In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.2 (2006) 450-470 MuseSearchJournalsThis JournalContents[Access article in PDF]Romantic Love: A Literary Universal?Jonathan Gottschall Washington and Jefferson College (JG)Marcus Nordlund * Göteborg University (MN)ITo love someone romantically is—at least according to innumerable literary works, much received wisdom, and even a gradually coalescing academic consensus—to experience a strong desire for union with someone who is deemed entirely unique. It is to idealize this person, to think (...) constantly about him or her, and to discover that one's own life priorities have changed dramatically. It is to care deeply for that person's well-being and to feel pain or emptiness when he or she is absent.But is this intense emotional experience a universal experience, something that is characteristically and quintessentially human, or is it merely a sociocultural construct that belongs to a particular time and place? On this point there is less agreement, both within and between different academic disciplines. The audacious question we want to raise in the pages that follow is whether literature—or more specifically, a large-scale, multiple-coder content analysis of thousands of folk tales drawn from different parts of the planet—can contribute something to this difficult question about love, culture, and human nature.Let us first look briefly at the theoretical problem that we aim to address. A widespread view among literary scholars and social scientists over the last decades has been that romantic love is a social construction specific to Western culture. This is part of a relentless skepticism [End Page 450] toward assumptions that important categories of human psychology and emotion—romantic and parental love, gender, sexual orientation, and so on—are "natural" rather than constructed. This position is often, if not always, linked to an ideological concern to demystify (or at least problematize) what is perceived as an essentially destructive or oppressive emotion or belief. Taking her cue from Simone de Beauvoir, Marilyn Friedman gives no less than ten reasons why it may be problematic for women to fall in love with men. 1Of course, no argument of any kind can be strictly ideological in nature since it always involves empirical assumptions—either explicit or implicit—about the nature of things. For example, the psychoanalyst E. S. Persons opines that the "best evidence that romantic love is not hard-wired into the emotional repertoire of humanity but is a cultural construct is the fact that there are so many cultures in which it is virtually absent." 2 Another frequent argument for love's constructedness has been that "there is no definition that describes love throughout the ages or across cultures." 3In some literary-critical accounts, it is even argued that romantic love is a cultural invention that can be traced back with precision to the courtly troubadour culture of twelfth-century France. 4 According to yet another school, represented by the influential literary theorist Jonathan Culler, "the notion of romantic love (and its centrality to the lives of individuals) is arguably a massive literary creation." 5While the social constructivist position on romantic love typically involves a strong commitment to cultural specificity, a weaker version is held even by some cognitive theorists who grant more to biology and panhuman traits. From the perspective of their communicative theory of emotion, Philip Johnson-Laird and Keith Oatley argue that the "components [of romantic love] exist separately in different societies, but their integration into a recognizable complex is a cultural accomplishment [by the West]." 6At the other end of the romantic love continuum we find those who argue that this emotion belongs to a universal human nature: or, more specifically, that it can be attributed to specialised neural circuits whose ultimate purpose is to enhance reproductive success. Not surprisingly, this has been a favorite position among evolutionary psychologists, and it has recently received some support from neuroscientific studies.For example, the neuroscientists Andreas Bartels and Samir Zeki claim to have uncovered a "functionally specialised system" that lights up in fMRI (magnetic resonance) scans of brains whose owners claim to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Of Literary Universals:Ninety-Five ThesesPatrick Colm Hogan1. There is no such thing as human culture or human cultural difference without human universality.1 (A parallel point about understanding human cultural difference was made by Donald Davidson.2) Alternatively, cultural difference is variation on human universality.2. It follows that every area of a culture manifests human universality. (Otherwise, those cultural areas would not exist.) It does not follow that all areas (...) of culture are found in all cultures. The empirical study of literature, an area of some cultures, would not exist if it did not manifest human universality. It does not follow that the empirical study of literature exists in all cultures.3. The presence of verbal art in any given culture—thus the determination of whether verbal art is found in all cultures—is dependent on the investigator's definition of the term "verbal art," not on the presence or absence of a parallel term in the culture being investigated. "Verbal art" is no different from any other term or phrase in this respect. We would not conclude that there is no color orange in a place that does not have a word parallel to "orange" or that there is no astigmatism in societies without ophthalmology—or that the English do not experience ennui or Schadenfreude.On Communicative Speech4. To understand or even isolate verbal art, we must first understand the general purposes and properties of communicative speech.5. Communicative speech aims at producing some mental alteration in an addressee. That change commonly has some direct or indirect action as its desired outcome. For example, suppose I am building [End Page 145] a house with Wittgenstein and I say "Plank!" My aim is to produce a mental change in Wittgenstein that will result in him retrieving a plank and bringing it to me.6. Action commonly involves a set of generative principles for bodily motion or mental deliberation, a set of regulative principles for adjusting the motion or deliberation, and a set of motives for initiating the motion or deliberation.7. Communicative speech, then, commonly aims at fostering emotions and ideas or representations that, in combination, activate and specify generative principles for action in an addressee. (The emotion may be very weak—for example, a mild aversion to being uncooperative.) It may involve regulative principles as well.8. Verbal art—as I am using the phrase—also aims at producing a mental alteration in an addressee. However, that mental alteration is not, in the first place, governed by the overarching goal of effecting a particular actional outcome. Thus it is not designed to engage generative rules for action or to trigger emotions that motivate such action.9. Rather, verbal art is commonly designed to communicate regulative principles for action and to inspire emotions that do not have direct actional outcomes in the case at hand.10. There are two sorts of regulative principles that figure prominently in both ordinary life and verbal art—ethical and prudential. They constitute the thematic or didactic aspect of verbal art, an aspect noted in every major tradition of literary theory—European, South Asian, East Asian, and Middle Eastern/North African.311. Here and in other cases, individual works of verbal art need not share all universal properties or share them all in the same degree.Rather, all cultural traditions have a body of works of verbal art that, as a whole, have these properties.On Emotion12. Any sort of emotion may occur in verbal art. Indeed, verbal art involves all varieties of emotion.13. However, verbal art is not about the addressee himself or herself. Therefore a literary work does not inspire narrowly egocentric emotions in its audience. It inspires empathic emotions.14. Empathic emotion may be a function of situational particularity or of group identity. In situational empathy, we share a person's or character's emotion insofar as we have been in a parallel situation. [End Page 146] The shared feeling is based on emotional memories. In group-identity empathy, we share a person's or character's feelings because we tacitly understand him or her as sharing our identity. This shared feeling is, then... (shrink)

"Taken as a trilogy, _consent not to be a single being_ is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."—Brent Hayes Edwards, author of _Epistrophies: Jazz and the Literary Imagination_ In _The Universal Machine_—the concluding volume to his landmark trilogy _consent not to be a single being_—Fred Moten presents a suite of three essays on Emmanuel Levinas, Hannah Arendt, and Frantz Fanon in which he (...) explores questions of freedom, capture, and selfhood. In trademark style, Moten considers these thinkers alongside artists and musicians such as William Kentridge and Curtis Mayfield while interrogating the relation between blackness and phenomenology. Whether using Levinas's idea of escape in unintended ways, examining Arendt's antiblackness through Mayfield's virtuosic falsetto and Anthony Braxton's musical language, or showing how Fanon's form of phenomenology enables black social life, Moten formulates blackness as a way of being in the world that evades regulation. Throughout _The Universal Machine_—and the trilogy as a whole—Moten's theorizations of blackness will have a lasting and profound impact. (shrink)

Daniel Barenboim, conductor of the Arab/Israeli West-Eastern Divan Orchestra, claims that “everywhere in the world... [Beethoven’s Ninth Symphony] speaks to all people.” But just how universal is Beethoven? Does his music exceed cultural boundaries or is Barenboim’s idea of a “utopian republic,” built, in part, upon Beethoven’s music, just “another Euro-American vision?” In his paper, Mark Whale explores two ways of understanding Beethoven’s music in line with two versions of the “idea of culture” proposed by literary theorist, Terry Eagleton. (...) First, he suggests that our experience of music has to do with its association with the specific cultural “loyalties and allegiances” built into our lives. Second, he argues that there is a mode of musical encounter, one which crosses cultural boundaries, in which we do not simply experience music but actively choose to care about, and to attend to, what we experience. In choosing to attend carefully to Beethoven’s music we discover that it invites and deepens our attention, not only to it, but also to ourselves. (shrink)

The rise of world literature is the most noticeable phenomenon in literary studies in the twenty-first century. However, truly well-known and globally circulating works are all canonical works of European or Western literature, while non-European and even "minor" European literatures remain largely unknown beyond their culture of origin. World Literature as Discovery: Expanding the World Literary Canon argues that world literature for our time must go beyond Eurocentrism and expand the canon to include great works from non-European and (...) "minor" European literatures. As much of the world's literature remains untranslated and unknown, the expansion will be an exciting process of discovery. By discussing fundamental questions around canon, circulation, aesthetic values, translation, cosmopolitanism and the literary universal, Zhang Longxi proposes a new and liberating concept of world literature that will shape world literature worthy of its name. This book speaks for a more inclusive idea of world literature, and shows students and scholars alike that all the literary traditions, particularly non-European traditions, will be able to make important contributions and expand the canon of world literature. (shrink)

The author provides a rich plethora of examples of a heterology, a knowledge of the multiple, which alone is able to recognize the richness of life. Philosophical, sociological and literary analysis of different authors, mainly from the 20th century, are provided.

This article explores the dream of the universal library in Gottfried Wilhelm Leibniz’s Theodicy, Jorge Luis Borges’s “The Library of Babel,” and Wim Wenders’s Wings of Desire. This is a story that, though often mentioned, is underexplored in both literary and intellectual histories. Scholars have overlooked the dream of the total library perhaps because this theme appears in works that transcend literary, aesthetic, and philosophical genres. I argue that the dream of the total library morphs from Leibniz’s assured (...) hierarchy of knowledge in which God is at the apex to Borges’s and Wenders’s more anxious post-enlightened epistemic regimes in which knowledge, decentered and leveled, becomes data, or worse, noise. The fantasies of textual omniscience can change our understanding of our European genealogies of knowledge and information theory more broadly. Taken together, their dreams of a total library constitute a central episode in the great romance of the pursuit of encyclopedic knowledge. In a world awash in a superabundance of signs and symbols and systems, they ask: How does the human mind orient itself? What Ariadne’s thread can it grasp? What possibilities of free will lie therein its imaginary infinite stacks? (shrink)

In this article, an anthropological definition of literature is attempted. Since all communities seem to have some kind of literature (including its simple forms: myth, folktale, fable, proverb, and song), literature is claimed to be a human universal. Hence, literary discourse should be added to the four basic discourses that Habermas has pointed out and discussed; namely, theoretical, practical, historical, and technical discourses. Five characteristics of literary discourse are pointed out here: fictionality, poeticity, inquisitoriality, poetic licence, and contemplation. (...) It is not claimed that every text that is classified as literary necessarily contains all five features, but a vast majority of them do. Finally, it is argued that literary discourse is special because it redefines Habermas' four so-called ‘universal-pragmatic validity’ claims: understandability, truth, normative rightness, and sincerity. These claims are not altogether suspended, but they are given new meanings and attenuated in literary discourse. (shrink)

Literary criticism at the present moment seems ready to open its doors once again to the outside world, even if that world is only a series of other academic disciplines, each cloistered in its own way. For the reader of black African literature in French, the opening comes none too soon. The program for reading Camara Laye, Ahmadou Kourouma, and Yambo Ouologuem should never have been the program prescribed for Rousseau, Wordsworth, or Blanchot. If one is willing to read (...) a literature that might not be a rewriting of Hegel , and if the negative knowledge of recent theoretical criticism is questioned in the universality of its applications, then what is really open to a Western reader of non-Western literature? Claiming a break with his/her own culture and critical upbringing, can he/she the Other, the African, as if from an authentically African point of view, interpreting Africa in African terms, perceiving rather than projecting?The goal of breaking through the nets of Western criticism, of reading African literature in a nonethnocentric, nonprojective fashion, will remain both indisputably desirable and ultimately unattainable. No matter how many languages I learn or ethnologies I study, I cannot make myself into an African. The Western scholar’s claim to mastery of things African, albeit motivated by xenophilia rather than xenophobia, risks subjugation of the object to a new set of Western models. J. P. Makouta-M’Boukou rightly scolds Western critics who refuse to take into account the distance between themselves and African culture, and who read African literature only in function of their own cultural context.1 Wole Soyinka, more forbiddingly, complains: “We black Africans have been blandly invited to submit ourselves to a second epoch of colonisation—this time by a universal-humanoid abstraction defined and conducted by individuals whose theories and prescriptions are derived from the apprehension of their world and their history, their social neuroses and their value systems.”2 1. See J. P. Makouta-M’Boukou, Introduction à l’étude du roman négro-africain de langue française , p. 9.2. Wole Soyinka, Myth, Literature, and the African World , p. x. Christopher L. Miller, Charles B. G. Murphy Assistant Professor of French and of African and Afro-American Studies at Yale University, is author of Blank Darkness: Africanist Discourse in French . He is working at present on a study of francophone black African literature, for which he will have a Fulbright Africa Research grant. (shrink)

Against the consensus that Aristotle in the "Poetics" sets out to give tragedy a role in exercising or improving the mature citizen's moral sensibilities, I argue that his aim is rather to analyse what makes a work of literature successful in its own terms, and in particular how a tragic drama can achieve the effect of suspense. The proper pleasure of tragedy is produced by the plotting and eventual dispelling of the play's suspense. Aristotle claims that poetry 'says what is (...) universal' not in order to suggest that poetry achieves anything of the effect of philosophy, but to explain how in creating his plots the poet takes into consideration what, in general, could be expected to happen. Chapter 4 of the "Poetics" is not a theory of mimesis but an analysis of the lowest common denominator of the pleasure we take in fictions. The inevitability or likelihood by which events in the tragic plot are to be connected has an aesthetic rather than a moral function. Doing away with the irrationality of chance and increasing the human intelligibility of the action is not its point; the point is to furnish the plot with the second half of the formula for successful suspense: that events in the plot should happen 'against expectation because of one another'. The first half of the formula is examined under the rubric of peripety or reversal. The formula as a whole describes the pivotal moment when the pieces of the plot suddenly fit with a configuration that only in retrospect can we see to have been falling into place all along. Pity and fear are the emotions on which Aristotle focusses because they are the emotions engaged by the tightening-towards-release of literary suspense. And the pleasure of catharsis is the pleasure of that release. (shrink)

Against the consensus that Aristotle in the "Poetics" sets out to give tragedy a role in exercising or improving the mature citizen's moral sensibilities, I argue that his aim is rather to analyse what makes a work of literature successful in its own terms, and in particular how a tragic drama can achieve the effect of suspense. The proper pleasure of tragedy is produced by the plotting and eventual dispelling of the play's suspense. Aristotle claims that poetry 'says what is (...) universal' not in order to suggest that poetry achieves anything of the effect of philosophy, but to explain how in creating his plots the poet takes into consideration what, in general, could be expected to happen. Chapter 4 of the "Poetics" is not a theory of mimesis but an analysis of the lowest common denominator of the pleasure we take in fictions. The inevitability or likelihood by which events in the tragic plot are to be connected has an aesthetic rather than a moral function. Doing away with the irrationality of chance and increasing the human intelligibility of the action is not its point; the point is to furnish the plot with the second half of the formula for successful suspense: that events in the plot should happen 'against expectation because of one another'. The first half of the formula is examined under the rubric of peripety or reversal. The formula as a whole describes the pivotal moment when the pieces of the plot suddenly fit with a configuration that only in retrospect can we see to have been falling into place all along. Pity and fear are the emotions on which Aristotle focusses because they are the emotions engaged by the tightening-towards-release of literary suspense. And the pleasure of catharsis is the pleasure of that release. (shrink)

Resumen La literatura universal, se encuentra poblada de arquetípicos que comparten una condición de desamparo y marginalidad, siendo la literatura realista de la segunda mitad del siglo XIX la que constata y da cuenta de su condición. En un mismo sentido, también la Biblia presenta un sinnúmero de personajes similares, marcando un punto de inflexión al llamarlo bienaventurados. Así pues, el presente estudio bíblico-literario, se centra en el arquetipo de la “viuda pobre”, sosteniendo dicha ficción literaria es una clave interpretativa (...) de la realidad, a la luz de la teoría literaria de la Estética de la Recepción. El articulo estudia la “viuda pobre” como un imaginario cultural y estableciendo la recepción de dicho imaginario en los cuentos “El Chiflón del diablo” y “El pago” del escritor chileno Baldomero Lillo, demostrando cómo el dialogo entre cultura y Biblia representa un aporte a la comprensión de determinadas ficciones literarias como categorías antropológicas.Universal literature is crowded by archetypical characters who share abandonment and marginalization conditions, being second half 19,h century realistic literature that confirms and exposes those conditions. In that sense, The Holy Bible presents a number of those characters. Resides, it highlights a turning point, hence, The Beatitudes point out: “Blessed are the poor in spirit, for theirs is the kingdom of heaven”. Thus, the following biblical-literary study, centered in the “Poor widow” archetype, aims to the establishment of literary fiction as interpretative key of reality, under Wolfgang Iser Aesthetics Reception's theory as its methodology. The objective aims to postulate “Poor Widow” as a Cultural imaginary, and finally to establish the reception of that imaginary within the stories “El Chiflón del Diablo” and “El Pago” by the chilean writer Baldomero Lillo, demonstrating that the dialog between culture and The Holy Bible represents a contribution to some literary fiction s as anthropological categories. (shrink)

Jerzy Braun (1901–1975) began as a scout activist, in subsequent years he became known as a politician, poet, prose writer, playwright, screenwriter, literary critic, philosopher, and theologian. In the inter-war years he founded and edited the periodicals Gazeta Literacka [Literary Gazette] and Zet, he also headed the Hoene-Wroński Society which propagated the thought of Józef Maria Hoene-Wroński. Under the Nazi occupation he founded and headed the underground organization Unia grouping Poland’s leading intellectuals. Unia propounded a universalistic program of (...) integrating nations and states whose outlines Braun had laid down before the war. Braun’s unionism theory, in which he strove for a harmonious combination of national and universal ideas, was based on 19th-century concepts developed by, among others, Bronisław Trentowski, August Cieszkowski and, of course, Józef Maria Hoene-Wroński. Imprisoned by the communists after the war, in the 1960s Braun attended the Vaticanum II sessions as an unofficial ecumenism expert. (shrink)

Jerzy Braun (1901–1975) began as a scout activist, in subsequent years he became known as a politician, poet, prose writer, playwright, screenwriter, literary critic, philosopher, and theologian. In the inter-war years he founded and edited the periodicals Gazeta Literacka [Literary Gazette] and Zet, he also headed the Hoene-Wroński Society which propagated the thought of Józef Maria Hoene-Wroński. Under the Nazi occupation he founded and headed the underground organization Unia grouping Poland’s leading intellectuals. Unia propounded a universalistic program of (...) integrating nations and states whose outlines Braun had laid down before the war. Braun’s unionism theory, in which he strove for a harmonious combination of national and universal ideas, was based on 19th-century concepts developed by, among others, Bronisław Trentowski, August Cieszkowski and, of course, Józef Maria Hoene-Wroński. Imprisoned by the communists after the war, in the 1960s Braun attended the Vaticanum II sessions as an unofficial ecumenism expert. (shrink)

This article undertakes a critical analysis of the work of Gisèle Sapiro, with reference to sociology of literature. From 1999 (Sapiro, 2014a), Sapiro has developed the Bourdieusian research tradition, amplifying especially Bourdieu’s theory of crisis. Focusing on the antagonisms between literary “prophets” and “priests”, she has drawn on a rich sample of 184 writers to elucidate the struggles inherent in World War II between writers from different field positions and literary habitus. Further, her historical analyses of the ethical (...) commitments of nineteenth century writers via a fresh microsociology of literary trials (Sapiro, 2011) has reminded us of the importance of popular poets in articulating the suffering of the subordinate classes. Her most recent book (Sapiro, 2018) has expanded on her earlier themes, whilst identifying the recuperation of certain 1930s’ fascist worldviews within contemporary literature. This article notes that there is a telling divergence between Bourdieu and Sapiro on the issue of interests behind disinterestedness, exemplified in the case of Zola. On this issue, Sapiro’s reading (Sapiro, 2011) is found convincing. Finally, the dialectic of avant-garde consecration and routinisation is questioned as a universal structure. It is suggested that certain avant-garde – the Harlem Renaissance, for example – did not undergo swift consecration or routinisation, although this contention deserves greater research. The paper concludes by showing that Sapiro’s conception of writers’ responsibility owes its origins less to Sartre than to the Durkheimian/ Bourdieusian notion of the expertise of the “specific intellectual”. It welcomes Sapiro’s concern for literature as a potential force for social change. (shrink)

Resumen: En la era del cientificismo, no es sorprendente revivir la visión realista de Lukács de la literatura. Aunque algunos estudiosos han criticado su visión holística, a juzgar por la preocupación por la realidad de la vida humana y la crítica de la realidad social, su visión realista de la literatura es exactamente lo que los tiempos necesitan. En el contexto del postmodernismo, cuando se critica su visión universal e ideológica del pueblo, se ignora la utilidad de esta visión universal (...) para lograr los efectos realistas de la crítica literaria basada en la visión universal irracional. Su "realismo" no es lo mismo que la "imitación" del realismo clásico, ni la "reproducción" del realismo crítico. La creación artística, incluida la literatura, no es solo una simple adhesión a la realidad social, sino un reflejo de la realidad social histórica general a través de prototipos. (shrink)

With references to the theoretical framework of Michel Foucault and Pierre Bourdieu, this book offers a critical investigation into such epic issues as the end of art and the inherent laws of literature's evolution, while conflating the two into one major argumentation. The book proceeds from Hegel's claim of "the end of art" to tackle the universal yet essential problem of literature: its legitimacy in a sociological sense. It invests Bourdieu's sociological terms -- power, capital, habitus, field, etc. into the (...) study of literature and art while taking on other theoretical enquiries, particularly the Marxist exploration into ideology, as well as aspects of economics and communication studies. This book will be a valuable resource for students and scholars of the sociology of literature, cultural studies, and those with specific interests in Chinese literature, literary and art theory. (shrink)

El presente trabajo se propone describir e interpretar, en una primera etapa, los mecanismos de canonización literaria de obra y autor en una comunidad cultural específica, la latinoamericana. El caso estudiado es el del escritor argentino Manuel Puig y su obra. La relación interactiva entre contexto cultural, institucionalidad y sistemas de significado social y valoración permite modelar una descripción e intento de explicación de las relaciones de significado entrañadas en la constitución de los repertorios literarios canonizados, sus criterios de selección, (...) su naturaleza ideológica y la manera en que las prácticas sociales asociadas a este proceso se constituyen por un número variable de prácticas discursivas. Para ello se analiza un conjunto ilustrativo de eventos comunicativos y sus instancias textuales, donde se articulan los cánones literarios y sus efectos culturales: posicionamiento, valoración estética, iconización de autor y de discurso, influencia profesional, tematización crítica y académica, entre otros. Se estudia, por tanto, un caso de integración canónica: la del escritor argentino Manuel Puig en el canon literario de habla hispana y el canon literario universal de fines de siglo y se establece un plano de interacción con los parámetros de construcción canónica de la generación previa, la del llamado “boom literario latinoamericano”. This paper aims to initially describe and interpret the mechanisms of work and author’s literary canonization in a specific cultural community, Latin America. The case studied is that of Argentine writer Manuel Puig and his work. The interactive relationship among cultural context, social institutions and systems of social and evaluation meaning allows a description and attempted explanation of the imbued meaning relations in the constitution of the canonized literary repertoires, their selection criteria, ideological nature and the way in which social practices associated with this process are formed by a variable number of discursive practices. To do this, we analyze an illustrative set of communicative events and their textual instances, through which the literary canon and cultural effects are articulated: positioning, aesthetic appreciation, author and discourse iconisation, and professional influence, critical and academic thematization, among others. Thus, we study a case of canonical integration by the Argentine writer Manuel Puig into Hispanic and universal literary canon at the end of the century, and set up an interaction with the parameters of canonical construction from the previous generation, the so-called “Latin American literary boom”. (shrink)

French existentialism is commonly regarded as the main impetus for the universal significance that Kafka gained in postwar France. A leading critic, Marthe Robert, has contended that this entailed an outright rejection of interest in the biographical, linguistic and historical dimension of Kafka's writing in order to interpret it as a general expression of the human condition. This article will consider this claim in the light of Sartre's original conceptualization of a dialectic of the universal and the particular in the (...) intercultural mediation of the work of art. The notion of a 'true universality' proposed by Sartre as a defence of Kafka during the 1962 Moscow Peace Conference will allow for a reassessment of Robert's criticism in a paradoxical reversal of terms: it is precisely the inevitable loss of context and the appropriation within one's own particular situation which allow the literary work to elucidate a foreign historical context and thereby gain a wider significance. Rather than a universal meaning of the work, Sartre's concept points to literature's potential to continually release specific meanings in new contexts. (shrink)

Recent literature on the Young Hegelians attests to a renewed appreciation of their philosophical and political significance. Important new studies have linked them to the literary and political currents of their time, traced the changing patterns of their relationships with early French socialism, and demonstrated the affinity of their thought with Hellenistic theories of self-consciousness. The conventional interpretative context, which focuses on the left-Hegelian critique of religion and the problem of the realisation of philosophy, has also been decisively challenged. (...) Ingrid Pepperle emphasizes instead the centrality of practical philosophy, notably Hegel's dialectic of objectification, arguing that Bruno Bauer in particular derives from this a doctrine of autonomy with politically revolutionary implications. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.3 (2006) 92-114 [Access article in PDF] A Global Art System: An Exploration of Current Literature on Visual Culture, and a Glimpse at the Universal Promethean Principle—with Unintended Oedipal Consequences Art Education 11-18: Meaning, Purpose And Direction, edited by Richard Hickman; New York, Continuum; 2nd edition, 2004; 176 pp. Global Visual Culture within a Global Art System I have harbored misgivings about the term (...) "visual culture" for several years. Having read Hickman's book with its collection of notable scholars in art and design education, those misgivings turned into qualified acceptance of "visual culture"—so long as it is understood as a global visual culture within a global art system. The ten chapters presented in Hickman's book clearly explore the notion of visual culture in the context of generating an expansive and appropriate canon of art distinctly relevant to our postmodern, multicultural, multidimensional classroom of multiple intelligences.1 And so, art and design education for the twenty-first century must perform three essential functions: one, it must color the classroom with signs of global human pictorial and textual expressions; two, it must attempt to comprehend an immeasurable universe through creative, scaled-down explorations of the phenomenal world all of humanity is subject to; and three, it must open up the Blakeian doors of perception,2 while remaining free of emotional, educational, social, political, or religious ideological bonds. In this light, Hickman's Art Education 11-18 (2004), is a must read for art and design educators currently bogged down in old curriculum, and a must read for educators who incorporate new pedagogical literature easily into their new curriculum. And I say must read because we are on the verge of a revolution in visual art history and education—immersed in it, struggling to make sense of our beloved classical canon of art, and struggling to come to grips with a strangely foreign, beautifully alien, semeiotic reality we call (vaguely) "visual culture." It is a visual culture and history from the north, east, and south. Not just from the west.Key innovative educational issues addressed in these chapters are (respectively) using the dynamic nature of art to expand the curricula (Richard Hickman); the collapse of cultural borders (Lesley Burgess and Nicholas [End Page 92] Addison); a balanced cultural history of the world (Colin Grigg); recognizing art and recognizing visual culture (Howard Hollands); a range of visual cultures and literacy (Darren Newbury); using computer technology as a pathway to a new art and visual culture (Andy Ash); critical study and analysis (Michele Tallack); hand-making as a universal link to nature and art (Rachel Mason); spirituality in the process of art creation (James Hall); and cross-cultural heritage toward a new canon of art (Hickman).I will review each chapter as it pertains to current literature exploring popular pedagogical terms like "visual culture," "postmodernism," "pluralism," and "radicalism" and (more importantly) as it fits into a global system of art and culture. In addition, I suggest another term ("cosmopolitanism"—to identify the viable gay and lesbian aesthetic and culture) not that they are necessarily different, but they are indeed relevant and operate from a fresh literary and historical perspective. Then, I will illustrate how a new, postmodern canon of art must be linked to global visual culture and art in order to expand the concept of visual culture. Thus, I see two tasks before me: the first task is to inventory the philosophy, pedagogy, and meanings within each of the ten chapters in Hickman's Art Education 11-18; and the second task is to integrate key pedagogical ideas highlighted in each chapter as a method of generating a meaningful, holistic, integrated direction for art and design education in the twenty-first century. Integrating Art and Design Education Art is a design process. All subject regimes, D. N. Perkins suggests, are a design process.3 This may seem too obvious now after all these years since the publication of Knowledge... (shrink)

Euclid in the Rainforest combines the literary with the mathematical to explore logic--the one indispensable tool in man's quest to understand the world. Mazur argues that logical reasoning is not purely robotic. At its most basic level, it is a creative process guided by our intuitions and beliefs about the world.

This lecture presents the text of the speech about the Alfredian project and its aftermath delivered by the author at the 2008 Sir Israel Gollancz Memorial Lecture held at the British Academy. It explains the details of King Alfred's programme of mass education and to deliver near-universal literacy in English, and evaluates the impact of Pastoral Care on English literature.

This work is typical of the cautious approach to metaphysical problems by the new breed of Oxonian analysts. Unlike Wittgenstein and his early followers, they do not believe metaphysics deals solely with pseudo-problems that will evaporate with a clearer understanding of how ordinary language functions. Rather they believe, as is the case with scientists evaluating various theoretical models, a cost/benefit analysis of the more meaningful solutions philosophers have given to important metaphysical problems will lead to a clarification of the merits (...) and weaknesses of each and hence lend some measure of probability to one's preferential options. This third approach by David Armstrong to the problem of universals falls in this literary genre. As a volume in the new "Focus Series," it is designed to provide case studies of this key philosophical problem for a special clientele or class of students--those advanced undergraduates or philosophy majors in schools where contemporary analytical writings in the Oxford tradition are still the basis of the curriculum. As such it is broader in scope than his two previous works, intended to introduce its readers to views other than his own. Since the neo-metaphysicians that draw their inspiration from Oxford are cautious about the lasting value of their work, still less will their writings be suitable for courses in the history of philosophy or useful for a core curriculum in schools where philosophical analysis is not the dominant orientation. But where that approach to philosophy still prevails, as at Armstrong's University of Sydney, or many other Anglo-American universities, this work will undoubtedly fill a needed gap not covered by other survey courses of a more general nature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Ancient Quarrel Revisited:Literary Theory and the Return to EthicsJoseph G. KronickThe modern quarrel between theory and practice, like the ancient one between philosophy and poetry, is at once a practical one—at its heart is the question how we should live—and a pedagogical one—who or what is the proper teacher of virtue? Today, the quarrel is between theory and literature rather than between philosophy and poetry, a change (...) that has not been beneficial. The modern complaint against the abstractions of theory reflects a diminution in the quality of the argument. For the ancient Greeks, to ask about the virtuous life was to inquire into what it is to be human, for aretê, which is typically translated as "virtue," but is understood to mean "excellence" or "goodness," meant acting in accordance with what it is to be fully human. 1 The notion that "real issues," as one prominent theorist argues, belong to the realm of action and epistemological and ontological questions to the abstract realm of theory is a simplification of the more serious question of the relation of particulars to universals. It reverses the Platonic and Aristotelian hierarchy that makes thinking the highest form of activity. But something else is going on in this call to action: in denigrating thinking as abstract, it elevates doxa, opinion, in its place. Under the regime of doxa, two things occur: philosophy and poetry are looked upon as useless because utility becomes the criteria for measuring value, and singularity is looked upon with disdain, if it is, indeed, acknowledged at all, because to the extent the world as it appears is common to us all, doxa is not distinct or individual but uniform or the same. Philosophy and poetry share not only the stigma of being deemed useless, but they are dismissed as odd, singular, not common.This essay is concerned with the status of the singular in philosophy [End Page 436] and poetry. The ancient quarrel has not been settled, which may indeed be a good thing because the quarrel keeps alive the question, who is to speak for that which cannot be spoken of, the singular? Silence may be the appropriate response, yet to preserve the experience of that which resists language is the task of philosophy and poetry, hence the quarrel. A long tradition has it that the philosopher seeks universals, while the poet offers particular images of virtue, but at the heart of this argument over ethics is the question of how to account for the singular or unique. To do so, I turn to Socrates, whose singularity remains unaccounted for to this day.Socrates may be said to embody the very problem of the relation between philosophy and literature, for he left us no writings and exists for us primarily through the writings of Plato. Yet there is widespread acceptance of Plato's portrait of him, particularly as to Socrates' method, the elenchus, and his principle of the priority of definitions. However, Socrates' insistence upon the priority of definition is not an example of the philosopher elevating theory over experience but a practical issue involving the care of the self. Furthermore, in ancient Greece, moral and philosophical questions concerning the soul were as much the provenance of poetry as they were of philosophy. The search for truth is a practical matter concerning the conduct of life, but the Platonic philosopher wishes to give a rational account, or logos, that would link conduct to knowledge, whereas the poet's examples are bound to their representations. Nevertheless, to presume that Socrates was seeking a definition of virtue on the grounds that possession of the definition would translate into a good life is an absurdity, for he could never have sought after the knowledge of virtue if his mode of life depended upon the definition rather than on his character. 2The error is to accuse Socrates of placing abstract knowledge before virtuous conduct. When Socrates asks for a definition of the beautiful, for instance, he does not reject the answer, "the beautiful is a beautiful woman," because it confuses a particular with a universal (when compared to the beauty of the gods, the woman is... (shrink)

Friedrich Nietzsche has emerged as one of the most important and influential modern philosophers. For several decades, the book series Monographien und Texte zur Nietzsche-Forschung (MTNF) has set the agenda in a rapidly growing and changing field of Nietzsche scholarship. The scope of the series is interdisciplinary and international in orientation reflects the entire spectrum of research on Nietzsche, from philosophy to literary studies and political theory. The series publishes monographs and edited volumes that undergo a strict peer-review process. (...) The book series is led by an international team of editors, whose work represents the full range of current Nietzsche scholarship. (shrink)

Literary scholars are generally suspicious of the concept of universals: there are presently no candidates for literary universals that a high proportion of literary scholars would accept as valid. This paper reports results from a content analysis of patterns of characterization in folktales from 48 culture areas, aimed at identifying patterns of characterization that apply across regions of the world and levels of cultural complexity. The search for these patterns was guided by evolutionary theory and (...) the findings are consistent with previous research on patterns of altruism, sex differences in mate preferences, sex differences in reproductive strategy, and differing emphases on male and female physical attractiveness. World literature, especially originally oral literature, represents a vast and neglected repository of information that researchers can use to more precisely map the contours of human nature. (shrink)

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

Literary Nonfiction. Translated from the German by Michael Eskin. Graced with lyricism, THE WAITING GAME is an engaging meditation on the ways in which human beings are forced—and choose—to mark time, from earliest childhood to the final moments of life. This is an unsparing, yet often poetic, essay on the ordeals and pleasures inherent in the universal experience of waiting.

In 1966, Laura Bohannan wrote her classic essay challenging the supposition that great literary works speak to universal human concerns and conditions and, by extension, that human nature is the same everywhere. Her evidence: the Tiv of West Africa interpret Hamlet differently from Westerners. While Bohannan’s essay implies that cognitive universality and cultural variation are mutually exclusive phenomena, adaptationist theory suggests otherwise. Adaptive problems ("the human condition") and cognitive adaptations ("human nature") are constant across cultures. What differs between cultures (...) is habitat: owing to environmental variation, the means and information relevant to solving adaptive problems differ from place to place. Thus, we find differences between cultures not because human minds differ in design but largely because human habitats differ in resources and history. On this view, we would expect world literature to express both human universals and cultural particularities. Specifically, we should expect to find literary universality at the macro level (e.g., adaptive problems, cognitive adaptations) and literary variation at the micro level (e.g., local solutions to adaptive problems). (shrink)

With a new foreword by Jonathan Lear 'Remarkably lively and enjoyable…It is a very rich book, containing excellent descriptions of a variety of moral theories, and innumerable and often witty observations on topics encountered on the way.' -_ Times Literary Supplement_ Bernard Williams was one of the greatest philosophers of his generation. Ethics and the Limits of Philosophy is not only widely acknowledged to be his most important book, but also hailed a contemporary classic of moral philosophy. Drawing on (...) the ideas of the Greek philosophers, Williams reorients ethics away from a preoccupation with universal moral theories towards ‘truth, truthfulness and the meaning of an individual life’. He explores and reflects upon the most difficult problems in contemporary philosophy and identifies new ideas about central issues such as relativism, objectivity and the possibility of ethical knowledge. This edition also includes a commentary on the text by A.W.Moore. At the time of his death in 2003, Bernard Williams was hailed by the Times as 'the outstanding moral philosopher of his age.' He taught at the Universities of Cambridge, Berkeley and Oxford and is the author of many influential books, including _Morality; Descartes: The Project of Pure Enquiry_ and _Truth and Truthfulness_. (shrink)

This paper addresses the question of how literary and philosophical thinking can converge in experience of a literary work. Peter Lamarque and Stein Haugom Olsen, in Truth, Fiction, and Literature, dispute this possibility. I respond to their view with particular attention to their account of thematic interpretation. Thematic interpretation is presented here as involving thought about the reasons behind a work’s use of its content and other features. Those reasons have an implicit generality that allows us to move (...) from literary specificity to general, philosophically significant understanding. Philosophy’s need for the kind of thinking supported by literature, exploring patterns, priorities and less than universal claims, is defended. George Eliot’s novel Middlemarch and Lydia Davis’s story ‘Ethics’ provide illustrations of the issues. (shrink)

Japanese philosopher and literary critic, Kōjin Karatani, introduces a ‘third position’ that seeks to correct the limitations of post-modern thought and the problems of global capitalism. By restoring Kant’s ‘transcendental’ as the methodological basis for capturing the structural interstice between different theoretical positions, Karatani’s ‘third position’ allows for a re-introduction of Marxism in addressing the circulation of the capital-nation-state trifecta and its relationship to ideological superstructures operating within a closed discursive space. Many years earlier, Nishida Kitarō, the father of (...) the Kyoto School, had also developed a ‘third position,’ except that this standpoint seeks to overcome the cultural-philosophical logics of ‘Eastern’ and ‘Western’ thought. As Nishida claims, Western epistemologies cannot be converted into universal standpoints because they fail to make visible the conditions that both precede and structure contradictory categories. In this paper, I will discuss and evaluate the strengths and weaknesses of Nishida’s and Karatani’s standpoint of the ‘third.’. (shrink)

A powerful work of moral and political philosophy.The idea which I shall present here came to me more or less out of the blue. I was on a train some five years ago, on my way to spend a day at Headingley and I was reading a book about the death camp at Sobibor... The particular, not very appropriate, conjunction involved for me in this train journey... had the effect of fixing my thoughts on one of the more dreadful features (...) of human coexistence, when in the shape of a simple five-word phrase the idea occurred to me. In The Contract of Mutual Indifference, Norman Geras discusses a central aspect of the experience of the Holocaust with a view to exploring its most important contemporary implications. In a bold and powerful synthesis of memorial, literary record, historical reflection and political theory, he focuses on the figure of the bystander -- the bystander to the destruction of the Jews of Europe and the bystander to more recent atrocities -- to consider the moral consequences of looking on without active response at persecution and great suffering. Geras argues that the tragedy of European Jewry, so widely pondered by historians, social scientists, psychologists, theologians and others, has not yet found its proper reflection within political philosophy. Attempting to fill the gap, he adapts an old idea from within that tradition of enquiry, the idea of the social contract, to the task of thinking about the triangular relation between perpetrators, victims and bystanders, and draws a somber conclusion from it. Geras goes on to ask how far this conclusion may be offset by the hypothesis of a universal duty to bring aid. The Contract of Mutual Indifference is an original and challenging work, aimed at the complacent abstraction of much contemporary theory. It is supplemented by three shorter essays on the implications of the Jewish catastrophe for conceptions of human nature and progress and for certain types of Marxist explanation. (shrink)

Inspired by Friedrich Nietzsche's idea of philology and William Gass's concept of transreading, Huiwen (Helen) Zhang employs “transreader” to suggest the integration of four roles in one: reader, translator, writer, and scholar. “Transreader” recognizes that close reading, literary translation, creative writing, and cultural hermeneutics are interdependent activities with intertwined goals: to transfer, transvalue, transform, and transcend the canon. From this perspective, Lu Xun, China's Nietzsche, is a twentieth-century transreader of the canon, and his prose poem “Revenge (The Second)” delivers (...) a self-referential ethics of transreading. Zhang's transreading of this poem shows why slow reading is today more necessary than ever, in what sense translation is a universal dilemma, how humanity grows when its expression grows more subtle, and that transreading opens a space for genuine communication. (shrink)

The use of "theory" in feminist analysis has been said to threaten feminism as a political force. This collection of work by leading feminist scholars engages with the question of the political status of poststructuralism theory within feminism. Against the view that the use of post-structuralism necessarily weakens feminism, 'Feminists Theorize the Political' affirms the contemporary debate over theory as politically rich and consequential. In laying the theoretical groundwork for the volume, Butler and Scott posed a number of questions to (...) prominent legal scholars, literary critics, philosophers, political theorists, historians, and cultural theorists. The essays do not settle the questions but generate new and productive directions for them. The volume as a whole valorizes the unsettling power and politics of theory. The essays in 'Feminists Theorize the Political' speak to the questions that emerge from the convergence of feminism and poststructuralism: What happens to feminist critique when traditional foundations--experience, history, universal norms--are called into question? Can feminist theory problematize the notion of the subject without losing its political effectivity? Which version of the subject is to questioned, and how does that questioning open up possibilities for reformulating agency, power, and sites of political resistance? What are the consequences of a specifically feminist reformulation of difference? What are the uses and limits of a poststructuralist critique of binary logic for the theorization of racial and class differences, the position of the subaltern? This anthology represents a diverse array of theoretical work within feminist theory with strong political stakes. Although not all of the authors subscribe to poststructuralism, (and few would concede post-structuralism is a monolithic enterprise), each offers an innovative feminist analysis that is in some way motivated in and by the poststructuralist challenge. 'Feminists Theorize The Political' addresses a range of feminist concerns, including productive freedom, anti-discrimination law, rape, and formulating power in terms of exclusion, difference and hierarchy. (shrink)

With a new foreword by Jonathan Lear 'Remarkably lively and enjoyable…It is a very rich book, containing excellent descriptions of a variety of moral theories, and innumerable and often witty observations on topics encountered on the way.' -_ Times Literary Supplement_ Bernard Williams was one of the greatest philosophers of his generation. Ethics and the Limits of Philosophy is not only widely acknowledged to be his most important book, but also hailed a contemporary classic of moral philosophy. Drawing on (...) the ideas of the Greek philosophers, Williams reorients ethics away from a preoccupation with universal moral theories towards ‘truth, truthfulness and the meaning of an individual life’. He explores and reflects upon the most difficult problems in contemporary philosophy and identifies new ideas about central issues such as relativism, objectivity and the possibility of ethical knowledge. This edition also includes a commentary on the text by A.W.Moore. At the time of his death in 2003, Bernard Williams was hailed by the Times as 'the outstanding moral philosopher of his age.' He taught at the Universities of Cambridge, Berkeley and Oxford and is the author of many influential books, including _Morality; Descartes: The Project of Pure Enquiry_ and _Truth and Truthfulness_. (shrink)

The essays in this collection all treat in some way the conservative’s vision of society as it is variously manifested in literary art, its scholarship, and its transmission through classical modes of liberal learning. Responding in part to the postmodernist turn in literary study, Literature and the Conservative Ideal examines the ways in which conservatism has been depicted in literature, as well as how its tendencies might restore literature’s potential as an artistic reflection of the universal human condition.

In lieu of an abstract, here is a brief excerpt of the content:TOWARD A GENERAL THEORY OF FICTION by James D. Parsons When nelson Goodman writes, "All fiction is literal, literary falsehood," he seems to be disregarding at least one noteworthy tradition.1 The tradition I have in mind includes works by Jeremy Bendiam, Hans Vaihinger, Tobias Dantzig, Wallace Stevens, and a host ofother writers in many fields who have been laboring for more man two centuries to clear the ground (...) for a general theory of fiction. Such a general dieory would, if its exponents are right about its relevemce, be situated at the very heart of die law, literature, religion, science, mathematics — in fact, of humem life itself. Fiction dien would be no neirrow litereiry falsehood, but a kind of pressure, eis Wedlace Stevens said, which die imagination exerts "against die pressure of reality," and which "helps us to live our lives,"2 or, in Hans Vaihingens metaphor, "a scaffolding afterwards to be demolished" 3 — that is, elfter it heis served its constructive purpose. A fiction is a vitally useful creation of die mind corresponding to nothing in the real world. Most people eire aware of some of these fictions, from the perfect geometric figures of Euclid to the black box of contemporary axiomatics. There are many odiers. The notion diat all human beings are equal before die law is a fiction that can serve opposing purposes: it can work as an instrument for securing greater justice in the courts and in society, or it can function as ceimouflage, helping to perpetuate em unjust legal system and em oppressive social order — emd probably in any actual situation it serves both purposes at once. In die science of mechanics the idea of a pure vacuum, in which moving objects meet with no resistance, was for some centuries a useful fiction diat made possible the exact mathematiced analysis of motion in memy forms — another useful fiction. The notion of normality in psychology — mat diere is a universal standard of reference for human behavior — is stdl utilized by clinical and laboratory workers in the field, in spite of the metssive sociological emd ethnographic criticisms that have been leveled against it. In science generally, the idea that 92 James D. Parsons93 diere is a community of experts who by dieir combined influence decide what the trudi is in every field is a fiction diat seems to have come to the end of its usefulness, diough some philosophers have written about it as if it were a reality and not a fiction at edl. The fictions I have cited so far are none of them literary, nor être diey fedse in the ordinetry meaning of the word. They are simply not true; they describe nothing mat exists, except in die mind, emd cem be considered false only if one forgets what they eire emd tries, illegitimately, to apply tests of trudi to them in a direct way. Among the fictions mat might be called literary are the fictions derived from mydis. Now, a myth is a story told in answer to a question or a series of questions that has never been asked, eidier about the real world or (most likely) about the perennial performance of a ritual. The mydi is designed to forestall the questioning, because the questions that might be raised would be too embarrassing or because questions about some aspects of reality ceuinot be formulated without distorting our relation to them. These are the aspects of reedity that can be viewed only out of die corner of the eye, that disappear when we focus our gaze upon diem, and mat can be identified only indirectly.4 The more explicitly fictional devices, too, of poetry, drama, and the novel develop out of the attempt to achieve some sort of cognizeuice of the seune aspects of reality that are related in mydis. I do not meetn to imply that literature, of which mydi is a part, is concerned only with such disconcerting or evanescent aspects of reality. Literature, like all the great realms of culture, is concerned with the whole of reality. It has to be, omerwise its more passionate, its more ediereed concerns would have no lodging place, no environment in which to maintain... (shrink)

Stelios Virvidakis | : Dans cet article, je me pose la question de l’emploi du concept de vérité par la critique littéraire et je me concentre sur la théorie : « pas de vérité en littérature », élaborée par Peter Lamarque et Stein Haughom Olsen. Je tâche de développer et d’approfondir certaines critiques de leurs thèses et arguments, afin d’en proposer une évaluation d’ensemble. Je conclus que le problème principal avec Lamarque et Olsen est qu’ils veulent exclure toute considération de (...) vérité en littérature — endossant ainsi une conception de la création littéraire plus ou moins expressiviste — tout en sauvegardant la reconnaissance de la vérité de nos croyances concernant une série de notions de ce qui est d’intérêt humain et des valeurs universelles non formelles. Leur approche risque ainsi de sombrer dans l’incohérence. | : The article deals with possible uses of the concept of truth in literary criticism and focuses on the « no truth » philosophical theory of literature elaborated by Peter Lamarque et Stein Haughom Olsen. I draw on certain objections to their basic theses and arguments, which have been already put forth by various critics, trying to develop and refine them, with a view to proposing a more general evaluation. I conclude that the main problem with Lamarque and Olsen is that they want to eschew all considerations of truth in literature — endorsing a more or less expressivist conception of literary creation —, while, at the same time retaining the recognition of the truth of beliefs concerning what is of importance to human beings and notions of universal, non formal values. Such a stance threatens the coherence of their approach. (shrink)

Many of the theories that have been discussed in recent years are distrustful of the anthropological inroads or are openly hostile to them. The problems of the environment, global politics, and the discoveries of biology and medicine create a rich foundation for such attitudes. They are also manifested in the genres of comments that emanate from the domains of rigorous theory and science into the zones of unprovable projections, forecasts, and programs. Perhaps only media philosophy still dares to talk about (...) the need for media anthropology. Yet how is it possible to try to determine what is human in such conditions—among conglomerations of particles (Whitehead-Latour) and entanglements (Barad), in the indiscernibility of the organic and the inorganic? What language can one still use to discuss it—the language of psychoanalytic loss, of scientific impartiality, of literary fiction? Through what concepts can one lay out the path—of function, of environment, of system? This article provides a brief summary of the selection of articles included in the present special issue. The authors of these articles attempt to talk about the human by unleashing this concept in their own way from a cosmic and universal perspective. (shrink)

pThis article seeks to demonstrate how a dialogue between literary theorist and psychoanalyst François Flahault and Kyoto School philosopher Nishida Kitarō can be mutually beneficial in the service of building an account of good and evil that contributes to discourses in ethics. Although Flahault and Nishida share a similar commitment to disrupt the dichotomy between good and evil in the effort to liberate subjectivity, they diverge in terms of how their accounts relate subjectivity to the processes of social history. (...) As this article will discuss, the significance of their divergence, however, elucidates the strengths and limits of their approaches to the victim-victimizer duality that is implied within the problem of good and evil. Such a divergence also points to a potential space of synthesis and mutual enrichment as well: namely, on the side of championing Nishida’s contradictory logic and Flahault’s emphasis on the contextual demands and problems of social history. That is to say, within the dialogical encounter between Flahault and Nishida, as the present article suggests, is the potentiality to develop a universal conception of the common good that is contradictorily linked to the subjective interior where such provides a critical resource for a deeper engagement with the victim-victimizer duality./p. (shrink)

Situated in the larger collection of Psalms 51-72, also known as the second Davidic Psalter, the smaller group of Psalms 65-68 is found. This smaller collection of psalms can be classified mostly as psalms of praise and thanksgiving. The relation and compositional work in this cluster of psalms become apparent on many points in the pious expressions between groups and persons at prayer, especially in the universal praise of God, and in the imagery referring to the exodus, the Jerusalem cult (...) and blessing. Such piety becomes most discernible in the imagery and expressions in Psalm 66. The psalm's two main sections may be described as praise, with verses 1-12 being praise by the group or the 'we', and verses 13-20 being praise by the individual or the 'I'. Personal or individual piety and private piety are expressed by the desire of the 'we' and the 'I', and the experienced immediacy to God by transposing the past into the present through the memory of the exodus narrative, the Jerusalem cultic imagery and the use of body imagery. In this research article, an understanding of piety in Psalm 66 in terms of the memory of past events and body imagery is discussed from a perspective of space and appropriated for a time of pandemic where normal or traditional ecclesiological formal practices cannot take place. CONTRIBUTION: This article makes an interdisciplinary contribution based on knowledge from the Psalms in the Old Testament, social anthropology, literary spatial theories and practical theological perspectives on the church in order to contribute to the relevance and practice of theology today, during a time of turmoil and a global pandemic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetoric and PhilosophyMartin WarnerPeter Ramus continues to muddy the waters where philosophers meet rhetoric. Aristotle defined rhetoric in terms of the modes of persuasion as an independent discipline, the counterpart of dialectic. Ramus’s sixteenth century revision of the intellectual map reclassified it as at best an adjunct of dialectic, to be conceived in terms of elocutio and pronunciatio, an approach that in the English-speaking world led to its reduction (...) to mere ornamentation—the application of figures and tropes—opening the way to Stoppard’s (anachronistic) debasement: 1Guildenstern: What in God’s name is going on?Rosencrantz: Foul! No rhetoric. Two-one.Both approaches are current, which makes for confusion. Two characteristic examples will suffice. The approach to rhetoric of Jeff Mason’s Philosophical Rhetoric is broadly Aristotelian but Roger Crisp’s review criticizes the book on the ground that “some philosophers just do not employ rhetorical techniques,” techniques which are broadly identified with the figures and tropes. Similarly, my own introduction to The Bible as Rhetoric opens by defining rhetoric in Aristotelian terms, but the Times Literary Supplement reviewer—evidently a closet Ramist—takes one of my contributors to task for using the word “rhetoric” in his title but providing “very little in the way of an examination of... linguistic features.” 2These examples illustrate the way two main conceptions of rhetoric appear to be at play when philosophers discuss the topic; one is concerned with the means of persuasion, the other with qualities of [End Page 106] style. Of course these cannot always easily be separated, for it may be that certain qualities of style figure prominently among the available means of persuasion, but a useful test of the conception an individual has of the topic may be judged by how he or she reacts to the (deliberately provocative) opening sentence of my introduction to The Bible as Rhetoric: “Rational argument is one of the most effective rhetorical modes we know.” Mason’s conception of the “plain style” of the philosophical logicians as rhetorical style fits this Aristotelian approach well, but for the more Ramist Crisp such examples are “unlikely candidates” for rhetorical status and Mason’s conception “forced.” So it may be as well to consider contemporary work on the philosophy/rhetoric borderline under two heads: the Ramist and the Aristotelian. But that borderline itself invites a further distinguo; philosophical analysis of rhetoric and rhetorical analysis of philosophy, though this distinction, too, is not absolute. This gives us a convenient set of quadrants, so for expository purposes I shall consider the contemporary relations between rhetoric and philosophy under four main heads.First, philosophical analysis of “rhetoric” understood in a stylistic or Ramist sense. Here the most significant work has been on metaphor, conceived as a “trope,” and related rhetorical devices. Whereas with “figures” the meaning of each individual word remains the same inside the figure as outside it, with the trope the matter is different. Quintilian defined a “trope” (or “turn”) as “the artistic alteration of a word or phrase from its proper meaning (significatione) to another,” 3 which suggests that use can determine meaning—and with this claim we are at the heart of a philosophical storm centre.It is conventional to distinguish between syntax (the study of formal relationships between expressions), semantics (in the narrower sense, as the study of the relations between linguistic items and the non-linguistic items to which they typically apply), and pragmatics (the study of the relations between linguistic expressions and the use or users of these expressions). One very powerful strand in contemporary philosophy of language sees matters concerning meaning and truth as analyzable in terms of the first two categories without any essential reference to linguistic use or users. Behind this lies a history going back at least to the Enlightenment project of a universal language or “character” in which each word would relate to a different idea and the syntax be transparent; Leibniz’s logical work was in part intended as a contribution to the syntax of the universal character, and although the semantics proved intractable, the logical positivist movement—with post-Leibnizian [End Page 107] logical syntax providing the framework within which... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:POETRY AS THE NAMING OF THE GODS by Phyllis Zagano There have been many attempts to define poetry, and there is copious advice to would-be poets. Horace writes somewhere "Sit quod vis, simplex dumtaxat et unum" which can be comfortably rendered as "make anything at all, so long as it hangs together." The hanging together is the quality most writers point to as evidence of success: simply, it works. (...) What poetry does is the more complex question, since it is the understanding of its internal kinesis which allows for its definition. Essentially, it takes an object from objective reality (insofar as we can agree such exists) and creates an oxymoronic entity: a static consciousness. This is always seen in phenomenological terms, that is, it must be consciousness of something. The poet recognizes this in deference to the common consciousness and the common understanding of the everyday, by the use of metaphor, simile, and the other accouterments of the trade. Things must be as they appear, and they must be as they appear to some majority of the people, in order for the poet to argue his private vision with clarity. The analogy must have some common ground before it has meaning, before the "naming" takes place. For Martin Heidegger the activity of creating poetry, dichten, is not only an indispensable part of human life, it signals the humanness of the person. He has two principal essays on poetry which show how this activity ofdichten combines his concepts Dasein and Vorhandenheit (despite his later abandonment of Dasein for Lichtung). Heidegger's essay, "Hölderlin and the Essence of Poetry," seeks to determine what is common to poetry, that is, what constitutes its essence. 340 Phyllis Zagano341 Another ofhis essays, "What are Poets For?" begins where the first ends (with considerations of Friedrich Hölderlin's "Bread and Wine"). Each essay comments on specific poems and somewhat imperfectly attempts a poetic theory in consonance with the rest of Heidegger's work. Since "Hölderlin and the Essence of Poetry" concentrates more on poetic theory than "What are Poets For?," investigation of it will prove more helpful in understanding and appropriating Heidegger's contention that "The writing of poetry is the fundamental naming of the Gods____"· In his "Letter on Humanism," Heidegger calls language the "House of Being," while man is the "Shepherd of Being." This understanding ofthe function oflanguage and the methodweuse tocreateand recreate ourselves and our world recurs often in Heidegger's work. The essay, "Hölderlin and the Essence of Poetry," stands as a seeking after what is common to poetry and, while Heidegger recognizes that Hölderlin's work is "only one among many others" (p. 294) and therefore cannot be used as the sole criterion to determine what constitutes poetry, he says that if what we recognize as the "essence of poetry" is present in a universal concept, then it ought to be able to be extrapolated from Hölderlin's poetry as well as from that of any other poet. What constitutes the "essence" of poetry, Heidegger argues, ought to be equally valid in every poem, but it is perhaps well to remind him that what ought to be equally valid in every poem is only equally valid in every poem which "hangs together," that is, every poem which performs its function as poem. Such insistence is ofcourse mere definition of terms, but in this case, without prior argument on the metaphysics of art, it is necessary. In any event, Heidegger concludes that the essence of Hölderlin's poetry is the "essence ofpoetry" itself (p. 294), and that what is common to poetry is found in it. While some critics might argue that Heidegger makes too much of Hölderlin here, the more dangerous weakness in this method of argumentation is the possibility that an idiosyncrasy might be mistaken for an essential element or, more probably, that too much will be generalized from this particular example or set of examples. The trained literary critic can cast a cold eye on such magnification of a single poet as the presenter of both form and content for the meaning of the "essence of poetry." In fact, it... (shrink)

In this guest column, Epstein offers “a new sign” that, he argues, resolves difficulties that have arisen in many theories and practices, including linguistics, semiotics, literary theory, poetics, aesthetics, ecology, ecophilology, eco-ethics, metaphysics, theology, psychology, and phenomenology. The new sign, a pair of quotation marks around a blank space, signfies the absence of any sign. Most generally, “ ” relates to the blank space that surrounds and underlies a text; by locating “ ” within the text, the margins are (...) brought inside and can become the focus of attention. Not only the margins but also the material background of a text (the page or screen) can be brought forward and focused on through the transparency of the sign “ ”, in which case “ ” becomes a sign of itself. Consubstantial with its medium, therefore, this sign is both relative and universal: “ ” is the same everywhere, on every surface, in every language, and also in the arts. Epstein analyzes works by Rauschenberg, Malevich, Ilya Kabakov, and Vasilisk Gdenov in the visual arts, as well as music by John Cage, to demonstrate the usefulness of his new sign for aesthetics and art criticism. Each discipline, he argues, has its own nonspeakable conditions and assumptions that it needs to bring inside disciplinary frontiers. At the frontier of language, “ ” is both inside and outside, and therefore can express the nonspeakable condition of speakability. In concluding, Epstein suggests that the task of the avant-garde in theory today is to develop a “negative semiotics”: a semiotics of nonsigns, modeled on negative (apophatic) theology. (shrink)