This article seeks a better understanding of how Rudolf Steiner envisioned his reform pedagogy as a site of spiritual learning (for example through art, seasonal festivals, ritual drama, etc.), but also as a specific site intended to resist the encroaching influence of capitalism, materialism, and corporatism spreading in Germany following the First World War. Steiner’s ideas about education did not emerge in a vacuum. He was inspired by and connected with other forms of communist, socialist, and Lebensreform movements in (...) his time. Yet Steiner more actively embraced and incorporated esotericism into his pedagogical project. How did his approach differ from the other anti-capitalist and anti-materialist-inspired schools that were spreading, and what role did esotericism play in terms of developing Waldorf students? This article explores these questions and contributes to a recontextualization of both Steiner and esotericism taking place in the academy. (shrink)

Despite the great dramatists of the preceding century—Corneille, Racine and Molière—the 18th century is often considered the great age of French theatre. Obviously “the great age” should not be understood in the usual literary history sense as the “classical age”, for the structures and the content of French dramas originating in the 18th century did not have normative effects on the dramatic production of the centuries that followed. Nevertheless, we are doubly right in using the term “the great (...) age” for French theatre of this period. On the one hand, from the viewpoint of the history of theatre, because certain dramatic techniques originating toward the middle of the 18th century have, down to our own times, influenced theatre so decisively and have become so natural that they form true hermeneutical barriers to the interpretation of plays from earlier epochs. And secondly from the viewpoint of social history, for theatre attendance at that time was indissolubly linked to the everyday life—or at least to holidays and festive occasions—of various social levels in France. As a result we can no doubt consider the theatre as the decisive center of critical knowledge, the gradual transmission of which is at the very heart of the process of the Enlightenment. (shrink)

Philosophy plays an integral role in French society, affecting its art, drama, politics, and culture. In this accessible, chronological survey, Matthews offers some explanations for the enduring popularity of the subject and traces the developments that French philosophy has taken in the twentieth century, from its roots in the thought of Descartes to key figures such as Bergson, Sartre, Marcel, Merleau-Ponty, Foucault, Derrida, and the recent French Feminists.

While most studies of reference focus on the relationship of the individual proposition to the world, this book looks at the problem of reference through the holistic lens of the practices and assumptions that inform the construction of literary worlds. Beginning with Balzac’s arguments for establishing his version of realism, Realism and the Drama of Reference then moves to Flaubert’s challenge to those realist norms and assumptions in its depiction of setting, narration, dialogue, and character. Henry James rejects the (...) practices of both French writers, for the fictional worlds he wants to create cannot appear inside their assumptions. Thus, each of these writers takes on the global question of worldhood, of how language generates a world and not just the task of depicting the details of contemporary life that we already know through other languages. (shrink)

This article makes the controversial argument that Bourdieu’s theory of practice offers both a model of transformation and social reproduction. However, it also claims that his account of cultural production is marred by two blind-spots. First, it contends that Bourdieu has neglected key forms of material support, notably, that offered, post-war, from the ‘left hand of the state’. The subsequent New Wave of 1950s and 1960s British drama had authors who possessed neither economic capital nor certified cultural capital. Secondly, (...) it interrogates Bourdieu’s conclusion that popular culture can never be source of canonized art. Adopting the view that Bourdieu focused too exclusively on legitimate culture, it seeks to contrast his theories on this point with the approach developed by Raymond Williams. The last section sketches a Bourdieusian analysis of Bourdieu. It reads his writings in the light of the different origins of the British and French fields of cultural studies. (shrink)

This collection of essays, on French and francophone prose, poetry, drama, visual art, cinema and thought, assesses guilt and shame in relation to structures of ...

If the morphology of baseball is similar to that of the fairy tale, it is obviously not because baseball is a form of narrative art. As my title suggests, insofar as baseball resembles literature at all in the way it manifests itself, it is clearly much closer to drama. Baseball takes place within a fixed, carefully delimited space that may be improvised but is reserved specifically for the purpose wherever the game is institutionalized. It is an ensemble performance carried (...) out by specially trained "players" in front of an audience for whom the occasion is a festive event that occurs as a suspension of ordinary life. It possesses a plot that develops in a limited period of time from initial situation through complication to denouement and has a relatively large number of dramatis personae who are sent into the playing area at a given moment in order to perform specific roles. Dennis Porter, associate professor of French and comparative literature at the University of Massachusetts, Amherst, has published widely on nineteenth- and twentieth-century French and English novels. He is currently an NEH fellow and is working on two books: one on plot and ideology in the novel, the other, The Alibi of Crime, on detective fiction. (shrink)

The world of Voltaire -- A life of wit and drama -- The wandering exile -- Voltaire's drama and poetry -- Interpreting history, understanding science -- The crusading philosopher -- The impact of Voltaire's work.

From 1789 onwards there sprang up a fervent revolutionary cult of Rousseau, and at each stage in the subsequent unfolding of the drama of the Revolution historians have seen Rousseau's influence at work. Mrs McDonald seeks in this study to trace the development of the cult and to define the nature of the influence by means of a detailed survey of the appeals made to the authority of Rousseau in books, pamphlets and accounts of speeches put forth by revolutionary (...) and counter-revolutionary writers between 1762 and 1791, and she reaches conclusions more complex than those which have been commonly accepted. She is able to show that most of the writers on the revolutionary side who invoked Rousseau's name did so in order to put forward their own views and used arguments that were often in direct contradiction with those which he had formulated; the Social Contract was not widely read in these years, and those revolutionaries who did actually study it were often critical of what they found there. By contrast, the most careful analysis of Rousseau's political theory is to be found in the pamphlets written by aristocratic critics of the Revolution in protest against the misuse to which his name had been put. (shrink)

This article presents a decades-long conflict in the upper echelons of postwar French academic philosophy between the self-identifying “Cartesian” Ferdinand Alquié, professor at the Sorbonne, and the “Spinozist” Martial Gueroult of the Collège de France. Tracking the development of this rivalry serves to illuminate the historical drama that occurred in France as phenomenology was integrated into the Cartesian tradition and resisted by a commitment to rationalism grounded in a specifically French understanding of Spinozism. Over the course of (...) Alquié and Gueroult's polemic, however, we nevertheless witness a shared concern to preserve philosophy from the reductive tendencies of historicism and its possible assimilation to theology. What is more, the ultimate impasse of this conflict continues to inform the most innovative projects in French thought in the wake of structuralism and the “theological turn” of French phenomenology. (shrink)

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

Since the Renaissance, dramatic theory has been strongly influenced, sometimes even dominated by Aristotle’s Poetics. Aristotle’s concept of tragedy has been perceived as both a descriptive and a normative concept: a description of a practice as it should be continued. This biased reading of ancient theory is not exceptional, but in the case of Aristotle’s Poetics, a particular question can be raised. Aristotle has written about tragedy, at a moment that tragedy had no meaningful political or civic function anymore. As (...) political theory—e.g. as developed in the Politics and the Art of Rhetoric—should contain the risks of transgression in political practice, so poetic theory can contain the risks of the representation of transgressions in poetic practices such as the performance of tragedy. Apart from an account on Aristotle’s Poetics as a integral part of his ethical and political theory, this article argues the (mis)readings of Aristotelian dramatic theory since the Renaissance, and especially in 17th century France are not coincidental. Aristotle’s theory itself fits neatly into a political-theoretical framework or, if one puts it more brutally, an ideology. The particular theatricality of French absolutism took clearly its advantage from this ideological (mis)readings of Aristotle. (shrink)

Although determination, perseverance, and high expectations appear to be laudable characteristics within our society, ambition seems to carry a hint of selfishness or self-promotion (perhaps especially at the cost of others). One can speak of the goals or aims of a team or group, but it seems more characteristic to ascribe ambition to a single individual. Etymologi-cally, ambition derives from the Latin word ambire, which can mean to strive or go around (ambo + ire), but the term also characterizes one (...) who canvasses for votes. It may also be telling that the Latin noun for canvassing (ambitio) is only two letters removed for the Latin term for election fraud (ambitus). It is thus welcome that in his Socrates and Alcibiades Ariel Helfer seeks to examine the notion of political ambition through a study of Plato’s dialogues concerning that most am-bitious of Athenians, Alcibiades, an Athenian general who seems to have epitomized both the German word Wunderkind and the French phrase enfant terrible in his short life. It was one that included leading, betraying, and then leading again the Athenian army and navy during the Peloponnesian Wars. Helfer examines the three dialogues of Plato that include Alcibiades as an interlocutor: First Alcibiades, Second Alcibiades, and the Symposium. He does so (in his words) “to gain a fuller understanding of the constellation of desires that gives political ambition its force, including the desire to be devoted to a noble cause, and to determine whether, in Plato’s understanding, these desires necessarily find their fullest expression in political life” (p. 7). (shrink)

Athens in Paris explores the ways in which the writings of the ancient Greeks played a decisive part in shaping the intellectual projects of structuralism and post-structuralism - arguably the most significant currents of thought of the post-war era. Miriam Leonard argues that thinkers in post-war France turned to the example of Athenian democracy in their debates over the role of political subjectivity and ethical choice in the life of the modern citizen. The authors she investigates, who include Lacan, Derrida, (...) Foucault, and Vernant, have had an incalculable influence on the direction of classical studies over the last thirty years, but classicists have yet to give due attention to the crucial role of the ancient world in the development of their philosophy. (shrink)

This study seeks to explain why Schiller's later plays, written after the reception of Kant's aesthetics and in response to the French revolution, imply a concept of the public and the public sphere that is closely akin to that of classical French tragedy. The author attributes the aesthetic and political character of the dramas to their implicit relationship with the theatrical public. This historical perspective allows the development of a model of theatricality that was characteristic of classical (...) class='Hi'>French drama well before the era of Schiller and bourgeois tragedy. (shrink)

François Laruelle emerged from the hallowed generation of French postwar philosophers that included luminaries such as Jacques Derrida, Gilles Deleuze, Luce Irigaray, and Jean Baudrillard, yet his thinking differs radically from that of his better-known contemporaries. In Laruelle and Art, Jonathan Fardy provides the first academic monograph dedicated solely to Laruelle's unique contribution to aesthetic theory and specifically the 'non-philosophical' project he terms 'non-aesthetics'. This undertaking allows Laruelle to think about art outside the boundaries of standard philosophy, an approach (...) that Fardy explicates through a series of case studies. By analysing the art of figures such as Julia Margaret Cameron, Anish Kapoor, Dan Flavin, and James Turrell as well as the drama of Michael Frayn, Fardy's new book enables new and experienced readers of Laruelle to understand how the philosopher's thinking can open up new vistas of art and criticism. (shrink)

In the article the mutual influence of folk theatre, Austrian Singspiel and Viennese opera in the genres of comic opera, operetta and drama performances involving music, singing and dancing is studied. The powerful influence of Italian and French opera schools, as well as the Italian Commedia Dell'arte led to the flourishing of music and theatre art in Austria: opera buffa (A. Salieri, Ch. W. Glück, J. Haydn, W. A. Mozart), fairy-tale comedies of F. Raimund and satirical dramas of (...) Nestroy. Their game-like nature finds its expression in musical turns, satirical songs and duets. Viennese dance operetta has absorbed the traditions of Viennese popular comedy and comic opera. Recitative, vocal music and folk dances were the key elements of operettas (J. Strauss junior, F. von Suppe, K. Millöcker, K. Zeller, F. Lehar). The music and the game in Austria are the results of theatralization of life: the life turns into something like art. Austrian culture, which is addressed directly to the human being and short of complex philosophical musings and speculative schemes, has genetically built-in playful, musical and theatrical basis, as well as German. Strongly-pronounced playful and musical source as an important national component of the culture, its code, determine its highly fictitious character (staginess) and integrity (both genre and intermediately), thereby maintain its special status in the European culture. (shrink)

This book is the first major study of the theme of misanthropy, its history, arguments both for and against it, and its significance for us today. Misanthropy is not strictly a philosophy. It is an inconsistent thought, and so has often been mocked. But from Timon of Athens to Motörhead it has had a very long life, vast historical purchase and is seemingly indomitable and unignorable. Human beings have always nursed a profound distrust of who and what they are. This (...) book does not seek to rationalize that distrust, but asks how far misanthropy might have a reason on its side, if a confused reason. There are obvious arguments against misanthropy. It is often born of a hatred of physical being. It can be historically explained. It particularly appears in undemocratic cultures. But what of the misanthropy of terminally defeated and disempowered peoples? Or born of progressivisms? Or the misanthropy that quarrels with specious or easy positivities (from Pelagius to Leibniz to the corporate cheer of contemporary `total capital`)? From the Greek Cynics to Roman satire, St Augustine to Jacobean drama, the misanthropy of the French Ancien Regime to Swift, Smollett and Johnson, Hobbes, Schopenhauer and Rousseau, from the Irish and American misanthropic traditions to modern women`s misanthropy, the book explores such questions. It ends with a debate about contemporary culture that ranges from the `dark radicalisms`, queer misanthropy, posthumanism and eco-misanthropy to Houellebecq, punk rock and gangsta rap. (shrink)

Are works of art imitations? If so, what exactly do they imitate? Should an artist remind his audience that what it is perceiving is in fact artifice, or should he try above all to persuade it to accept the illusion as reality? Questions such as these, which have dominated aesthetic theory since the Greeks, were debated with extraordinary vigour and ingenuity in eighteenth-century France. In this book Dr Hobson analyses these debates, focusing in turn on painting, the novel, drama, (...) poetry and music. In each case she relates theory to contemporary works of art by Watteau, Chardin, Diderot, Beaumarchais, Gluck and many others. She shows that disputes within the theory of each art centred upon the nature of the perceiver's attention. Dr Hobson provides a method of mapping the changes in artistic style which took place as the century advanced. In discussing such conceptual transformations Dr Hobson opens an important perspective for the study of Romanticism and Realism. (shrink)

The machine as a social movement of today's “precariat”—those whose labor and lives are precarious. In this “concise philosophy of the machine,” Gerald Raunig provides a historical and critical backdrop to a concept proposed forty years ago by the French philosophers Félix Guattari and Gilles Deleuze: the machine, not as a technical device and apparatus, but as a social composition and concatenation. This conception of the machine as an arrangement of technical, bodily, intellectual, and social components subverts the opposition (...) between man and machine, organism and mechanism, individual and community. Drawing from an unusual range of films, literature, and performance—from the role of bicycles in Flann O'Brien's fiction to Vittorio de Sica's Neorealist film The Bicycle Thieves, and from Karl Marx's “Fragment on Machines” to the deus ex machina of Greek drama—Raunig arrives at an enhanced conception of the machine as a social movement, finding its most apt and concrete manifestation in the Euromayday movement, which since 2001 has become a transnational activist and discursive practice focused upon the precarious nature of labor and lives. (shrink)

It is no accident that the book Benjamin wrote as a reader of himself, A Berlin Childhood, also begins with the description of a park, that of the Tiergarten zoo. However great the difference may seem between this collection of short prose pieces and Proust's three-thousand-page novel when viewed from the outside, Benjamin's book illustrates [his] fascination... A sentence in his book points to the central experience of Proust's work: that almost everything childhood was can be withheld from a person (...) for years, suddenly to be offered him anew as if by chance. "Like a mother who holds the new-born infant to her breast without waking it, life proceeds for a long time with the still tender memory of childhood" . Also reminiscent of Proust is the description of the mother who, on evenings when guests are in the house, comes in to see her child only fleetingly to say good night; so, too, is that of the boy attentively listening to the noises which penetrate into his room from the courtyard below and thus from a foreign world. The studied elevation of the newly invented telephone to the level of a mythical object is anticipated in Proust as well. And the relationship to and influence of the earlier work can be demonstrated even in the use of metaphor. But little is gained by this approach, and it would not be easy to refute the objection that such similarities lie in the authors' common raw material: childhood, the fin de siècle epoch, and the attempt to bring them both into the present. Peter Szondi was professor of comparative literature at the Free University of Berlin at the time of his death in 1971. His many influential works include Theorie des modernen Dramas , Versuch über das Tragische , and a five-volume collection of his lectures. Harvey Mendelsohn is the principle translator of the fourteen-volume Dictionary of Scientific Biography; he is currently working on translations of a French commentary on Heraclitus and a selection of Szondi's essays to be published by Yale University Press. (shrink)

With the flowering of postcolonialism, we return to Frantz Fanon, a leading theorist of the struggle against colonialism. In this thorough reinterpretation of Fanon's texts, Ato Sekyi-Otu ensures that we return to him fully aware of the unsuspected formal complexity and substantive richness of his work. A Caribbean psychiatrist trained in France after World War II and an eloquent observer of the effects of French colonialism on its subjects from Algeria to Indochina, Fanon was a controversial figure--advocating national liberation (...) and resistance to colonial power in his bestsellers, Black Skin, White Masks and The Wretched of the Earth. But the controversies attending his life--and death, which some ascribed to the CIA--are small in comparison to those surrounding his work. Where admirers and detractors alike have seen his ideas as an incoherent mixture of Existentialism, Marxism, and psychoanalysis, Sekyi-Otu restores order to Fanon's oeuvre by reading it as one dramatic dialectical narrative. Fanon's Dialectic of Experience invites us to see Fanon as a dramatist enacting a movement of experience--the drama of social agents in the colonial context and its aftermath--in a manner idiosyncratically patterned on the narrative structure of Hegel's Phenomenology of Spirit. By recognizing the centrality of experience to Fanon's work, Sekyi-Otu allows us to comprehend this much misunderstood figure within the tradition of political philosophy from Aristotle to Arendt. Reviews of this book: "The goal of this often brilliant and always engaging book is to 'read Fanon's texts as though they formed one dramatic dialectical narrative'; the principal subject of this dramatic narrative, according to Sekyi-Otu, is 'political experience'. It is his deployment of a dialectical analysis of Fanon's 'dramatic personae' that permits Sekyi-Otu's fresh and insightful readings to take place." DD--Anthony C. Alessandrini, Minnesota Review "Ato Sekyi-Otu departs from the postmodernist paradigm and ushers in an alternative hermeneutic that primarily considers Fanon's texts as forming 'one dramatic dialectical narrative,' that is a narrative whose complexity is correlative of the intricate configurations of African social experience during the post-independent era...[His] book is an invaluable contribution that offers broader scope for a new appreciation of Fanon's political thinking." DD--Marc Mve Bekale, Revue AFRAM Review [UK] "[I]mportant...The author succeeds in...revealing the complexity and nuanced character of Fanon's thought." DD--Choice "Those who would dismiss or exult Fanon as the high priest of revolutionary violence will be chastened by this patient and completely convincing exposition of his work. Sekyi-Otu produces a reflexive, 'Gramscian' Fanon who, working as a 'detective of the politics of truth,' has produced insights that need to be taken over into the core of democratic political thought." DD--Paul Gilroy, University of London. (shrink)

‘I should like to show here that the Ego is neither formally or materially in consciousness: it is outside, in the world.’ _Jean-Paul Sartre _ _The Transcendence of the Ego_ is one of Jean-Paul Sartre's earliest philosophical publications and essential for understanding the trajectory of his work as a whole. When it first appeared in France in 1937 Sartre was still largely unknown, working as a school teacher in a provincial French town. Attacking prevailing philosophical theories head on, Sartre (...) offers a brilliant and radical account of the self as a product of consciousness, situated in the world. He introduces many of the themes central to his major work, Being and Nothingness: the nature of consciousness, the problem of self-knowledge, other minds, and anguish. This translation includes a thorough and illuminating introduction by Sarah Richmond, placing Sartre's essay in its philosophical and historical context. _Jean-Paul Sartre_. The foremost French thinker and writer of the early post-war years. His books, which include _Being and Nothingness, Nausea, The Age of Reason _and _No Exit_ have exerted enormous influence in philosophy, literature, politics and drama. __. (shrink)

Ambiguity is not the polysemy most words display as dictionary entries but results from the context's blocking of the reader's choice among competing meanings, as when, to use an example from Derrida, a French context hinders the reader from deciding whether plus de means "lack" or "excess" .1 In this case, the undecidability is due entirely to the fact that the reader is playing a score, the syntax, that will not let him choose. This must be because the score (...) is badly written; yet it is precisely this sort of willful neglect that critics have labeled poetic license, thereby underlining its literary nature. Undecidability has become a central feature in Derrida's analyses of literariness, and it is also the main underpinning of his creative writing.2 Better still, his own critical discourse has put undecidability to use, not a rare case of metalanguage imitating the very devices of the language it purports to analyze. My example are therefore drawn from Derrida on the assumption that his conscious practice of écriture, backed up by a sophisticated theory, will be particularly illuminating. For my own analysis of these phenomena, I shall be using a special word that Derrida has adopted and adapted from the terminology of ancient rhetoric. He proposes it in his commentary on this sentence of Mallarmé's: "La scène n'illustre que l'idée, pas une action effective, dans une hymen . . . entre le désir et l'accomplissement, la perpétration et son souvenir."3 Our critic points out that the grammar prevents the reader from choosing between hymen as "marriage," a symbolic union or fusion, and as "vaginal membrane," the barrier is broken through if desire is to reach what it desires. Undecidability is the effective mechanism of pantomime as an art form since from mimicry alone, without words, the spectator cannot tell whether a dreamed, or a remembered, or a present act is being set forth. This, in turn, Derrida shows to be fundamental to Mallarmé's concept of poetry. It is simply a pun or, as Derrida prefers to call it, a "syllepsis,"4 the trope that consists in understanding the same word in two different ways at the same time, one meaning being literal or primary, the other figurative.5 The second meaning is not just different from and incompatible with the first: it is tied to the first as its polar opposite or the way the reverse of a coin is bound to its obverse—the hymen as unbroken membrane is also metaphorical in both its meanings is irrelevant to its undecidability. What makes it undecidable is not that it is an image but that it embodies a structure, that is, the syllepsis. · 1. See Jacques Derrida's La Dissémination , p. 307.· 2. Because Derrida is a philosopher by trade, one would expect his undecidability to reflect the very precise logical and mathematical concepts of that discipline - which is to say, the limitations inherent in the axiomatic method. Kristeva, for example, tries to do this in her Le Texts du roman: Approche sèmiologique d'une structure discursive transformationnelle , pp. 76-78. So far as I can make out, however , Derrida's critical theory and reading practice do not pack more into the word "undecidable" than does the definition I offer in this paper.· 3. Stephane Mallarmé, Mimique, Oeuvres complètes , p. 310: "the scene [a drama, or rather a pantomime] bodies forth only an idea, not an action: it is like a hymen between desire and its realization, or between an act committed and the memory of it"; here and elsewhere, my translation unless otherwise cited. Derrida's commentary, "La Double Séance," has been rpt. in La Dissémination, pp. 199-317; see esp. pp. 240 ff.· 4. See La Dissémination, p. 249.· 5. This definition has prevailed ever since Dumarsais' treatise, Des Tropes . That syllepsis must be distinguished from the so-called grammatical syllepsis or the zeugma is apparent in Heinrich Lausberg's Handbuch der literarischen Rhetorik , pars. 702-7; on the acceptation chosen by Derrida, see pars. 7-8. Michael Riffaterre, Blanche W. Knopf Professor of French Literature and chairman of the department of French and Romance literatures at Columbia University, is the editor of Romantic Review. He is the author of Semiotics of Poetry, La Production du Texte, Typology of Intertextuality and A Grammar of Descriptive Poetry. "Syllepsis" developed out of seminars he led at the Irvine School of Criticism and Theory and at Johns Hopkins University. (shrink)

‘I should like to show here that the Ego is neither formally or materially in consciousness: it is outside, in the world.’ _Jean-Paul Sartre _ _The Transcendence of the Ego_ is one of Jean-Paul Sartre's earliest philosophical publications and essential for understanding the trajectory of his work as a whole. When it first appeared in France in 1937 Sartre was still largely unknown, working as a school teacher in a provincial French town. Attacking prevailing philosophical theories head on, Sartre (...) offers a brilliant and radical account of the self as a product of consciousness, situated in the world. He introduces many of the themes central to his major work, Being and Nothingness: the nature of consciousness, the problem of self-knowledge, other minds, and anguish. This translation includes a thorough and illuminating introduction by Sarah Richmond, placing Sartre's essay in its philosophical and historical context. _Jean-Paul Sartre_. The foremost French thinker and writer of the early post-war years. His books, which include _Being and Nothingness, Nausea, The Age of Reason _and _No Exit_ have exerted enormous influence in philosophy, literature, politics and drama. __. (shrink)

Summary A total of 1068 secondary school pupils completed a questionnaire concerned with enjoyment of school, enjoyment of subjects and what they attributed academic success to. Gender differences were shown in the overall enjoyment of school (girls expressing greater enjoyment). Girls also reported liking friends, teachers, outings and lessons more than boys, while boys reported liking sports and school clubs more. Enjoyment of school subjects reflected traditional sex stereotyping: girls reported more liking than did boys for English, French, German, (...) history, drama, music and home economics while boys reported more liking for science. craft and design technology, physical education and information technology. Some gender differences were shown in rating factors contributing to academic success (girls rating hard work and teachers? liking for you as more important than boys, and boys rating cleverness, talent and luck as more important than girls) but attributions with respect to academic success varied more with age than with gender. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 115-132 [Access article in PDF] Schiller's Theory of Landscape Depiction Jason Gaiger This paper offers a critical discussion of the theory of landscape depiction which Friedrich Schiller developed in an important but neglected article on the work of Friedrich Matthisson, published in 1794. 1 The question of the value and status of landscape painting and poetry was far from settled at (...) the end of the eighteenth century, and Schiller's essay should be seen as making an important contribution to an ongoing debate. 2 The second half of the eighteenth century is marked by a profound ambivalence towards the natural world. On the one hand there is a remarkable "rediscovery" of nature, evidenced in such diverse but related phenomena as the vogue for English gardens and the appreciation of wild and "untamed places," such as the Alps and the Herz mountains. It is also the age of "sentiment," embracing a heightened sensitivity to all aspects of the physical world. And yet when we turn to the visual arts, we find landscape painting ranked far below history painting and portraiture. Precedence is given to the representation of human actions and emotions, and the depiction of the human figure remains the highest goal of ambitious art.The modern hierarchy of the genres was first established on a firm theoretical and practical basis with the founding of the French Royal Academy in the seventeenth century. The painter of living animals is ranked higher than the [End Page 115] painter of inanimate nature who depicts "choses mortes et sans mouvement." 3 The painter of human subjects, who imitates "the most perfect work of God," stands higher still. The highest achievement to which the artist can aspire, however, is history painting, the depiction of groups of figures in themes derived from biblical and mythical sources. To achieve this, the artist cannot depict what he sees but must employ both knowledge and imagination. The fundamental opposition here is between painting as a merely imitative or mechanical art, which is addressed to the eye alone, and painting as a work of "invention" or "imagination," which is addressed to the mind. Only the latter constitutes a properly liberal art, entitling the painter to stand alongside the poet as "un auteur ingénieux et savant" over and above the mere artisan or skilled laborer.The great popularity enjoyed by landscape painting in the seventeenth and eighteenth centuries was not met by any comparable elevation in its status as a fine art. Addressing students of the Royal Academy in London in 1770, Joshua Reynolds could continue to dismiss landscape and still-life as the "meaner walks of painting" which require only "mechanical" expertise. 4 For Reynolds the status of painting as a fine art is established through its treatment of the great subjects of history painting, that is, the depiction of human passions and the intellect. Only in tackling such themes does the artist succeed in addressing the imagination, which Reynolds describes as the "great end of art." 5 Although of comparatively recent origin, the genre of "landscape poetry" remained equally problematic and could not easily be reconciled with classicist ideals. New categories seemed to be required to comprehend the work of poets such as Albrecht von Haller and James Thomson, in which the varied and ever-changing aspects of the natural landscape were made the central protagonists of the poetic drama. While traditional forms such as the bucolic, the Arcadian, and the pastoral allowed the depiction of rural existence, the new "descriptive poetry" sought to celebrate the life of nature independently of man's intervening presence: it is nature itself rather than man's relation to nature which is made the poet's primary concern.Schiller's review of the third, expanded edition of Matthisson's poetry appeared in two parts in the Jenaer Allgemeine Literatur-Zeitung, 11-12 September 1794. While the second half of the review is given over to a detailed discussion of Matthisson's poetry, the first part is reserved for an extended theoretical discussion in which Schiller... (shrink)

Stefan Jonsson uses three monumental works of art to build a provocative history of popular revolt: Jacques-Louis David's _The Tennis Court Oath_ (1791), James Ensor's _Christ's Entry into Brussels in 1889_ (1888), and Alfredo Jaar's _They Loved It So Much, the Revolution_ (1989). Addressing, respectively, the French Revolution of 1789, Belgium's proletarian messianism in the 1880s, and the worldwide rebellions and revolutions of 1968, these canonical images not only depict an alternative view of history but offer a new understanding (...) of the relationship between art and politics and the revolutionary nature of true democracy. Drawing on examples from literature, politics, philosophy, and other works of art, Jonsson carefully constructs his portrait, revealing surprising parallels between the political representation of "the people" in government and their aesthetic representation in painting. Both essentially "frame" the people, Jonsson argues, defining them as elites or masses, responsible citizens or angry mobs. Yet in the aesthetic fantasies of David, Ensor, and Jaar, Jonsson finds a different understanding of democracy-one in which human collectives break the frame and enter the picture. Connecting the achievements and failures of past revolutions to current political issues, Jonsson then situates our present moment in a long historical drama of popular unrest, making his book both a cultural history and a contemporary discussion about the fate of democracy in our globalized world. (shrink)

Bioethics in a Liberal Societ By Max Charlesworth, Cambridge University Press, 1993. Pp. 172. ISBN 0?521?44952?9. £9.95 pbk. The Logical Universe: The Real Universe By Noel Curran Avebury, 1994. Pp. 158. ISBN 1?85628?863?3. £32.50. Beyond Postmodern Politics: Lyotard, Rorty, Foucault By Honi Fern Haber Routledge, 1994. Pp.viii + 160. ISBN 0?415?90823?X. $15.95. Baudrillard's Bestiary: Baudrillard and Culture By Mike Gane Routledge, 1991, Pp. 184. ISBN 0?415?06307?8. £10.99 pbk. Truth, Fiction and Literature: A Philosophical Perspective By Peter Lamarque and Stein Haugom (...) Olsen Clarendon Press, 1994. Pp. 456. ISBN 0?19?824082?1. £45.00. Milton and the Drama of History: Historical Vision, Iconoclasm, and the Literary Imagination By David Loewenstein Cambridge University Press, 1990. Pp. x + 197. ISBN 0?521?37253?4. £25.00. Philosophy and Knowledge: A Commentary on Plato's Theaetetus Ronald M. Polansky Associated University Presses, 1992. Pp. 260. ISBN 0?8387?5215?2. £29.95. Heidegger and French Philosophy: Humanism, Antihumanism and Being By Tom Rockmore Routledge, 1995. Pp. xx + 250. ISBN 0?415?11181?1. £14.99 pbk. Living Poetically: Kierkegaard's Existential Aesthetics By Sylvia Walsh The Pennsylvania State University Press, 1994. Pp. 294. ISBN 0?271?01328?1. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 64.3 (2003) 489-510 [Access article in PDF] The Analysis of Culture Revisited:Pure Texts, Applied Texts, Literary Historicisms, Cultural Histories Warren Boutcher School of English and Drama, Queen Mary, University of London Theory What is the relationship between study of canonical texts and broader social and cultural history? This question lies behind the contemporary academic issue of historicism and the public "culture wars" (...) that broke out in the late 1980s, but it was asked by Raymond Williams in the late 1950s and by German and French intellectuals of the 1930s. For the purposes of the present argument I shall distinguish between three broad phases in the responses of those who have taken the inquiry up most actively. Each phase began with what were perceived as crises or turning-points in the humanities corresponding to watersheds in wider history. The first and most profound began after the global crisis of 1929-33 and continued through the global wars that followed. A second began in the mid-1950s after McCarthyism, the consolidation of the Cold War and the Soviet invasion of Hungary. A third phase began in the mid-1970s, after the events of 1968 brought on the extended period of social unrest which found one important epicenter in the universities themselves and which broke out again in the more civilized form of the culture wars already mentioned.Most discussions of historicism do not engage directly with the practice of history. The second half of the paper will therefore ask what the theoretical account offered in the first half means for historical research that starts from past texts, and will include as one of its practical examples a case-study in the modern intellectual history offered in outline below. [End Page 489] Literary Histories of Ideas After the First World War an intellectual revolt took place against the isolation of aesthetic experience in the European tradition. It was led in England and America by teachers who wanted to establish that the general critical intelligence acquired in English literary studies could be applied in extra-literary fields from anthropology to social psychology. In England, English literature as a single discipline was to be the "liaison field of study"; in America it fell to pre-professional literary education in general. 1 The common project was to use refined literary experience of texts as the base from which to conduct value-laden, historically informed analysis of the contemporary problems of interwar European and American society, of western culture and civilization. 2 As consolidated in English intellectual culture between the pre-war and immediate post-war period this has been dubbed the moment of Scrutiny, the influential literary periodical headed by F. R. Leavis. In American intellectual culture it might well be dubbed the moment of Partisan Review, an equally influential periodical whose leading literary critic was Lionel Trilling. 3Leavis's at once dissident and élitist literary criticism concealed a sociology designed to salvage the humane culture of an earlier England from amidst the decay of mass civilization. 4 Trilling used European culture to critique what he perceived to be the superficiality of modern American civilization and literature. His criticism became the Ellis Island of intellectual life, the product of an immigrant culture desirous of assimilation by means of high culture to an American society whose better values were formed by the European canon. 5 For both, then, distinctive histories of society and social change, culture and cultural change were central to the enterprise of criticism. 6 Culture in their hands was a value-laden English or European way of life that shaped and was shaped by the highest artistic consciousness. As such, it carried a new awareness of alienation and repression in the midst of modern society or civilization. The aesthetic critical sense of a Leavis or a Trilling was now a sense of past and present cultural and social life. It competed successfully with claims to the [End Page 490] same ground made by what were seen as cruder sociological theories of... (shrink)

The polymath Michel de Certeau is traditionally seen as one of a group of French poststructuralist thinkers who reject constructs in the social sciences in favor of the diversity of the everyday or the past. However, in this paper I will show that, as a historian, Certeau did not discard these constructs, but rather valued them as a means of doing justice to the “strangeness” of the past. The position that Certeau adopts can be seen most clearly from his (...) theoretical debate with Paul Veyne, which is the starting point of this article. I then show how Certeau’s first major historical work, The Possession at Loudun, exemplifies his theoretical position. An analysis of this work demonstrates how the historian’s active reconstruction of interactions between exorcists, medical doctors, state officers, and possessed nuns helps us to perceive the complexity of the past in a way that can be seen as a microhistory avant la lettre. I will suggest that during his writing of the history of Loudun, Certeau implicitly raises more theoretical and epistemological problems, and in so doing he “practices” a theory of history. The most elusive aspect of the story at Loudun turns out to be the drama around the priest Grandier. This article demonstrates how Certeau pays tribute to Grandier by using “scientific” methods, thus showing the “limits of representation” through disciplinary means. Finally, the article explores the implications of Certeau’s theory and practice of the writing of history for understanding historiography at large. The historian not only appears as a tramp who looks for remains that are forever lost to us, but is also a “scientist” who uses both models and concepts in order to put them to the test. (shrink)

For Elisabeth Roudinesco, a historian of psychoanalysis and one of France's leading intellectuals, Canguilhem, Sartre, Foucault, Althusser, Deleuze, and Derrida represent a "great generation" of French philosophers who accomplished remarkable work and lived incredible lives. These troubled and innovative thinkers endured World War II and the cultural and political revolution of the 1960s, and their cultural horizon was dominated by Marxism and psychoanalysis, though they were by no means strict adherents to the doctrines of Marx and Freud. Roudinesco knew (...) many of these intellectuals personally, and she weaves an account of their thought through lived experience and reminiscences. Canguilhem, for example, was a distinguished philosopher of science who had a great influence on Foucault's exploration of sanity and madness-themes Althusser lived in a notorious personal drama. And in dramatizing the life of Freud for the screen, Sartre fundamentally altered his own philosophical approach to psychoanalysis. Roudinesco launches a passionate defense of Canguilhem, Sartre, Foucault, Althusser, Deleuze, and Derrida against the "new philosophers" of the late 1970s and 1980s, who denounced the work-and sometimes the private lives-of this great generation. Roudinesco refutes attempts to tar them, as well as the Marxist and left-wing tradition in general, with the brush of Soviet-style communism. In Freudian theory and the philosophy of radical commitment, she sees a bulwark against the kind of manipulative, pill-prescribing, and normalizing psychology that aims to turn individuals into mindless consumers. Intense, clever, and persuasive, _Philosophy in Turbulent Times_ captivates with the dynamism of French thought in the twentieth century. (shrink)

The aim of this paper is to raise two questions. The first question is: How is pessimism related to Buddhism (and vice versa)? The second question is: What relation does an immanent philosophy have to pessimism and Buddhism, if any? Using True Detective, an American television crime drama, as my point of departure, first I will outline some of the likenesses between Buddhism and pessimism. At the same time, I will show how the conduct of one of the main (...) characters in True Detective resembles the paths of Buddhism and pessimism, even though he is ethical in a strictly non-pessimistic and non-Buddhist fashion. Last, I will try to place these findings in perspective through the French philosopher Gilles Deleuze’s thoughts. Hereby, I hope to illustrate that joy, not suffering, is basic to human existence, and how human beings may overcome a spiritual pessimism. (shrink)

In his De tragoediae constitutione (1611) Heinsius rearranged the text of Aristotle's Poetics, and built on it a new general theory of drama, literature and speech. The new system was designed to render Christian exemplars and Christian theories of internalisation, pedagogy and motivation impossible to maintain, and thereby sidestep one of the most divisive issues in the intellectual debates of the Reformation. Irenicist secularisation is a major cause of Heinsius's impact on German, English and French literary theory. ☆ (...) I would like to thank Hans Blom, Cesare Cuttica, Ioannis Evrigenis, Renaud Gagné, Marketa Klicova, Isaac Nakhimovsky, Richard Whatmore and two anonymous reviewers for their comments and suggestions. Many thanks to the Leverhulme Trust for their generous support. (shrink)

The New Left and the 1960s is the third volume of Herbert Marcuse's collected papers. In 1964, Marcuse published a major study of advanced industrial society, One Dimensional Man , which was an important influence on the young radicals who formed the New Left. Marcuse embodied many of the defining political impulses of the New Left in his thought and politics - hence a younger generation of political activists looked up to him for theoretical and political guidance. The material collected (...) in this volume provides a rich and deep grasp of the era and the role of Marcuse in the theoretical and political dramas of the day. This volume contains articles, letters, talks, and interviews including: "On the New Left," a transcription of the 1968 talk at the Guardian newspaper's twentieth anniversary; "Reflections on the French Revolution," which contains comments on the 1968 French student and worker uprising; "Liberation from the Affluent Society," which presents Marcuse's contribution to the 1967 Dialectics of Liberations conference; and "United States: Questions of Organization and the Revolutionary Subject," a conversation between Marcuse and the German writer Hans Magnus Enzenberger, published here in English for the first time. Edited by Douglas Kellner, this volume will be of interest to all those previously unfamiliar with Herbert Marcuse, generally acknowledged as a major figure in the intellectual and social mileux of the 1960s and 1970s, as well as to specialists, who will here have access to papers and articles collected in one volume for the first time. (shrink)

Analyses The Problems Of Understanding Exegesis And Translation. Scrutinises Peculiariaties Of Grammar, Syntax, Diction, Style And Metaphor In Various Languages And Their Forms-Prose, Poetry, Drama Etc In India And Western Tradition-In English, German, French, Greek, Sanskrit And Pali Texts. Emphazises The Importance Of Classical Languages In Which Religion And Philosophical Works Have Been Written.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Historical Destiny and National Socialism in Heidegger's 'Being and Time.'Robert C. ScharffJohannes Fritsche, Historical Destiny and National Socialism in Heidegger's 'Being and Time.'Berkeley: University of California Press, 1999. Pp. 356 + xix. Cloth, $60.00.Focusing on the relatively neglected fifth chapter of Being and Time's Division Two (BT, Sections 72-77), Fritsche argues that BT is an essentially political work. Even Victor Farías, although he talks of "shared attitudes" and (...) "implicit direction," settles for the conclusion that "in no sense can we read National Socialism into Being and Time, but we can identify philosophical beliefs that foreshadow Heidegger's later conviction."(Victor Farías, Heidegger and Nazism, trans. Paul Burrell and Gabriel R. Ricci [Philadelphia: Temple University Press, 1989], 60.) Fritsche, however, evidently intends to out-Farías Farías. For him, BT just is "a brilliant summary of the politics of the revolutionary Right" (xii; cf., xv, 216).Following Tom Rockmore, Fritsche insists that by grounding ontological inquiry in a distinction between authentic and inauthentic existence, Heidegger is "committed" to "a political understanding of human being" that "culminates" in the analysis of authentic historicity in Section 74 (29). According to Fritsche, BT proceeds, "in conventional metaphysical fashion," to work out a "hierarchical" presentation of the structures and activities of our existence as a "drama in three acts." The first act is Heidegger's analysis of the conflicted, inauthentic, "downward plunging" condition of everyday life. In act two, there arises out of this condition a "crisis" (of conscience) that calls for a "dramatic solution." The third act "consists in authentic Dasein stepping out of the world in which it has been living as ordinary Dasein, turning back to this world, and canceling it... in order to rerealize the past" (x, 29-30).Fritsche plays BT off primarily against three sources, Richard Wolin's Politics of Being (1990), articles by Peg Birmingham (1991), and Charles Guignon (1992), in order to distance BT from "decisionist," "anarchist," and "politically neutral" interpretations, respectively. Like this selection of foils, Fritsche's comparison of texts often seems merely convenient. In general, if two people use the same term, they probably mean the same thing; and key concepts are typically assumed to have uniform definitions. Hence, if Scheler speaks of a hierarchy of values and Hitler, of a hierarchy of races, they must be employing "the same logic" (108-9). And because vorlaufen [anticipating/running ahead] was the term used by right wing German authors to mythologize the gallant but foolish young "heroes of Langemarck" who "stepped out of their trenches, into the open," and "ran toward" French lines, one should also employ this image a "methodological ideal type to interpret Heidegger's concept of resoluteness" (3, 196, 233). Finally, Fritsche makes no systematic distinction between what an author has once said and what either we or the author might later make of it. Hence, if Heidegger says in 1933 that he is drawing on BT for political purposes, he must have had these purposes in mind when writing it ten years earlier (216ff.). And obviously, choosing "Volksgemeinschaft" to talk of community in BT's Section 74 already unmistakably reveals "Heidegger's option for National Socialism" (217-18).One need carry no brief for an apolitical Heidegger to see that Fritsche's reading is problematic on several levels. Heidegger's own account of BT's purpose and method is ignored rather than challenged. Numerous Heideggerian notions are construed, without [End Page 455] argument, as "really" being just right-wing political or "conventional metaphysical" usage. Moreover, categories of Left and Right are sometimes handled so loosely that, for example, Scheler writing in 1913, Heidegger writing in 1921-24, and Hitler in Mein Kampf, all must "belong" to the revolutionary Right, because they all privilege traditional Gemeinschaft over modern Gesellschaft. By the same reasoning, Heidegger's concept of historicity is "identical" to Scheler's and Hitler's. This has to be right because "Heidegger's text is just too excellent a summary of the revolutionary rightist notion to be the result of a somnambulistic thinking" (136). Fritsche's handling of technical terminology, when not outright political, often seems poorly... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dmitry Khanin THE POSTMODERN POSTURE Postmodernists—the sectarians ofour day—proclaim that the old kingdom of historical narrative and historical subject has perished, and is now being replaced by a new one of ahistorical discourses and ahistorical characters. According to these prophets, "history" is anyway just changes in ways of talking about history. Anyone who does not agree with the ahistoricity of the postmodern world oudook may be accused—and tried on (...) the spot—of defending the cause of the totalitarian Reason against the most liberating movement of today. This postmodernist abuse of history is paradoxical, since the very notion of history coming to its end and giving way to the ahistorical kingdom of freedom and merry debauchery is itself a very old idea, even a mythological one. The description ofhistory as marching toward its own demise relies on a whole tradition which portrays history as a drama. Aristode's conception of tragedy as a sequence of actions culminating in a dénouement has no doubt shaped this view of historical process. Christian and other religious millenarians have announced the end of history already many times. Yet another notorious instance of such eschatological daydreaming is the futurology of Karl Marx, who envisaged the kingdom of communism as occupying this same ahistorical space. A rather obsolete idea, perhaps, but it seems still to attract postmodernists, though they give it a characteristic twist, since they sincerely believe theory, discourse, écriture (i.e., theoretico-symbolical activity) are much more important than any actual historical contentprocesses and events. One of the most notable spokesmen for this approach is Arthur Danto, who insists that world history evolved in a good Hegelian manner until the theorists came to understand that history depends on their Philosophy and Literature, © 1990, 14: 239-247 240Philosophy and Literature texts much more than theorists themselves depend on historical processes and events.1 Many theoreticians working in an otherwise Marxist tradition similarly are glad to assert with FredricJameson that we must say farewell to Marx's positivistic illusion that history is driven by laws disguised as economic forces.2 In the epoch of "late capitalism," says Jameson, consumption gains the upper hand over production and becomes the mainspring of history. Of course, in light of recent doings in Europe I am tempted to ask if we owe it to postmodernists—and their ahistorical, inconsistent, and generally confounding claims about history lying in ruins—that the Berlin Wall actually is in ruins and Vaclav Havel is president of Czechoslovakia. Even more daring theorists may now declare an era of "very late capitalism." Here it will not be merely the mass media that act transformatively on society (as McLuhan claimed), but rather consumer goods themselves, like state-of-the-art washing machines or French perfumes, which create a new aura of intellectual discourse. TL· Postmodern Scene: Excremental Culture and Hyper-AesÜietics, a book by two Canadian authors, Arthur Kroker and David Cook, promotes such a sea change in the theoretical landscape and along the way presents a joyous recapitulation ofthe latest fads in postmodern thinking. The new apostolic generation ofpostmodern critics seems to enjoy the beautiful new things that can be bought for bucks, worrying at the same time that bucks may be losing some of their purchasing power. Like Hari-Krishnas dancing in the street they luckily possess a sort of happy consciousness which also recalls their puritanical great grandfathers who regarded profligacy as the greatest sin and much preferred saving to spending. In what follows I want to draw a portrait of this new postmodern posture. A few main assumptions underlie Kroker's and Cook's wake for postmodernism, which, in its peculiar genre of philosophic obituary, epitomizes and thus prepares for future oblivion views which were exceedingly popular in the preceding decade. First of all, the authors adopt Baudrillard's equation of Marx and Nietzsche: "Marx and Nietzsche shared a deep and common affinity in meditating upon historical (Christian) and materialistic (capitalist) expressions ofthewill ofpower."3 From Baudrillard's perspective Marx appears as a pathetic romantic who tried to defend the "referential illusion" by renaturalizing concrete labor even though its entirely abstract character was brilliandy revealed in Das Kapital. Baudrillard... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:PORTIA'S SUITORS by Richard Kuhns and Barbara Tovey I am always inclined to believe that Shakespeare has more allusions to particular facts and persons than his readers commonly suppose. —Samuel Johnson, "Merchant of Venice," Notes on Shakespeare's Plays. 66f\ver-name them," Portia says to Nerissa, "and as thou namest V^/them, I will describe them, and according to my description level at my affection." This passage in TL· Merchant of Venice (...) (Act I, Scene ii), where Portia describes her suitors, presents certain problems.1 To our knowledge interpreters have not addressed them. In the first place, the lengthy description ofthe discarded suitors serves no apparent function. The suitors play no role whatsoever in the subsequent development of the drama, and the protracted account of their failings retards rather than advances the action of the play. To be sure, Shakespeare wanted die audience to be aware that Portia had many suitors of high rank and from many different countries, but it was scarcely necessary for him to go to such lengths to make the point. In the second place, the denigration of the previous suitors in this scene does not accord with the account ofthem given by Bassanio when talking to Antonio in the first act: Nor is the wide world ignorant of her worth, For the four winds blow in from every coast Renowned suitors, and her sunny locks 325 326Philosophy and Literature Hang on her temples like a golden fleece, Which makes her seat of Belmont Colchos' strond, And many Jasons come in quest of her. (Li. 167-72) The suitors as described by Portia hardly deserve to be called "renowned," or to be referred to as "Jasons." The belittling of his competitors in this scene also has the undesirable effect of trivializing Bassanio 's achievement in Act III. Thirdly, there is something decidedly odd about the sort of failings attributed to the suitors by Portia. Had he so wished, Shakespeare could have utilized this passage to present a sort of catalogue of human frailties. One suitor might have been a representative of pride, another of avarice, another of envy, etc. But Shakespeare does nothing of the sort. With the exception of the German, who is a drunkard, the defects of the suitors can hardly be considered major vices. The Neapolitan Prince talks too much about his horse, the County Palatine frowns excessively, the French lord is an imitator of the others, the English baron is "oddly suited," and so on. Yet Shakespeare dwells at considerable length upon these more or less trivial failings. Now it may be suggested that Shakespeare, who is certainly deeply interested in national differences of character and behavior, may have inserted this discussion of the suitors into the play in order to provide himself with an opportunity for analysis of idiosyncratic national traits. The answer to this objection is simple. The characteristics ascribed to the suitors do not represent genuine or interesting national differences any more than they stand for major human vices. Is it true, as under this hypothesis Shakespeare would seem to be suggesting, that Neapolitans are fonder of horses than most other folk? Or that Frenchmen are particularly prone to imitating others? Or that Germans are uniquely predisposed to alcoholism? If not, we must admit that the discussion of the discarded suitors represents a puzzling and as yet unexplained digression. Commenting upon this scene, Samuel Johnson made a suggestion that we think merits serious consideration. Might it be the case that the suitors represent actual persons, whose descriptions give clues to their real identities? It is our suggestion that the six suitors make up a company of the most gifted, influential, and to Shakespeare—we suspect—the most interesting writers of the tradition in which he worked. These are the writers from whom he derived inspiration and plots. The question may Richard Kuhns and Barbara Tovey327 well be raised, as to why, if this is so, the suitors are depicted in such derogatory terms. We suggest that one very potent way in which to express the deepest gratitude and admiration is by means of a loving insult. This technique ofexpressing affection and indebtedness to one's literary mentors... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Archive, The Native American, and Jefferson’s ConvulsionsJonathan Elmer (bio)1 Saxa loquunturTrauma theory proposes that there are inscriptions that befuddle any clean divide between present and past, records that have been neither selected nor destroyed by evolutionary veto but remain in some kind of limbo, “in abeyance,” as Jacques Lacan phrases it, “awaiting attention.” In a typical maneuver, Lacan emphasizes a double meaning in the French—the “reality” awaiting (...) attention is “en souffrance” [Lacan 56]. Lacan’s wordplay injects a note of pathos into what might otherwise seem a merely cognitive or epistemological question about how, or whether, we can adequately access the historical archive, whether of individuals or of cultures. At its most basic, the psychoanalytic concept of trauma insists on this ambiguous coupling between affect and event, feeling and knowing: trauma names a happening about which one never fully knows how to feel, or feels how to know. In trauma theory—as in its various avatars in current debates about canons, about historical memory and forgetting, about cultural identity as imperiled or reclaimed or repressed—this ambiguity about the relation between affect and event becomes codified as an entanglement between the ethical and the cognitive. In “Archive Fever,” Jacques Derrida notes that the term “archive” itself harbors this ambiguity: the archive is at once the beginning and the authority, it puts into play two “orders of order,” the “sequential” and the “jussive,” “the commencement and the commandment” [9]. The divine fiat of creation is an image of the perfect coincidence of these two orders of order, while historical consciousness, in the West at least, might be understood as the progressive elaboration of the dissociation of commencement and commandment. Such a dissociation is never, perhaps, complete, which is why the question of knowing the commencement, the order of sequence of past events, always seems shadowed by an encounter with commandment, authority, ethical obligation.Derrida emphasizes a drive toward unification in the archive, what he calls the act of “consignation,” or “gathering together signs”: “Consignation aims to coordinate a single corpus, in a system or a synchrony in which all the elements articulate the unity of an ideal configuration. In an archive, there should not be any absolute dissociation, any heterogeneity or secret which could separate... or partition, in an absolute manner” [10]. Because his primary topic in this essay is Freud, Derrida goes on to demonstrate how this practice and ideal of consignation deconstruct themselves in the psychoanalytic archive. On the one hand, Freud’s innovations “made possible,” or so Derrida contends, the notion of an archive that “cannot be reduced to memory: neither to memory as conscious reserve, nor to memory as rememoration, as act of recalling” [58]. On the other hand, and despite his development of this concept of an immemorial archive, however, Freud “was incessantly [End Page 5] tempted to redirect the original interest he had for the psychic archive toward archeology.” Derrida quotes an astonishing passage from the 1896 paper “The Aetiology of Hysteria,” in which Freud indulges in the fantasy that never leaves psychoanalysis, and that evinces the profound implication of this theory with other archival projects, here the imperialist dramas of ethnography. The fantasy is one in which “stones talk”:Imagine that an explorer arrives in a little-known region where his interest is aroused by an expanse of ruins, with remains of walls, fragments of columns, and tablets with half-effaced and unreadable inscriptions. He may content himself with inspecting what lies exposed to view, with questioning the inhabitants—perhaps semi-barbaric people—who live in the vicinity, about what tradition tells them of the history and meaning of these archaeological remains, and with noting down what they tell him—and he may then proceed on his journey. But he may act differently. He may have brought picks, shovels and spades with him, and he may set the inhabitants to work with these implements. Together with them he may start upon the ruins, clear away the rubbish, and, beginning from the visible remains, uncover what is buried. If his work is crowned with success, the discoveries are self-explanatory: the ruined walls are part of the ramparts of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 14-30 [Access article in PDF] Mallarmé Contra Wagner Eric Gans I In early 1885, Edouard Dujardin wrote to Stéphane Mallarmé for a contribution to his newly founded Revue wagnérienne. Mallarmé, admitting that he had never seen--and perhaps never heard--anything of Wagner, replied to Dujardin in July that he was working on a "half article, half prose poem," and that "never has anything seemed to (...) me more difficult." 1 A month later, the Revue published a text, more prose poem than article, entitled "Richard Wagner, rêverie d'un poète français." 2Wagner was an increasingly obligatory reference for the French avant-garde after his death in 1883. But as far back as 1862, the 20-year-old Mallarmé, no doubt influenced by Baudelaire's enthusiastic groundbreaking article "Richard Wagner et Tannhäuser à Paris" of the year before, had included Wagner along with Mozart and Beethoven in a group of three creators of the "mystery" of music, in a brief article entitled "Artistic Heresies: Art for Everyone." Characteristically enough, what fascinated the young Mallarmé was not music itself so much as the "signes sévères, chastes, inconnus" ("severe, chaste, unknown signs") (OC, p. 257) with which it was written, which give music the advantage over poetry--written in the universally understood alphabet--of being inaccessible to the uninitiated. This characteristic emphasis on writing over sound reappears in the "Hommage" sonnet for Wagner published in Dujardin's journal in January 1886, where Wagner's music is described as "mal tu par l'encre même en sanglots sibyllins" ("badly silenced by the ink itself in Sibylline sobs") (OC, p. 71). As we shall see, however, the relation between music and poetry suggested in "Art for Everyone" had by then been reversed. [End Page 14]Unlike most of his circle, Mallarmé was no Wagnerite; his "Rêverie," like his sonnet, expresses reluctant praise and reflects a certain professional jealousy. The theater had long been Mallarmé's chief preoccupation, as it had been for so many nineteenth-century writers who would be forced to make their reputation in other genres. The unfinished poem "Hérodiade," which occupied him throughout his life, took the form of a drama, and an early version of the "Après-midi d'un faune" had actually been presented to a theater director. References to music in Mallarmé's writings increase in number and specificity after 1885, and it is not unreasonable to assume that for him the prime representative of "music" in this period was Wagner. However much Mallarmé's own theater had become internalized and idealized, Wagner's theatrical success, as well as his near-deification by friends and disciples like Dujardin or Villiers de l'Isle-Adam, could not leave the poet indifferent. II What I would like to explore, however, is something more fundamental than the personal equation. Mallarmé's rivalry with Wagner over the theatrical center of culture is the rivalry of two arts and their respective means. What makes Mallarmé's critique of Wagner of particular interest is the exemplary rigor of the former's artistic intentions. Mallarmé's poems are a series of attempts to produce literary form with a minimum of figural content. Each poem has been submitted, so to speak, to Ockham's razor. The ultimate aim of this labor may be described as the discovery of the originary scene of poetry itself, the minimal sine qua non of representation, and therefore of humanity. 3 On the contrary, Wagner did not shrink from saturating the figural imagination in the pursuit of his totalizing aims. The confrontation reveals that musical maximalism in the service of national myth becomes a threat to what we may call, from Mallarmé's minimalist perspective, the anthropological mission of true art.Mallarmé held no particular brief for the theater of words; his tastes in performance went rather to the ballet, or to the mime-show, the subject of one of his most aesthetically interesting reflections. 4 Mallarmé anticipated 20th-century dramaturgy in seeing the theater not as a place for ratiocination and... (shrink)