basra, the crossroad of religions and teachings with its socio-cultural, scientific and intellectual structure. He grew up in a family that values religion, politics and literature. Rich scientific background and cross-cultural integration of Basra significantly influenced his scientific and intellectual development. However, in historiographical sources, he is an intellectual who has come to the fore with his literary identity. His ‘sectarian’, ‘political’, ‘wise’ (ḥikami), ‘didactic’ and 'gnomic' poems form the main (...) theme of his literary writings. Various titles have been attributed to him by the authors of history and biography. "Master of poets, street preacher, storyteller, theologian and philosopher" are a number of them. Before the translation of philosophical works, he became one of the important representatives of the 'literary theology', the dialectical technique of the period. Thus, besides his poetic and literary identity, he is mentioned as one of the six theologians of Basra. Over time, he was able to attract the attention of the political power with his theoretical and literary works for both theo-political and social adjustment. However, he was not understood adequately, and his poems did not attract the necessary attention since philosophical/wise expressions were widely found in them. In his poems, it is possible to see every tone of hope and hopelessness. He reflects hope, rights, justice, equality, freedom, moral virtues, but more often; despair, death, transience of the world, ascetism and distancing from people. For this reason, he is also referred to as the "poet of despair." From this point of view, his call to the life of ascetism was interpreted as dualism. The opinions of Ṣāliḥ calling for social adjustment, justice and equality were perceived as a threat by the political authority and he was killed with the accusation of heresy. Although it is generally accepted that he was executed due to heresy, there is much speculative information about the subject. Of two examples are that he subjected to ethnic discrimination due to his Persian origin, and that he was a philosopher of dualism and a follower of Manichaeism. However, the reason for the murder of Ṣāliḥ was neither his theological choice nor ethnic origin. His poetry, which motivated social morality, intellectual development, freedom and social enlightenment, turned him into a threat to the political power. It would appear that his opposition to Arab nationalism and privilege in the ranks of Šuʿūbiyya, a populism movement and his demand that justice and equality should spread throughout all layers of society, caused political prosecution. In this process, the rule chose the easiest way to silence any opposing voice by implementing the accusation of heresy. The concept of heresy, especially with the Abbasids, quickly turned away from its religious concerm and changed into a political notion. As a result, academic discussions conducted at the scientific and intellectual level in Basra were moved to a practical arena by politics, and the dose of criticism and violence increased. First of all, with its scientific and bureaucratic elements, the state embarked on an intellectual and actual struggle with heretical teachings, which aims to distort the essential principles of Islam by dissimulation (taqīyya). Although this political attitude towards heresy, which aims to break down Islamic values, can somehow be considered reasonable, the area of accusation of heresy expanded in time; causing every opposing movement to be evaluated within this scope. However, when the main theme of his poems is examined, the first point, attracting attention is his call to believe in God, the truth of the hereafter, reckoning consciousness, responsibility, justice, equality, freedom, etc. In fact, referring to the Qur’ān and ḥadīth in his poems already proves that he was a Muslim. Nevertheless, his poems were sometimes interpreted and presented as an evidence of his heresy and whenever he was found stating the right, his statements were found invalid because of accusation of dissimulation. Considering all these facts, this article will make a logical consistency analysis of the information and narrations about Ṣāliḥ. It will also examine the validity of the accusations of heresy against him, based on his literary discourses, religious identity and political attitude. As a result, it will determine whether the negative (theological) attribution to him is really an accusation or truth by an analytical inference. (shrink)

As frequently pointed out in this discussion, one of the most characteristic features of Mayr's approach to the history of biology stems from the fact that he is dealing to a considerable degree with his own professional history. Furthermore, his main criterion for the selection of historical episodes is their relevance for modern biological theory. As W. F. Bynum and others have noted, the general impression of his reviewers is that “one of the towering figures of evolutionary biology has now (...) written a towering history of his discipline.”138 Bynum is here referring to The Growth of Biological Thought, but this observation holds equally true for Mayr's other historical writings: One must surely read this book [One Long Argument] not only for its content in itself, but for what it tells of its author. And certainly as one does so, one comes away full-handed. Many, if not all, of the disputes and controversies that have driven Mayr through his long intellectual life reappear, stated as forcefully and elegantly as ever.139Up to this point, most reviewers agree; the bone of contention is, rather, how to evaluate Mayr's historical work, considering this observation. The two related characteristics of his work-I will call them subjectivity and presentism-stand in opposition to a widespread approach in the history of science exemplified by Kuhn's suggestion that “insofar as possible..., the historian should set aside the science that he knows. His science should be learned from the textbooks and journals of the period he studies.”140 There are, however, historians who consider the close connection between Mayr and the subject matter of his historical studies to be an advantage.141On the other hand, it is assumed that the connection between past and present must result in a distortion of the historical truth and lead to a historiographical fallacy, commonly referred to as “Whig history”. Herbert Butterfield, who in 1931 gave the term its now generally accepted meaning, believed that “real historical understanding is not achieved by the subordination of the past to the present, but rather by our making the past our present and attempting to see life with the eyes of another century than our own”142. Unfortunately, Butterfield's definition of what he considers Whig history remains somewhat vague, and modern authors have emphasized what they consider most important. Butterfield's “subordination of the past to the present” is referred to in respect to the selection of subjects (there are more biographies of Charles Darwin than of, let's say, Louis Agassiz),143 to the evaluation of historical authors,144 or, more generally, to all kinds of histories “with one eye, so to speak, upon the present.”145 The underlying tendency of Whig historians is to produce a “historical account told from the viewpoint of those in power,”146 leading to a “glorification of the present.”147 It is obvious that Mayr's strongly presentist approach to the history of biology can be called Whiggish, if we apply the criteria of “selection” or “reference.” However, it might be worth mentioning that the program of writing a strictly historicist account of the history of science is challenged by various authors.148 For Mayr, it is not only legitimate but necessary to compare the present situation with the past. “Whiggish” is only the evaluation of an author in terms of our time.149I cannot discuss the Whit/anti-Whig controversy in any detail here, apart from saying that Mayr has defended himself rather extensively against the charges of being Whiggish.150 Nevertheless, it may be useful to touch on some of the criticisms that are predominant in reviews of his writings. First, we encounter the notion that historians can write a true and convincing historical account only if they have no personal interest or interpretation of their own; Mayr, on the other hand, because he “has such strong interpretations of his own, ... cannot possibly convince everyone that he is right about everything.”151 It makes one wonder, what historian has ever been able to convince everyone that he or she is right about everything? But apart from this peculiar idea, it unquestionably poses certain dangers if the subject matter of historical scrutiny and the author are identical. At the same time, this identity brings certain advantages with it, especially firsthand experiences of the period in discussion. Whether these personal memories ultimately result in a distorted picture of the past has to be decided in every particular instance. The notion that a scientific study can be conducted by a completely detached observer from a neutral standpoint has been shown to be impossible in physics, and it is also an illusion in historiography. The question is not whether, but which kind of interest are the underlying motivation for a historian. At this point, Mayr is ahead of his critics when he suggests that our understanding of the past always has a subjective component: The main reason, however, why histories are in constant need of revision is that at any given time they merely reflect the present state of understanding; they depend on how the author interpreted the current zeitgeist of biology and on his own conceptual framework and background. Thus, by necessity the writing of history is subjective and ephemeral.152Second, the temporal proximity between the event and the historical analysis makes difficulties inevitable and will finally result in certain false assessments. But this applies to all historians when they discuss recent problems, regardless of whether they are personally involved or not: As long as the battle between Darwinism and Lamarckism was raging, it was quite impossible to undertake an unbiased evaluation of Lamarck. ...[The] definite refutation of Lamarck's theory of evolutionary causation clears the air. We can now study him without bias and emotion and give him the attention that this major figure in the history of biology clearly deserves.153Third, Mayr is primarily interested in biological problems and not, for instance, historiographical, sociological, or psychological questions. Several authors have remarked that since the beginning of the professionalization of the history of science in the 1960s, a rift between two groups has developed, resulting from the heterogeneous professional backgrounds and interests of the people involved: the authors who were originally biologists and became interested in the history of their discipline only later on, and the authors who were trained as historians.154 Whereas the first group, the “biologists,” tend to be laymen in history proper, the “historians” are in most cases laymen in biology. Different professional backgrounds obviously shape the historical perspective in both groups, but neither approach is necessarily superior. The great number of important books in the history of biology written by “biologist” documents how valuable this point of view can be. On the other hand, it cannot be denied that the writings of biologists in the history of science tend to have a strong “internalist” tendency and often neglect the professional, cultural, and political context of science. Mayr's approach is that of a “biologist”; it is “internalist,” and typical for scientists who turn to the history of their discipline.I want to conclude my analysis with a quotation from a review by Douglas J. Futuyma, which gives a perceptive glimpse of Mayr's personality and style: One cannot help standing in awe of the germanic capacity for vast, allembracing synthesis: consider the lifelong devotion of Goethe to Faust, or Wagner's integration of the arts into a Gesamtkunstwerk in which all of human history and experience is wrought into epic myth. It is perhaps in this tradition that Ernst Mayr's The Growth of Biological Thought stands: a history of all of biology, a Ring des Nibelungen complete with leitmotivs such as the failures of reductionism, the struggle of biology for independence from physics, and the liberation of population thinking from the bounds of essentialism.155 Within this style of thinking Mayr has “to offer...nothing less than a vision of biology that places neodarwinian evolutionary theory firmly at the centre.”156 There may be other visions of biology, but few of them have as indefatigable and able representatives as Darwinism has in Ernst Mayr. (shrink)

Translated by Drew S. Burk and Anthony Paul Smith. Excerpted from Struggle and Utopia at the End Times of Philosophy , (Minneapolis: Univocal Publishing, 2012). THE END TIMES OF PHILOSOPHY The phrase “end times of philosophy” is not a new version of the “end of philosophy” or the “end of history,” themes which have become quite vulgar and nourish all hopes of revenge and powerlessness. Moreover, philosophy itself does not stop proclaiming its own death, admitting itself to be half dead (...) and doing nothing but providing ammunition for its adversaries. With our sights set on clearing up this nuance, we differentiate philosophy as an institutional entity, and the philosophizability of the World and History, of “thought-world,” which universalizes the narrow concept of philosophy and that of “capital.” We also give an eschatological and apocalyptical cause to this end, of “times” or “ages” rather than those of philosophical practice. Last but not least, it is the Future itself in the performativity of its ultimatum that determines this end times, reversing these times from the Identity the Future accorded to it, withdrawing the thought-world from the lie of its death. Why this style of axioms and oracles, these more or less subtle distinctions, old and debased, with an appeal to the ultimata , to end times and last words? We fight to give, parallel to the concept of Hell, its new theoretical position, for its philosophical return and its non-philosophical transformation. No more so than any other word, Hell is not a metaphor here, just the Principle of Sufficient World. Every man, no doubt, has his “hell” readily available, connivance, control, conformism, domestication, schooling, alienation, extermination, exploitation, oppression, anxiety, etc. We have our little list that the Contemporaries established in the previous century in the same way one used to construct lists of virtues and vices or honors and wealth. They invented it for us without knowing it, for us-the-Futures who have as our responsibility to invent its use. In the Christian and Gnostic tradition, the struggle of the End Times takes place “on earth.” The most sophisticated of believers have it taking place in Heaven as well, above all in Heaven. The various kinds of gnosis imagine infinite falls and vertiginous highs, the vertigo of salvation. On Earth as in Heaven, a hell is available. The Marxists have the law of profit and the control of production, the class struggle Capital imposes on man. The Nietzscheans, the dull grumble of the struggle in the foundations of World and History, the domestication of man, the society of control. The phenomenologists, the capture of being, the most superficial amongst them, the age of suspicion. But all of these “hells” are taken from World, History, Society, and Religion. What we call Hell is no longer of the order of these specific and total intra-worldly generalities, it is both more singular and more universal, no longer being at all of the same order, it is the determinant Identity of these small hells strung out through history but unified here in the name of the last Humaneity. It is even found within the French idiom for hell [ enfer ], en-fer literally means “in-irons.” We are as much “in-irons” as we are “alive” [ en-Vie ]. We believe in Hell but as non-philosophers and it is even because we are non-philosophers that we can believe in it outside of any sort of religion. Hell is less mythological than ideological, it combines philosophizability with universal capital. Under what form? A single term could work for them without being a metaphor or something they would participate in by analogy, a more innovative and conjectural term than control, more universal than profit. It would denote the growing and permanent extortion of a surplus-value of communication, of speed and of urgency in change, in productivity and in work, in the pressure of images and slogans. It would be worse than solicitation, more tenacious than capture, more active and persecutory than control, softer and more insidious than a frontal attack, just as perverse as questioning and accusation, less brutal and offensive than extermination, less ritualized than inquisition, it would be soft and dispersed, instantaneous and vicious, it would be a crime without declared violence. Collusion and conformism, it would be afraid to show itself. Related to rumor, from which it borrows its infinite and tortuous ways. It is harassment. As a modernized form of Hell, perhaps harassment has a long future in front of it, of innocent torture, slow assassination, in short the fall, but radical with no way of recovering and which tolerates only salvation. THE PHILOSOPHICAL PAST OF NON-PHILOSOPHY Non-philosophy is thus Man as the utopian identity of the philosophical form of the World, a utopia destined to transform it. We still have to understand these equations, in particular that of the being-uni-versed from Man, and this book adheres to this by re-exposing non-philosophy in a different way via one of its new possibilities. It uses this opportunity to once again take up formulations that lead to objections answering certain external critics, as well as revisiting diverging interpretations specific to non-philosophers. A portion of this book is devoted to going through these theories via a strict or “lengthy” presentation of non-philosophy, and its defense against more expeditious solutions. This work of rectification is the occasion, merely the occasion, for refocusing non-philosophy on Man (the “Man-in-person,” “Humaneity”), and in a more innovative manner, on its utopian vocation established since the book Future Christ . As for this “occasion,” it is quite obvious. A school of posture, not to say a school of thought, supposes a minimum of closure from the most liberating of knowledge, a heritage, its utilization, and its no less certain dispersal. Within its development, a variety of interpretations will no doubt appear, deviations that are as much normalizations, and a struggle against this multiplication of divergent tendencies. These are perhaps not inevitable evils, especially here, merely a normal development according to the twisting paths of history. But the problem is made worse by the fact that this school of non-philosophers is that of utopia. Not the former attempts devoted to commenting on the worst authoritarian and criminal forms of the past and the present, but utopia as the determinant principle for human life, or to put it another way, of the Future as an irreducible presupposition of (for) thinking the World and History. Non-philosophers are engaged in an aleatory navigation between the respect for the most rigorous utopia, whose rules are not that of the reproductive imagination but those from the Future determining imagination itself, as well as the temptations, diversions, and remorse of history. Little by little, we will begin to understand that the Future as we understand it no longer has any temporal consistency or positive content, without being an empty form or a nothingness, but that it is foreclosed to past and present History, just as it is foreclosed to the place of places, the World, and that it is the only method for establishing the practice of thinking in a non-imaginary instance. Because it is the World and History that are imaginary and have a terrible materiality, it is not necessarily utopia. We will overlap two objectives here: the defense of non-philosophy against the (non-) philosophers that we are, only occasionally, and the introduction of philosophy to a rigorous future. Together they set out to definitively render, without any possible return to philosophical conformism or towards the facilities of the past and present, the non-philosophical enterprise understood as utopia or uchronia. Imagination and speculation, left to themselves and thus undistinguished, are quite good for participating in the grand game of History but have little value or worse for the Future which is unimaginable and unintelligible and must be maintained as such. MAN-IN-PERSON AS SUSPENSION OF THE PHILOSOPHICAL CHORA The point where philosophical resistance is concentrated is without a doubt the invention of the Name-of-Man, first name, oracular as much as axiomatic, of the determining cause for the non-philosophical posture. And that which concentrates the differends is the style of non-philosophy as identity that possesses the dual aspect, of discipline and of the oeuvre, of the theorem and of the oracle. But the real difficulty in understanding the simplicity of non-philosophy is profoundly hidden in the depths of philosophy itself. Because philosophy, from Parmenides to Derrida, even Levinas, continues to be a divided gesture, without a veritable immanence, transforming its thematic contents of transcendence in also forgetting to transform the operative transcendence in the element from which the ontology of surface is established which we will call, in memory of Plato, the chorismos. The general effect of the chora literally gives place to philosophy, demanding binding and sutures to which we will once and for all “oppose” the Man-in-person, his power of cloning, and his future being. All philosophy contains a hinter-philosophy in which it deploys its operations and weaves its tradition like an understudy of a topographical nature and in the best of cases being itself topological. Philosophy as well consists of two levels, its pre-ontological operative conditions on the one hand, and its superficial theme on the other, it too has its presupposed, but is not aware of it or erases it within the unity of appearance named Logos. Rightly, the Logos, and its flash or lightning nature, possesses a “dark precursor,” the chora, which is as much a virtual image, and philosophy, dazzled by its own lightning flash, seems to completely forget about it at the same time it sets itself up within it. Non-philosophy risks taking this same path, of confusing what it believes to be the real with its phantom double, contenting itself to working on the thematic level of philosophy, not its surface objects and its idle chatter (we stopped talking about this a long time ago and in any case they are merely simple materials for inducing a work of transformation), but the transcendence-form of its objects. In the end it risks, through precipitation, taking back up the heritage of philosophy, a heritage of a misunderstood presupposed, even more profound than the play of transcendences. This is what the imperative of the radicality of immanence meant, to treat immanence in an immanent manner, not to make a new object out of it. And from here we get non- (philosophy) and its refusal of the Platonic chorismos , symbol of all abstraction, and thus all transcendental appearance. There are no illusions. The message will leave a heritage in tattered pieces and interpretations. But it was difficult not to dispute the differend to its core. There will be complete confusion of the multiple, possible, and necessary effectuations of non-philosophy with its interpretations. The non-philosophical or human freedom of philosophical effectuation and the philosophical freedom of interpretation. Effectuations demand non-philosophy to return to zero from the point of view of its philosophical material and thus also but within these limits the formulation of its axioms , but in no way providing from the outset divergent interpretations of the aforementioned axioms. They are divergent because they do not take into account the material from which these axioms are derived within non-philosophy, and because they do not see themselves as symptoms of another vision of the World. The utterances of non-philosophy are not mathematical theorems and pure axioms, they merely have a mathematical aspect . They are, by their extraction or origin, mathematical and transcendental. And by their determined function in-Real, within non-philosophy, they are identically in-the-last-Humaneity entities which have an aspect of an axiom and an aspect of interpretation (or an oracular aspect as we say) that attempts (sometimes it is ourselves who provide the occasion) to isolate and transform, in complete freedom of interpretation. There will be an opportunity to complain about the complex character of the language of non-philosophy, an idiom saturated with classical references, sophisticated in a contemporary way. Its freedom of decision up against the whole of philosophy demands these effects of “complication” and “privatization,” as the saying goes. But it also demands fighting against the drift [ dérive ] of the pedagogical-all and the mediatic-all that leads philosophy into the shallow depths of opinion, which is the site of its impossible death. The noble idealism of “pop-philosophy” has been consumed into a “philo-reality;” against this we propose philo-fiction. Parricide, which is at the bottom of these interpretations and which we can judge as being quite fertile, although it has informed tradition, only takes place once or within one lone meaning. In regards to Parmenides, it was possible; Plato introduced the Other as non-being and language, bringing into existence the philosophical system of the World, but is it possible to repeat it again with the same fecundity in regards to non-philosophy, this time in introducing (non) religion or (non) art, still mixing them without taking into account this mixture, alternatively as a philosophical or religious resentment? If philosophy begins via a crime, it is no doubt obliged to continue down similar pathways, to the effect that the crimes of philosophy, once the founding crime has been committed, are a reaction of self-defense. It is undoubtedly from this that we get Marx’s declaration that history begins by tragedy and repeats itself or ends in farce. The preservation of rigor and fecundity is, in every respect, a psychologically difficult task within a theory such as non-philosophy. Having posited an essential objective of liberation in regards to philosophy and its services, one has often understood this objective as an authorization of providing particular interpretations of its axioms and ends up obliterating their scope. This ends up confusing, on one hand, two kinds of freedoms in regards to non-philosophy, the freedom of its interpretations and the freedom of its effectuations. On the other hand, any defense of “principles” against precipitated interpretations is immediately taxed with a will to orthodoxy, a prohibitive objection when we are dealing with, as is the case here, a heretical theory of thought. Nevertheless, it is time to stop confusing heresy as the cause of thought with an ideology of heresies, which is certainly not at all our object, but rather a form of normalization. As for the “disciplinary” aspect, which is not the only aspect, it demands something other than philosophical “answers to objections,” a precision in the definition and use of its procedures in the formation of utterances, since non-philosophy is neither a supplementary doctrine interior to philosophy nor a vision of the world but one whose priority is a “vision of Man,” or rather Man as “vision” that implies a theory and a practice of philosophy. In the end, struggle is only one aspect of non-philosophy, not its whole or telos, struggle coming only from its materiality. In particular, if the discipline of non-philosophy is inseparable from struggle, it is not a question of reducing the monomaniacal obsession of its “marching orders.” This would reduce its complexity and kill its indivisibility, deploying it in a “long march” and a form of Maoization whose philosophical presuppositions no longer have any pertinence here, a case of the One and the Two, which are now cloned and no longer tied together. More generally, non-philosophy is a complex thought composed of a multitude of aspects, which is to say, unilateral interpretations, of a philosophical origin but reduced by their determination in-the-last-instance . The “liberalism” of non-philosophy is merely one of the aspects of which it is capable, not an essence. Similarly, it is only capable of having a “Maoist” aspect. Let us generalize. The weakness of non-philosophy is due to a specific cause, the determination-in-the-last-Humaneity of a subject for the World. Everything that has a right to the philosophical city can be said about it in turn and in a retaliatory mode since Man contributes nothing of himself that Man takes from the World. We can consider non-philosophy as being pretentious, absurd, idealistic, empty, materialistic, formalistic, contradictory, modern, post-modern, Zen, Buddhist, Marxist; it endures or tolerates, perhaps “appeals” to, or at least renders possible, sarcasms, ironies, and insults without even talking about the misunderstandings, partly for the same reason as psychoanalysis. All of this goes beyond simple “deviations.” They are its aspects, which is to say, its “unilateral” philosophical interpretations in both senses of the word, being either sufficient coming from the mouth of philosophers, or reduced to their absolute dimension of sufficiency and totality in the mouths of non-philosophers, and both times due to the weakness and strength of Man-in-person as their determination only in-the-last-instance. The non-philosopher is certainly not a Saint Paul fantasizing about a new Church. The non-philosopher is either a (Saint) Sebastian whose flesh is pierced with as many arrows as there are Churches, or a Christ persecuted by a Saint Paul. What is engaged in here is the practice of retaliation. A negative rule of the non-philosophical ethics of outlawed discussion by way of argumentation (the sufficient is you, the orthodox one is always you, you are the fashionable one, and when a master you are someone else) that is founded on the confusion of effectuations of non-philosophy and of its overall interpretations. Retaliation is the law but as with any too-human law, it must acquire a dimension that displaces it, or rather emplaces it and takes away its authority but not all of its effectiveness. If the non-philosopher is only authorized by himself, which is to say by philosophy but limited by the Real-of-the-last-instance, its critique of other non-philosophers can merely be retaliatory under the same conditions, only by the Real limited in-the last-instance. THE TREE OF PHILOSOPHICAL SAINTLINESS The thematic horizon or material of these debates is in the relationships between philosophy, religion as gnosis, and non-philosophy. It is inevitable, regarding non-philosophers in general (whether they are non-philosophers by name or simply its neighbors) that we often end up evoking Marx’s Holy Family and imagining, arranged on the neighboring branches of the tree of philosophy and annexed, sometimes abusively, to non-philosophy, authors who would quite evidently and quite rightly refuse this label. So it is that we find, for example, a Saint Michel, a Saint Alain, a Saint Gilles 1 without even mentioning the youngest who aspire as well to the freedom of “saintliness” and who make their muted voices heard here. If there is a Holy Family of non-philosophers, it extends completely beyond these three, provided that the sectarian spirit can save us. This book is organized in the following manner: To begin, in order to recall the essential part of the problematic, we have organized a Summary of Non-Philosophy , a vade-mecum of notions and basic problems, in a classical style. Secondly, there is Clarifications On the Three Axioms of Non-Philosophy , designed to posit their proper use as much as to elucidate their meaning. Thirdly, an analysis of Philosophizability and Practicity , both being extreme constituents of philosophical material or the contents of the third axiom. Fourthly, the heart of this work: Let us Make a Tabula Rasa of the Future or of Utopia as Method . Fifthly, we have a theoretical outline of a non-institutional utopia, The International Organization of Non-Philosophy, L’Organisation Non-Philosophique Internationale, (ONPHI) already created in practice but under the conditions of possibility and functioning from which here we put into question “de jure,” thus not without a perplexity concerning “facts,” in any case, without the capability of “getting to the bottom of things.” Sixthly, an essay characterizing The Right and the Left of Non-Philosophy , a brief topology of several philosophizing and normalizing positions of proponents or tenants of this problematic. Seventhly, Rebel in the Soul: A Theory of Future Struggle , a systematic discussion starting from a confrontation of non-philosophical gnosis and non-religious gnosis to the extent that they pose, posed or perhaps still will pose themselves as rivals to non-philosophy in a mixture of fidelity and infidelity. Despite the fact that it can also be read as putting non-philosophy into perspective: it pits against a standard Platonism two contemporary appropriations of Gnosticism. On the basis of the paradigm of Man who never ceases to come as the Future-in-person, each one of these moments strives to reestablish not the “true” non-philosophy and its orthodoxy, but the minimal conditions to respect in order to allow for its maximum fecundity. And in order to bring about one of the last possibilities of its development, making explicit Humaneity as a utopia-for-the-World. In introducing these considerations in the form of a “testament” and “ultimatum,” we want to indicate two things: First, that this is the last time we will intervene in order to caution non-philosophers against the temptation of returning and looking backwards towards philosophy. Only a disillusioned nostalgia for the former World and its traditions barely remain permissible to us.… Secondly, that non-philosophy is also a sort of ultimatum for considering one’s life and transforming one’s thought from the perspective of a uni-version rather than a conversion. Man as future is this ultimatum in action, not an impatient self-proclaimed genius, and philosophy is his testament. It is obviously the ultimatum that determines this testament as “old” with a view towards a life that is, itself, non-testamentary. In and of itself, the “old” can never bear a veritable eschaton. Thus, this book intersects according to the logic of this paradigm, under the sign of the ultimate or “last” as future, philosophy as testament and cautionary note for maintaining the non-philosophical oeuvre as “future” or “utopian.” We will see that between these two dimensions it cradles a theory of struggle. In the end, this book envisions non-philosophers in multiple ways. It inevitably sees them as subjects of knowledge, most often academics insofar as life in the world demands, but above all as close relatives of three great human types. The analyst and political militant are quite obvious, for non-philosophy is close to psychoanalysis and Marxism insofar as it transforms the subject in transforming philosophy. Here again, one must have a sense not of certain nuances but of aspects (of the interpretations, albeit unilateralized) and not in order to construct a simple proletarization or militarization of thought as theory. To be rigorous, rather than authoritarian or spiteful, is its task. And lastly, non-philosophy is a close relative of the spiritual but definitely not the spiritualist. Those who are spiritual are not at all spiritualists, for the spiritual oscillate between fury and tranquil rage, they are great destroyers of the forces of Philosophy and the State, which are united under the name of Conformism. They haunt the margins of philosophy, gnosis, mysticism, science fiction and even religions. Spiritual types are not only abstract mystics and quietists; they are heretics for the World. The task is to bring their heresy to the capacity of utopia, and their utopia to the capacity of the paradigm. NOTES We will recognize allusions, and sometimes references, to closely related or distant themes, but which are related, in the work of Michel Henry, Alain Badiou and via the representative of “non-religious” gnosis of a Platonic origin, in Gilles Grelet. It goes without saying that these discussions are current and local, neither concerning the ensemble of doctrines nor prejudging the eventual evolution of certain amongst them. This concerns defining certain proximities with non-philosophy (rather than adversaries which in some sense they are) and typological and emblematic differends (rather than conflicts with a certain author). (shrink)

Frederick Douglass (1817?–1875) is a monumental American figure. As a runaway slave and leading black thinker, speaker, and writer in the abolitionist movement and during Reconstruction and its tragic collapse, his legacy in American history is singular. His ideals and scorching criticisms have marked American political thought about democracy, religion, race, racism, liberty, and equality. American political parties claim him, especially the Republican Party, with which he has an early connection and which has used his figure as cover for their (...) less than egalitarian projects, as do different ideological camps. One can find accounts of Douglass as an existentialist, revolutionary, proto-libertarian, liberal, civic republican thinker. His North Star continues to guide those who welcome its light, although it may lead them down different political-ideological paths.In all of this, one can imagine that those not familiar with the details of Douglass’s narratives and deeds might, in the context of all of that national hagiography, lose track of the fact that he was a black man. Frederick Douglass was a black man born into slavery, survived that brutal regime for twenty-one years, and then escaped and became a principal leader of the American abolition movement and leading black political thinker. Shortly after escaping slavery, he wrote his first famous autobiography, The Narrative of the Life of Frederick Douglass, and subsequently two more, in addition to volumes of speeches, articles, and a novel. It is as if his monumentality, like marble, alabaster, or bronze—the stuff of civic memorials—would obscure that irreducible fact in its grand monotones.Nick Brommell’s The Powers of Dignity: The Black Political Philosophy of Frederick Douglass reminds readers that that irreducible fact is a nontrivial, essential element of Douglass’s life and work. Bromell argues that this includes the political theory, a product of Douglass’s black political philosophy that runs through it all. He contends that Douglass argued for an inclusive conception of personhood and active citizenship, which America’s founding public philosophy, distorted by white supremacy, purposefully did not. Its elements include a defense of the moral personhood of blacks and their full and equal citizenship and a view of political community enlivened by group solidarities and active citizenship in defense of justice.In the course of his analysis, Bromell, a literary theorist, draws on an assortment of contemporary philosophical, rhetorical, and political theories, all of which have a critical theoretical bent, to explicate Douglass’s ideas. This method bears fruit in an instructive analysis of the rhetorical structure of Douglass’ his arguments. Brommell’s analysis of Douglass’s My Bondage and My Freedom usefully explains how it stands out, not only in terms of updated autobiographical details, but also style and analytical and argumentative intent. This is a reading that other scholars have pioneered, but his rhetorical analysis fleshes out, for example, the role of moral sentiments, care, and intimate and social relations in Douglass’s narrative.A central feature of Bromell’s analysis is that Douglass employs what he and others call a “fugitive rhetoric” that comprises an emphasis on the perspective of his and other black Americans’ standpoints, the holding of opposite ideas in tension, and the use of the rhetorical technique “chiasmus,” where a statement is repeated in reverse order in successive phrases or clauses. It is an illuminating analysis, but Bromell goes further by claiming that Douglass was committed to the tenets of contemporary standpoint epistemology. Douglass certainly referenced and employed his experience and viewpoint as a black man and former slave in his work, just as he directly addressed the viewpoints and interests of black Americans. However, whether this means that Douglass was committed to the set of ideas that we now call standpoint epistemology is another matter. This concern applies to Bromell’s reading of Douglass’s method of holding seemingly contrasting ideas in tension and his use of chiasmus. Contemporary philosophical theories of chiasmus carry particular metaphysical and epistemological implications, and those theories might shed light on Douglass’s political projects. However, their incidental utility does not mean they definitively describe Douglass’s intent or public philosophy. This is a specifically important point because those theories lead to subjective conceptions of truth, especially relating to ethics and politics, while Douglass, as Bromell recognizes, repeatedly and emphatically endorsed what he took to be universal normative truths.In the same vein, Bromell makes several additional claims regarding the conceptual distinctiveness of Douglass’s view of power, dignity, rights, and citizenship. Douglass employed conceptions of each and other important ideas specific to his style, approach, and ends. As other black political thinkers did before him, he used these concepts to condemn slavery, racism, and the hypocrisy of American Republicanism and Christianity to assert the equal moral personhood and dignity of blacks and demand equal rights and citizenship. Bromell rightly emphasizes the role of “power,“ as an individual capability, in Douglass’s view of natural rights, moral dignity, and citizenship. It is an emphasis that is in keeping with both Douglass’s personal narrative and his national political projects. Douglass did not think that Americans—that Black Americans or abolitionists—should passively wait for deliverance from either God or national political leadership. Likewise, Bromell is correct to push back on reductions of Douglass’s views to Lockean, Rousseauian, or Kantian interpretations. Douglass is more than an incarnation of standard deontological, liberal, or civic republican philosophy. As a nineteenth-century black radical thinker, he stood in relation and contributed to those moral and political philosophical traditions. However, Bromell’s claim that Douglass’s conceptions of power, natural rights, and citizenship are conceptually distinct from the large host of major philosophical, theological, and political theoretical accounts that preceded him and influenced those ideas in his time is suggestive but not decisive.Like other writers and theorists before him, Bromell offers us another Douglass—as a black critical political theorist. This is a testament to the fecundity of Douglass’s black political-philosophical legacy. It is a legacy that leads to competing interpretations of him; all the same and for all their differences, his scorching prophetic vision of liberty, equality, citizenship, and progress unites them all. (shrink)

It is a thankless task to have to reply to Professor Murray Krieger’s “Retrospective.” Qui s’excuse, s’accuse, and since I cannot ask my readers to embark on their own retrospective of my writings and test them for consistency, I have little chance of restoring my reputation in their eyes. Hence I would have been happier to leave Professor Krieger to his agonizing, if he did not present himself the “spokesman” for a significant body of theorists who appear to have acclaimed (...) my book on Art and Illusion without ever having read it. The followers of this school of criticism—of which Professor Krieger is a prominent member—had apparently convinced themselves that the book lent support to an aesthetics in which the notions of reality and of nature had no place. They thought that I had subverted the old idea of mimesis and that all that remained were different systems of conventional signs which were made to stand for an unknowable reality. True, professor Krieger admits that I never endorsed such an interpretation of my views, and he even concedes that there are passages in Art and Illusion which contradict such an out-and-out relativism, but he wants to convince his readers that these contradictions lead precisely to the ambiguities he now proposes to analyse.If he were right that the book encourages such a misreading, all I could do would be to express my regrets for having failed to make myself sufficiently clear. Luckily I can draw comfort from the fact that unlike these literary critics, the leading archaeologist of this country, Professor Stuart Piggott, had no difficulty at all in discerning my meaning and profiting from my arguments. In his Walter Neurath Memorial Lecture of 1978, entitled Antiquity Depicted: Aspects of Archaeological Illustration, the author did me the honour of taking a statement from my book as his starting point. It is the passage at the end of part I in which I recapitulate the content of the first two chapters:What matters to us is that the correct portrait, like the useful map, is an end product on a long road through schema and correction. It is not a faithful record of a visual experience but the faithful construction of a relational mode.Neither the subjectivity of vision nor the sway of conventions need lead us to deny that such a model can be constructed to any required degree of accuracy. What is decisive here is clearly the word “required.” The form of a representation cannot be divorced from its purpose and the requirements of the society in which the given visual language gains currency.1 1. E. H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, A. W. Mellon Lectures in the Fine Arts, 1956 , p. 90. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, Ideals and Idols, The Image and the Eye, and, most recently, Tributes. His previous contributions to Critical Inquiry include “The Museum: Past, Present and Future and “Standards of Truth: The Arrested Image and the Moving Eye”. (shrink)

This book is the first complete intellectual biography of Hermann Cohen and the only work to cover all his major philosophical and Jewish writings. Frederick C. Beiser pays special attention to all phases of Cohen's intellectual development, its breaks and its continuities, throughout seven decades. The guiding goal behind Cohen's intellectual career, he argues, was the development of a radical rationalism, one committed to defending the rights of unending enquiry and unlimited criticism. Cohen's philosophy was therefore an attempt to defend (...) and revive the Enlightenment belief in the authority of reason; his critical idealism an attempt to justify this belief and to establish a purely rational worldview. According to this interpretation, Cohen's thought is resolutely opposed to any form of irrationalism or mysticism because these would impose arbitrary and artificial limits on criticism and enquiry. It is therefore critical of those interpretations which see Cohen's philosophy as a species of proto-existentialism or Jewish mysticism. Hermann Cohen: An Intellectual Biography attempts to unify the two sides of Cohen's thought, his philosophy and his Judaism. Maintaining that Cohen's Judaism was not a limit to his radical rationalism but a consistent development of it, Beiser contends that his religion was one of reason. He concludes that most critical interpretations have failed to appreciate the philosophical depth and sophistication of his Judaism, a religion which committed the believer to the unending search for truth and the striving to achieve the cosmopolitan ideals of reason. (shrink)

1. The most original discovery in Beauvoir’s book is one more Columbus’s egg, namely that it is far from evident that a woman is a woman. That is, she discovers that a woman is the result of a process that made so that she is like she is. The paper discusses two aspects of the so-to-say ‘ideology’ inspiring the work. The first is its ideology in the proper, Marxian sense. My claim is that the work still pays a heavy price (...) to the dominating ideology. It leaves still too much unquestionedof what was assumed at the time to be obvious, necessary, and unchanging. This ballast depends firstly on the inherited prevailing climate of opinion, corresponding to a situation of alienation, producing two distorted views of the male and female gender. On the other hand, it depends on an unquestioned legacy from the modern episteme (in Foucault’s sense of the word) carrying presupposed Cartesian dualism. The other side of the work’s ideology, that is, the positive program presented or better the utopia it formulates is less innovative than it could be, In a few passages, where she seems to make use of suggestions from Merleau-Ponty, she points at a view where the bodily and emotional dimension is rescued from its negation in the male-dominated Capitalist society. Still, these suggestions are forgotten in the bulk of the work. -/- 2. The making of a philosophical work does not depend just on the kind of philosophical influences behind it. A book is also the product of an author with a story living in one society at a given time of social history. In this case, the book was written in the afterwar time when women were pushed back home again from the wartime labor market and when several of the goals reached by the first phase of feminist movements had gone lost in several European countries under Fascist or semi-fascist regimes and were being eroded in America by the reactionary climate of McCarthyism. It was a book written by an intellectual young woman in almost total isolation. These circumstances account for some more naïve suggestions from work: for ex., the idea that the alternative to the strategy once adopted by nineteenth-century emancipationist movements should be an individual inner process of transformation confined within the boundaries of one woman’s consciousness, or also, the idea that the goal of women’s liberation should be to bring all women to a condition similar of Simone de Beauvoir herself who, as an educated woman, earning her life by her work, and living in an allegedly equal state with an enlightened man (Jean-Paul Sartre!) in a relationship free from constraints (an unmarried couple!), was already exemplifying what a liberated woman’s life would be. -/- 3. The reconstruction of the idea of femininity is still the most fruitful part of the work. It rejects the notion of femininity as an essence depending on biology or other factors and explores the making of this image as a result of a condition made of the social and economic state of affairs but as revived and actively mirrored through and by the consciousness of the very subjects suffering an oppressive situation. And the main novelty is the ‘discovery’ of asymmetry between the self-image of the male and the (self)-image of the woman, an asymmetry depending on the fact that the woman sees herself through the other’s eyes. -/- 4. Later feminist writers such as Shulamit Firestone remarked that 'The Second Sex' heavily depended on several key-ideas from Sartre existential ontology. One crucial aspect is accepting the mind-body dualistic framework without any suspicion that such dualism could have been itself a projection of the basic experience of the male-female duality. I suggest that the philosophical legacy inherited from Sartre is on occasion an asset for Beauvoir’s innovative existential analysis of the feminine ‘condition,’ but on several occasions, it creates unnecessary obstacles for her project of a new comprehension of the feminine ‘situation,’ aimed at rescuing women from an 'inauthentic' self-definition. -/- 5. The first among these poisoned gifts is Sartre’s idea of the individual as pure freedom and project. Merleau-Ponty’s criticism is well-known: Sartre draws a picture of the world as containing no more than ‘human beings and things,’ thus denying any substance to social relations, institutions, and culture. -/- 6. The second is Sartre’s reconstruction of dialectics, understood as dialectics without synthesis. This is an enlightening tool when used to describe conflicts, in so far as it accounts for the emergence of the ‘other’ as what is excluded. But it becomes a boomerang when used to interpret any kind of relationship, leading to equate inter-subjectivity with conflict. -/- 7. Suggestions coming from Merleau-Ponty’s phenomenological approach of positive value of the bodily dimension as such, and hence of the feminine body, are evoked here and there but never fully spelled out. The most shocking consequence of acceptance of the Cartesian or Sartrean dualist view is an almost total de-evaluation of sexuality, understood as an activity involving just one tiny part of the human body, going with the idea that overcoming the oppression of women implies de-empathizing biological differences that are after all tiny and devoid of value. Besides, Beauvoir falls back into the trap of grounding claims of equality between men and women on the assumption that biological differences are of limited relevance. The eventual reason for such a step back is the distorting Cartesian mirror into which Beauvoir still looks in the vain hope of discovering a disembodied self as the (Cartesian) subject of an impossible kind of liberation.The first among these poisoned gifts is Sartre’s idea of the individual as pure freedom and project. Merleau-Ponty’s criticism is well-known: Sartre draws a picture of the world as containing no more than ‘human beings and things’, thus denying any substance to social relations, institutions and culture. The second is Sartre’s reconstruction of dialectics, understood as a dialectic without a synthesis. This view of dialectics is an enlightening tool when used to describe conflicts. It may account for the emergence of the ‘other’ as what is excluded. However, it becomes a boomerang when used to interpret any relationship, leading to equate inter-subjectivity with conflict. Suggestions coming from Merleau-Ponty’s phenomenological approach would tend to admit that the bodily dimension as such has a positive value, and hence the feminine bodily dimension is not just indifferent, but instead gives women a point of view on the world different from the male point of view. These suggestions, yet, are evoked here and there but never fully spelt out. The most shocking consequence of acceptance of the Cartesian or Sartrean dualist view is an almost total de-evaluation of sexuality, understood as an activity involving just one tiny part of the human body, going with the idea that overcoming the oppression of women implies understressing biological differences that are after all tiny and devoid of value. Furthermore, Beauvoir falls back into the trap of grounding claims of equality between men and women on the assumption that physical differences are of limited relevance. The eventual reason for such step back is the distorting Cartesian mirror into which Beauvoir still looks in the vain hope of discovering a disembodied self as the (Cartesian) subject of an impossible kind of liberation. -/- . (shrink)

The essays in this volume convince me of something which, until now was only a hypothesis of mine. Academic discourse, and perhaps American university discourse in particular, possesses an extraordinary ability to absorb, digest, and neutralize all of the key, radical or dramatic moments of thought, particularly, a fortiori, of contemporary though. Marxism in the United States, though marginalized, remains deafly dominant and exercises a fascination that we have not seen in Europe since the Russian Proletkult of the 1930s. Post-Heideggerian (...) "deconstructivism" though esoteric, is welcomed in the United States as an antidote to analytic philosophy or, rather, as a way to valorize, through contrast, that philosophy. Only one theoretical breakthrough seems consistently to mobilize resistances, rejections and deafness: psychoanalysis—not as the "plague" allowed by Freud to implant itself in America as a "commerce in couches" but rather as that which, with Freud and after him, has led the psychoanalytic decentering of the speaking subject to the very foundations of language. It is this latter direction that I will be exploring here, with no other hope than to awaken the resistances and, perhaps, the attention of a concerned few, after the event .For I have the impression that the "professionalism" discussed throughout the "Politics of Interpretation" conference is never as strong as when professionals denounce it. In fact, the same preanalytic rationality unites them all, "conservatives" and "revolutionaries"—in all cases, jealous guardians of their academic "chairs" whose very existence, I am sure, is thrown into question and put into jeopardy by psychoanalytic discourse. I would therefore schematically summarize what is to follow in this way:1. There are political implications inherent in the act of interpretation itself, whatever meaning that interpretation bestows. What is the meaning, interest, and benefit of the interpretive position itself, a position from which I wish to give meaning to an enigma? To give a political meaning to something is perhaps only the ultimate consequence to he epistemological attitude which consists, simply, of the desire to give meaning. This attitude is not innocent but, rather, is rooted in the speaking subjects' need to reassure himself of his image and his identity faced with an object. Political interpretation is thus the apogee of the obsessive quest for A Meaning.2. The psychoanalytic intervention within Western knowledge has a fundamentally deceptive effect. Psychoanalysis, critical and dissolvent cuts through political illusions, fantasies, and beliefs to the extent that they consist in providing only one meaning, an uncriticizable ultimate Meaning, to human behavior. If such a situation can lead to despair within the polis, we must not forget that it is also a source of lucidity and ethics. The psychoanalytic intervention is, from this point of view, a counterweight, an antidote, to political discourse which, without it, is free to become our modern religion: the final explanation.3. The political interpretations of our century have produced two powerful and totalitarian results: fascism and Stalinism. Parallel to the socioeconomic reasons for these phenomena, there exists as well, another, more intrinsic reason: the simple desire to give a meaning to explain, to provide the answer, to interpret. In that context I will briefly discuss Louis Ferdinand Céline's texts insofar as the ideological interpretations given by him are an example of political delirium in avant-garde writing.Julia Kristeva,professor of linguistics at the University of Paris VII and a regular visiting professor at Columbia University, is the author of Desire in Language: A Semiotic Approach to Literature and Art and About Chinese Women.Margaret Waller, a doctoral candidate in French at Columbia University, is currently translating Kristeva's Revolution du langage poétique. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading BiographyMichael Benton (bio)Biographer, Biography, and the ReaderBiography is a hybrid. It is history crossed with narrative. The biographer has to present the available facts of the life yet shape their arbitrariness, untidiness, and incompleteness into an engaging whole. The readerly appeal lies in the prospect both of gaining documentary information, scrupulously researched and plausibly interpreted, and of experiencing the aesthetic pleasure of reading a well-made work of art (...) with a continuous life story and a satisfying closure. "In the family of literature," one of its most respected practitioners asserts, "biography seems to be the product of a strange coupling between old-fashioned history and the traditional novel."1 The invitation of biography is thus a dualistic one; the aesthetic experience it offers stems from the twofoldness of its nature and from the stance that this imposes upon the reader. Literary biographies of poets and novelists offer a particularly fruitful area of study since their subjects have a special concern for aesthetic experience and the biographers' main interest lies in the relationship between the life and the works. Though much of what follows has a wider application, the focus of this article is on biographies of writers. By triangulating the roles of the biographer, the biographee within the biographical text, and the reader we can conceptualize the elements that make up the invitation of the genre.First, the biographer. Richard Holmes characterizes the process he experiences with two keywords: it is a "pursuit" and it is a "haunting." They are two sides of the same phenomenon. The pursuit is a "tracking of the physical trail of someone's path through the past, a following of footsteps," an effort "to write about the pursuit of that fleeting figure in such a way as to bring it alive in the present."2 The haunting occurs when this revivification succeeds and the biographee is brought imaginatively alive. Then the biographer turns from pursuer to pursued. While the subject does not take [End Page 77] him over, as it might in some Gothic fantasy, it does exercise the power of the past upon the present and haunt the biographer's imagination. Holmes goes on to explain the two main elements as "closely entwined strands":The first is the gathering of factual materials, the assembling in chronological order of a man's "journey" through the world—the actions, the words, the recorded thoughts, the places and faces through which he moved: the "life and letters." The second is the creation of a fictional or imaginary relationship between the biographer and his subject; not merely a "point of view" or an "interpretation," but a continuous living dialogue between the two... It is fictional, imaginary, because of course the subject cannot really, literally, talk back; but the biographer must come to act and think of his subject as if he can.3Not every biographer would necessarily subscribe to this particular description, but there is ample evidence in the recent spate of books about the genre4 that the biographer's capacity for imaginative empathy is continuously interacting with the verifiable historical data. The present operates upon the past in other ways, too. Earlier biographers who are more or less contemporary with their subjects (for example, Boswell, Forster, Mrs. Gaskell)5 stand in different relationships with them and the available data about them compared with present-day biographers who may inherit a whole bibliography of "lives" laid down in stratified layers on top of the life they are trying to recover. The modern reader, like the modern biographer, has to be a literary archaeologist. Dickens's "lives," for example, are constructed on a bedrock of his friend Forster's biography and on the novelist's own writings, neither of which subsequent biographers can afford to ignore. Later "lives" also have to be sifted through: our inherited Dickens is compounded from a series of accounts from, among a host of others, the Victorian memoirs of his daughter6 and his reading manager,7 via Edwardian enthusiasts8 and 1930s revelations about Dickens's private life,9 to those of modern academics and writers in our own time.10 In such cases, bringing the subject... (shrink)

The dissertation consists of four parts. Part One, "Freedom and the Will in Early Modern Philosophy," sketches an approach to the problem of freedom in early modern philosophy from the perspective of the faculties of the mind. It shows that attention to the faculties of the mind in general, and the will in particular, clarifies the changes in early modern conceptions of freedom from Descartes to Reid. Part Two, "Could Freedom Be a Miracle? Mind, Nature, and Human Freedom in Leibniz," (...) takes its starting point from a passage that recently has been the subject of considerable discussion by interpreters of Leibniz, the 'private miracle' passage from Leibniz's paper "Necessary and Contingent Truths," in which Leibniz seems to claim that freedom is a miracle. I argue that this interpretation is based on a misunderstanding of Leibniz's conception of nature. Freedom is no miracle; it is attributable to the Leibnizian mind in virtue of its nature. This raises the question of how the nature of the Leibnizian mind accounts for freedom, to which I return in Part Four. Part Three, "The Occasion of Freedom in Malebranche," considers a question first raised by Malebranche's contemporary Antoine Arnauld and thereafter posed by many of Malebranche's readers: "Is it not to say two things that undermine each other, to say that on the one hand, God does all things, and on the other, that man has free will?" I argue that Malebranche's conceptions of attention and the will provide the resources to answer Arnauld's question. According to Malebranche, agents determine themselves, and consequently are responsible for their free choices, but do not thereby cause any real change in the physical world that would require God's causal intervention. Part Four, "Freedom, Indifference, and the Will in Suarez, Leibniz, and Malebranche," returns to the interpretive theme sketched in Part One, examining the interrelations between Leibniz's and Malebranche's conceptions of freedom and the faculties of the mind. Against the background of the will-based account of freedom developed by the late Aristotelian philosopher Francisco Suarez, it assesses the place of the will in Leibniz's and Malebranche's conceptions of freedom. (shrink)

Recent scholarship has inquired into the socio-historical, discursive genesis of trauma. Trauma and the Ontology of the Modern Subject, however, seeks what has not been actualized in trauma studies - that is, how the necessity and unassailable intensity of trauma is fastened to its historical emergence. We must ask not only what trauma means for the individual person's biography, but also what it means to be the historical subject of trauma. In other words, how does being human in this current (...) period of history implicate one's lived possibilities that are threatened, and perhaps framed, through trauma? Foucauldian sensibilities inform a critical and structural analysis that is hermeneutically grounded. Drawing on the history of ideas and on Lacan's work in particular, John L. Roberts argues that what we mean by trauma has developed over time, and that it is intimately tied with an ontology of the subject; that is to say, what it is to be, and means to be human. He argues that modern subjectivity - as articulated by Heidegger, Levinas, and Lacan - is structurally traumatic, founded in its finitude as self-withdrawal in time, its temporal self-absence becoming the very conditions for agency, truth and knowledge. The book also argues that this fractured temporal horizon - as an effect of an interrupting Otherness or alterity - is obscured through the discourses and technologies of the psy-disciplines (psychiatry, psychology, and psychotherapy). Consideration is given to social, political, and economic consequences of this concealment. Trauma and the Ontology of the Modern Subject will be of enduring interest to psychoanalysts and psychotherapists as well as scholars of philosophy and cultural studies. (shrink)

In his very last, now famous, interview, Michel Foucault states that his philosophical thought was shaped by his reading of Heidegger, even though he does not specify what aspects of Heidegger’s philosophy inspired him in the first place. However, his last interview is not the only place where Foucault refers to Heidegger as his intellectual guide. In his 1981/1982 lecture course, The Hermeneutics of the Subject, Foucault confesses that the way Heidegger conceptualized the relationship between subject and truth was a (...) starting point for him for thinking about the relationship between truth, subject, subjective-transformation, and freedom. Accordingly, the aim of this paper is to reconstruct the Foucault-Heidegger encounter from the perspective of subject-truth relation. I will ask how Heidegger and Foucault conceptualized the relationship between truth, self-transformation, and freedom. And I will claim that for both Foucault and Heidegger, freedom lies in constantly and creatively repeating the traditional possibilities of existence in order to question the reified patterns of interpretation, and in order to reveal the anxiety–engendering–truth that what is regarded as natural and inevitable in human life is historically contingent and transformable. (shrink)

The great majority of commentators have evaluated the splitting of the moon. The vast majority of them think that it occurred in the Prophet’s period basing their view on the clear statement of al-Qamar 54/1 verse and on related rumors. However, some commentators claim that the moon will split on the doomsday, by referring to the context of the same verse. The same names criticize the rumors claiming that they cannot constituteevidence for the splitting of the moon. To those who (...) think so, from the fact that the splitting of the moon was related by few companions and that it was not recorded in various geographies it is evident that the incident did not happen. It cannot be said that the commentators, who took that the view that the split of the moon were in the period of the Prophet, have similar views in this regard. They have different interpretations in matters such as the realization and the shape of the event. On the other hand, those who claim that the split of the moon is only an idiomatic statement and that the event is only a lunar eclipse, declare that the split of the moon never actually happened. In this study which deals with various interpretations of tafsirs of the splitting of the moon, it is aimed to criticize different opinions on this issue. Document analysis and comparison methods were applied in the article.Summary: The issue of the splitting of the moon has attracted many names from various disciplines, notably the commentators. In the verse of al-Qamar 54/1 mentioning the splitting of the moon has been an important factor for the commentators to evaluate this issue. The ḥadīth narratives regarding the cleavage of the moon are found in many ḥadīth sources, in particular, Ṣahīh al-Bukhārīand Ṣahīh al-Muslim. The rumors about the splitting of the moon, albeit with different forms, are attributed to Anas b. Mālik (d. 93/712), Jubayr b. Muṭ‘īm (d. 59/678-679), ʿAbdallāh b. ʿAbbās (d. 68/687-688), ʿAbdallāh b. ‘Omar (d. 73/692), and ʿAbdallāh b. Masʿūd (d. 32/652-653) One of the rumors about the splitting of the moon, although it is based on ʿAlī b. Abī Ṭālib (d. 40/661)is not found in the authentic ḥadīth sources. In some narrations, it is said that the miracle of the moon's splitting took place upon the request of the polytheists while the others are only mentioned how this miracle happened. On the other hand, it cannot be said that the commentators agree on the split of the moon. The main purpose of this study is to identify these opinions with its basis. Apart from those who do not accept the occurrence of the incident, there are differences of opinion among the commentators who see this event as a miracle of the Prophet Muḥammad. It is possible to classify the disagreements of the commentators in this subject in two headings as the time and manner of occurrence of this incident.Most of the classical commentators, on the basis of narrations, think that the splitting of the moon occurred during the period of Mecca. Among these commentators, al-Wāḥidī (d. 468/1076) and al-Qurṭubī (d. 671/1273), as well as the rumors of this evidence, offer as a proof the verse, "if they see a miracle, they turn away and say that this is a great magic." (al-Qamar 54/2). Some commentators, such as al-Qushayrī (d. 465/1072), accept that this phenomenon has taken place in the past by referring to the opinion of the commentators about the split of the moon. The views of many of the modern-day commentators such as Siddiq Ḥasan Khan (d. 1307/1890), Mawdūdī (d. 1399/1979) and Sābūnī, on this issue, apart from the narrations related to the subject have shaped the general opinion of the commentators. There are differences of opinions among some of the commentators, who accept that the splitting of the moon takes place during the time of the Prophet Muḥammad, as to the reasons and arbitrariness of the incident. According to classical period commentators such as al-Ṭabarī (d. 310/923), al-Samarqandī (d. 373/983), Fakhr al-Dīn al-Rāzī (d. 606/1210), al-Qurṭubī (d. 671/1273), and Shīʿī commentators al-Qummī (d. 329/941), this incident took place upon the Prophet Muḥammad asked for a miracle as evidence for his prophethood by Meccan polytheists. Therefore, these commentators establish a relationship between the splitting of the moon and the prophethood of the prophet Muḥammad. On the other hand, commentators like Sayyid Quṭb (d. 1385/1966) argue that the splitting of the moon cannot be regarded as evidence of the prophethood, citing the fact that the miracles of the Prophet Muḥammad except the Qurʾān were not reported. There is a disagreement about the validity of the narrations related to the events among the commentators, who see the splitting of the moon as a miracle of the Prophet Muḥammad. Ibn Kathīr (d. 774/1373) and Shawkanī (d. 1250/1834) commentators, such as the rumors about this issue as a precise; ibn ʿĀshūr (d. 1879/1973) does not accept the news on this issue as a precise. There are also some commentators who suggest that the splitting the moon will take place in the future. The commentators, who shared this view, especially Rashīd Riḍā (d. 1353/1935) argued that the splitting of the moon did not take place in the past, pointing out that the validity criteria of narrations related to the splitting of the moon, and contradictory issues in the content of the rumors, also most of the people narrated by him/her cannot witness the incident and that it is not possible for people in a certain geography to witness this incident.There are few classical period commentators who suggest that the moon will be split in the future during the apocalypse. The prominent names are al-Ḥasan al-Baṣrī, (d. 110/728), ʿAṭāʾ b. Abī Rabāḥ (d. 114/732) and Abū Bakr al- Aṣamm (d. 200/816). On the other hand, many names such as Rashīd al-Riḍā (d. 1353/1935), al-Marāghī (d. 1364/1945) and al-Shinqīṭī (d. 1394/1974) from the modern period declare that the moon will split during the apocalypse.According to these, in the verses of the al-Qamar 54/1 that apocalyptic scene is mentioned.In the verse, they try to justify the use of the verb meaning of a split in the past tense by introducing some evidence from other verses.According to them, in many verses that speak of apocalyptic scenes, events are expressed in the past tense. There are also commentators who have different evaluations on the way of the occurring event instead of the time concept. Al-Ghazālī (d. 505/1111), Muḥyiddīn Ibn al-ʿArabī (d. 638/1240) and Shāh Walī Allāh al-Dihlawī (d. 1052/1642) do not see the splitting of the moon as a real split mentioned in the verse of the al-Kamer 54/1. According to them, the event is an optical illusion. Muḥammad Asad (d. 1412/1992) connected this illusion to the lunar eclipse. Trying to explain the splitting of the moon by some commentators is one of the commentary differences in this issue. According to Mawdūdī, who did not see this event scientifically impossible, it is possible to reunite a fragmented star with gravity. Without a doubt, Ṭanṭawī al-Jawharī (d. 1940) is one of the names who make the most striking evaluations in this issue. According to him, the miracle of the moon's splitting has many aspects to shed light on scientific studies. Ṭanṭawī al-Jawharī sees the verse as the sign of the moon instead of any other celestial body, as a sign that the moon had long ago broken off from the world. Therefore, Ṭanṭawī al-Jawharī establishes a relationship between the splitting of the month mentioned in the verse and the theories about the separation of the moon in the modern period.One of the arguments about the splitting of the moon is related to the fineness of the language. Some commentators, who draw attention to the expression of the splitting of the moon, which is the expression in the Qurʾān, argue that the purpose of the separation of the moon is the occurrence of truth. According to the advocates of this view, the Arabs use such a statement to express that a work has come to light. According to this, the term "splitting the moon" as means that the Qurʾān expands the darkness in its period. In summary, the commentators make various comments on different grounds such as the narrative expression of the verse al-Qamar 54/1 regarding the splitting of the moon, the narrations about the event, and the language subtleties. (shrink)

It is important for educators to recognise that the various calls to decentre the subject—or self—should not be interpreted as necessarily requiring the removal of the subject altogether. Through the individualism of the Enlightenment the self was centred. This highly individualistic notion of the sovereign self has now been decentred especially through post‐structuralist literature. It is contended here however, that this tendency to decentre the subject has been taken to an extreme at times, especially by some designers of school frameworks (...) and curricula, who have eliminated the subject altogether. Such elimination is argued to contribute to the numbers of youth who are dropping out of school. By adopting an existential perspective and by drawing mainly upon Kierkegaard's subjective truth and Dewey's notion of centeredness, the case is made that for education the subject should not only be included but should actually be centred—at least momentarily. (shrink)

This book spans roughly a century, 1860-1960, of Russian thought on the subject of God, and focuses on ten thinkers who formulated distinctive and extreme views on the subject. The connections and similarities among these highly original thinkers are admirably traced, and give an unexpected unity to the book. Bakunin, the "political anarchist," and Tolstoy, the "cultural anarchist" rejected the State, Church, and God to free men either from oppression by others or from the fear of death and oppression of (...) others. Their critique of religion had a powerful influence on the Russian Marxists. Leontyev and Rozanov, the "religious neo-conservatives" reacted against European humanism and Tolstoy's "tyranny of ethics." Both turned to the Old Testament for inspiration and support. Leontyev discovered there a faith based on the fear of God the Judge. Rozanov found a religion of joy based on the mystery of procreation and God as the loving Father. Reversing Bakunin's "if God exists, then man is a slave" the "religious existentialists," Shestov and Berdyaev, held that "if man is free, then God exists." They attempted to give a religious foundation for human freedom and values by attacking the supremacy of reason and its necessary truths. Gorky and Lunacharsky, the left wing of the Bolshevik faction, replaced God with a future mankind which is to be perfected gradually in history by the combined efforts of men. These "God-builders" were quickly silenced by Lenin. While Plekhanov remained faithful to Marx in treating religion as a historically determined illusion which will simply wither away in the socialist society, Lenin saw it as a sinister tool in the class struggle, and proclaimed total war on religion. The last chapter investigates the policies of the Soviet government toward the churches and sects, and recent interest in religious ideas among Soviet writers. Each of the mentioned thinkers receives a special section. Although some important thinkers, such as Solovyov, Dostoevsky, Fyodorov, do not get full attention, their influence is made clear. The author's style has a lucidity and simplicity which are a mark of complete mastery of subject matter.--T. D. Z. (shrink)

A part of the “return to religion” now evident in European philosophy, this book represents the culmination of the career of a leading phenomenological thinker whose earlier works trace a trajectory from Marx through a genealogy of psychoanalysis that interprets Descartes’s “I think, I am” as “I feel myself thinking, I am.” In this book, Henry does not ask whether Christianity is “true” or “false.” Rather, what is in question here is what Christianity considers as truth, what kind of truth (...) it offers to people, what it endeavors to communicate to them, not as a theoretical and indifferent truth, but as the essential truth that by some mysterious affinity is suitable for them, to the point that it alone is capable of ensuring them salvation. In the process, Henry inevitably argues against the concept of truth that dominates modern thought and determines, in its multiple implications, the world in which we live. Henry argues that Christ undoes “the truth of the world,” that He is an access to the infinity of self-love, to a radical subjectivity that admits no outside, to the immanence of affective life found beyond the despair fatally attached to all objectifying thought. The Kingdom of God accomplishes itself in the here and now through the love of Christ in what Henry calls “the auto-affection of Life.” In this condition, he argues, all problems of lack, ambivalence, and false projection are resolved. (shrink)

Freud (and later commentators) have failed to explain how the origins of psychoanalytical theory began with a positivist investment without recognizing a dual epistemological commitment: simply, Freud engaged positivism because he believed it generally equated with empiricism, which he valued, and he rejected ‘philosophy’, and, more specifically, Kantianism, because of the associated transcendental qualities of its epistemology. But this simple dismissal belies a deep investment in Kant’s formulation of human reason, in which rationality escapes natural cause and thereby bestows humans (...) with cognitive and moral autonomy. Freud also segregated human rationality: he divided the mind between (1) an unconscious grounded in the biological and thus subject to its own laws, and (2) a faculty of autonomous reason, lodged in consciousness and free of natural forces to become the repository of interpretation and free will. Psychoanalysis thus rests upon a basic Kantian construction, whereby reason, through the aid of analytic techniques, provides a detached scrutiny of the natural world, i.e. the unconscious mental domain. Further, sovereign reason becomes the instrument of self-knowing in the pursuit of human perfection. Herein lies the philosophical foundation of psychoanalytic theory, a beguiling paradox in which natural cause and autonomous reason — determinism and freedom — are conjoined despite their apparent logical exclusion. (shrink)

Despite recent neuroscientific research purporting to reveal that free will is an illusion, this paper will argue that agency is an inescapable feature of rationality and thought. My aim will not be to address the methodology or interpretation of such research, which I will only mention in passing. Rather, I will examine a collection of basic concepts which are presupposed by thought, and propose that these concepts are interrelated in ways that makes them both basic and irreducibly complex. The (...) collection includes such concepts as belief, value, meaning, and truth. I will argue that free will belongs to this collection, and as such is also presupposed by thought. This proposal is opposed to a methodological tendency in analytic philosophy, to eliminate aspects of concepts which can’t be given a clear analysis, and to the wish of many empirical psychologists and cognitive scientists to reduce intentional/mental states to neurons and other mindless phenomena which they regard as more fundamental. Instead of offering a direct critique of either of these methodological attitudes, I will try to place the concept of freedom in its proper conceptual context, and make a positive case for its reality. (shrink)

It is important for educators to recognise that the various calls to decentre the subject—or self—should not be interpreted as necessarily requiring the removal of the subject altogether. Through the individualism of the Enlightenment the self was centred. This highly individualistic notion of the sovereign self has now been decentred especially through post‐structuralist literature. It is contended here however, that this tendency to decentre the subject has been taken to an extreme at times, especially by some designers of school frameworks (...) and curricula, who have eliminated the subject altogether. Such elimination is argued to contribute to the numbers of youth who are dropping out of school. By adopting an existential perspective and by drawing mainly upon Kierkegaard's subjective truth and Dewey's notion of centeredness, the case is made that for education the subject should not only be included but should actually be centred—at least momentarily. (shrink)

To this very day some philosophers cannot forgive Lacan and psychoanalysis that it dares to transmit the lack – of total and unquestionable clarity, for example – without relying solely on the universality that in philosophy remains the main player. On the other hand, neither Freud nor Lacan trusted philosophy. Indeed, by overestimating knowledge, philosophers, they argue, strive to cover up the lack in being. Freud situated philosophy in the field of Weltanschauung, namely as a discipline and practice of presenting (...) a picture of the self-contained world that is free from incoherence. Psychoanalysis, on the contrary, by allowing the unconscious to interpret thoughtlessly remains in the position of apensé. Thus instead of trying to account for philosophical error for the benefit of philosophy, psychoanalysis aims to show that a philosophical error – which consists in a paranoiac effect of causally linking being and thought, and making no room for illusion – can only be accounted for by the subject. (shrink)

This is an admirable anthology of the ten chief writers who, in Dr. Kaufmann’s opinion mark the chief stages or variations in the contemporary challenge to the inauthentic existence of academic philosophy. In fact the only professed existentialist is Sartre, who coined the title to indicate the priority of existence over essence and understood it subjectively and absolutely of human freedom. The other live members of this classification repudiate the association with their verbal founder—the dead never had the opportunity. Sartre, (...) who straddles both literature and philosophy, is given the largest representation—with a story illustrating the absurdity of a prisoner’s choice, a psychological analysis from his technical philosophy on self-deception, complemented by an abridged essay, ‘Portrait of an Antisemite’ and his apologetic lecture, ‘Existentialism is a Humanism’. While Sartre is a virtuoso of keen insight and Cartesian clarity, his exercises in literature and philosophy provoke the criticism that he fails to fulfil either and thus has a lived ambiguity of his own: the intellectual play of abstract ideas in a novel or drama inhibit the development of character situation, while the dramatic interaction of characters may sacrifice the rigorous pursuit of the merely intellectual problem. The present lull in existentialist philosophy may be a concession to this fretful complaint, the French exponents in particular forsaking the technical treatise for the professional theatre. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Ethics of HistoryBrian FayDavid Carr, Thomas R. Flynn, and Rudolf A. Makkreel, editors. The Ethics of History. Northwestern University Topics in Historical Philosophy. Evanston, Ill.: Northwestern University Press, 2004. Pp xvi + 263. Paper, $29.95.It is rare that every essay in a collection is well worth reading, but that is the case in this illuminating and stimulating volume. Perhaps this should not be surprising, since its contributors (...) comprise a virtual "Who's Who" of philosophers and intellectual historians who have contributed significantly to the philosophical enterprise in general and to the philosophy of history in particular. Adding to the volume is the fact that the contributors come from varied perspectives: from the so-called 'analytic' tradition (Arthur Danto, Joseph Margolis) to the so-called 'continental' tradition (Jean-François Lyotard, John D. Caputo, Joan Copjec), [End Page 677] and to all manner of approaches along this continuum and that arguably even subvert it (Frank Ankersmit, Edith Wyschogrod, Allan Megill, Jörn Rüsen, Rudolf Makkreel, Thomas R. Flynn, and David Carr). The editors of the volume not only should be congratulated for putting it together (and for sponsoring the conference at Emory University on which it is based), but also for contributing important essays to it.So what are the issues addressed under the rubric of the "ethics of history"? One way to answer this is to focus on the questions the authors ask as they explore this topic:• What is the relationship of moral and political values to historical truth? (Ankersmit);• What is the relation between the ethical posture of historians and their role as narrators? (Wyschogrod);• How should the epistemology of historical investigation connect to the ethics of historical investigation (and what are these ethics)? (Megill);• "What basis in morality can we identify that makes truth a duty?" (Danto, 81);• "How are we to console the dead who are long since dead? How are we to repair their irreparable loss?" (Caputo, 93);• How can the lives or stories of the past still morally concern or speak to us today? (Copjec, who asks this question regarding Antigone);• How to represent transcendent moments—theophanic occasions of incarnational grace and saintly joy? That is, "Where can an absolute visit be situated or placed, in relation to a biography?" (Lyotard, 157, who asks this question by examining Augustine's Confessions);• Does the fact of our historicity (that, as selves, we are artifacts of history and understand ourselves as such) place peculiar ethical demands on us both as historical agents and as historical interpreters? (Margolis);• What are the responsibilities of historians to their profession? To their audience? To their subjects, those who have lived in the past? (Rüsen);• Is there any "inner connectedness" between the ethical and the historical that "justifies the idea of an ethics of history"? More specifically, what are the ethical conditions that make a hermeneutical history possible? (Makkreel, 214);• Can one be a "committed" historian? (Flynn);• Do the ways history resembles fiction (both make use of narrative and the imagination) render the moral obligation to tell the truth irrelevant for, or unrealizable by, history?. (Carr)In addressing these questions, the authors explore a number of central concepts that appear over and over in the volume, including truth, historicity, autonomy, objectivity, subjectivity, commitment, suffering, remembrance, and responsibility.Two general questions, posed in different ways by different authors, hold the center of the collection. First, given that objectivity conceived in terms of a simple correspondence in which historians empty themselves in order to record the past as it was is no longer intellectually tenable, what are the norms and values of history as a discipline that help distinguish it from propaganda? Second, given that history is about those who are dead, can historians be said to have obligations or responsibilities to them? For instance, should historians offer moral judgments about the evils that people have perpetrated on each other as a way of respecting those who have suffered? Is this a way historians can act responsibly toward their subjects? If not (and many in fact think not), then how else can we honor their suffering?Answers to these questions sometimes reveal deep disagreement (Flynn... (shrink)