Modernism has been a celebration of the present. Why does it need a legacy ? Why should that which was born in the spirit of rebellion perpetuate itself as tomorrow’s past? Modernism has been profoundly reflective of late nineteenth- and twentieth-century cultural values. Is that not enough? It is not that modernism has forgotten the past—an art that rebels against its past must understand its adversary—but rather that it asks us not to forget the present. The revolt (...) of modernism was made possible, if not inevitable, by the rediscovery of the past. In earlier, eras, when the past was less readily accessible, artists worked for their present with little thought about their heritage. Renaissance composers, for example, generally knew little of music even two generations old; much medieval music theory and composition were based on misconceptions of Greek models. Yet by the nineteenth century, works from the past were available and understood. Virtually all composers agreed with Johannes Brahms, who reputedly said of Ludwig van Beethoven, “You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us.” Historical consciousness had entered the arts, and artists were both threatened by competition with the past and seduced by the powerful idea that their works might outlive them. The Romantic artist became a genius speaking to posterity. Gustav Mahler was not the only Romanticist to pin his hopes on the future: “My time will yet come.” Small wonder that, once the future came to be, its artists rebelled against pronouncements from their past—the time rightfully belonged to them and no longer to Mahler’s generation. While many twentieth-century artists continued to create for their future, the most extreme modernists rejected not only their past but also the quest for immortality. They have written of their day and for their day. The real legacy of modernism is that it has no legacy. Jonathan D. Kramer is professor of music theory and composition at the College-Conservatory of Music at the University of Cincinnati and also program annotator and new music advisor of the Cincinnati Symphony Orchestra. He is currently working on Time and the Meanings of Music . His previous contribution to Critical Inquiry, “New Temporalities in Music,” appeared in Spring 1981. (shrink)

On method, discursive logics, and epistemology -- Questions of medieval discursive practice -- From the middle ages to the (w)hole of Utopia -- Kepler, his Dream, and the analysis and pattern of thought -- Campanella and Bacon: concerning structures of mind -- The masculine birth of time -- Cyrano and the experimental discourse -- The myth of sun and moon -- The difficulty of writing -- Crusoe rights his story -- Gulliver's critique of Euclid -- Emergence, consolidation, and dominance (...) of a discourse. (shrink)

The history of the environmental philosophy carries with it the effort to overcome the medieval anthropocentric morality. Here, nature is seen from the instrumental value which they give. The instrumental value here shows the existence of things as important only as they are useful to man. The contemporary environmental ethics bring a novelty showing these environmental bodies as possessing an intrinsic value showing that they have an ethical value. The medieval ethical system which denies intrinsic value to the (...) environment and thus posits man as being at the center of any moral system leads to the over possession of the environment by man. This over possession by man has led to the destruction of environment by man who exploits the environment in his service. This work looks at the African scenario which seems to be facing more environmental degradation in the contemporary times. The reason for this is surmised by this paper as a damaging evolution of the African history from traditionalism which seems to respect the environment to modernism which demystifies the mysteries accorded the environment and hence putting the environment into excessive use through some actions like deforestation, burning of fossil fuels and so on. This paper suggests a crusade against these damaging effects of modernism for a better preservation of the environment. (shrink)

Zubiri presents a critique of modernism and return to phenomena in primordial apprehension. Only 'notes' are apprehended; as real they need to be repossessed by logos or reason, related to other notes in the field or unified as the world. Zubiri seeks to overcome the dualism of sensing and knowing and introducing transcendent objects. His target extends to ancient and medieval philosophy, charged with introducing the problem. So he reads Plato's Sophist as positing being, known independent of the (...) senses, and the genera, derived deductively from being. This misreads Plato, reducing him to Parmenides. Rereading Plato, using Zubiri's scheme, reveals 'primordial apprehension' in the Theaetetus, with logos and reason in the Sophist. Like Zubiri, Plato's goal is to reconnect language and reality as apprehended. Unlike Zubiri, Plato sees communication as human dialogue, not just a feature of apprehended 'notes.' /// A apreensão primordial de Zubiri constitui uma crítica posmoderna e um retorno ao fenómeno. Segundo ele, o que se apreende são apenas 'notas'; estas, porém, exigem ser reassumidas pelo logos ou pela razão, encontrando-se sempre em relação com outras no campo que lhes é próprio ou unificadas enquanto mundo. Zubiri pretende sobretudo superar o dualismo entre sentimento e inteligência associado com a introdução de objectos transcendentais. A sua crítica extende-se à filosofia antiga e medieval, pois que, segundo ele, aqui se iniciou esta problemática da transcendentali-dade. Zubiri lê o Sofista precisamente como se Platão procedesse aqui a uma afirmação do ser, conhecido independentemente dos sentidos, e dos géneros, dedutivamente derivados do ser. O artigo pretende mostrar ser esta uma falsa interpretação de Platão, reduzindo-o a Parménides e, por isso, sugere uma releitura de Platão, baseada num esquema zubiriano, de modo a se poder discernir seja a noção de "apreensão primordial" no Teeteto ou de logos e razão no Sofista. Finalmente, mostra ainda como, tal como Zubiri, a meta de Platão está no estabelecimento de uma conexão entre a linguagem e a realidade apreendida. Ao mesmo tempo, porém, mostra como, ao contrário de Zubiri, a comunicação em Platão é vista como um verdadeiro diálogo humano e não apenas como aspecto de uma simples 'nota.'. (shrink)

Some recent version of mysticism -- Empty epiphanies in modernist and postmodernist theory -- The gender of human togetherness -- Histories of modern selfhood -- Meister Eckhart's anthropology -- Becoming God in fourteenth-century Europe -- The makings of the modern self -- Taking leave of Sigmund Freud -- Everyday acknowledgments.

The delusory quest for disembodiment, against which the quest for re-embodiment is reacting, is characteristic of macroparasites who live off the work, products and lives of others. The quest for disembodiment that characterizes modernism and postmodernism, it is argued, echoes in a more extreme form the delusions on which medieval civilization was based where the military aristocracy and the clergy, defining themselves through the ideal forms of Neo-Platonic Christianity, despised nature, the peasantry and in the case of the (...) clergy, women. This argument is used to expose and reveal the oppressive and ecologically destructive drive underlying the aspirations of the dominant classes in the modern/postmodern world to disembodiment, whether this be seen as the quest to be unbounded by time and place, to be free of dependence on labour and natural resources, to be free of the humdrum of everyday life by entering ‘virtual’ worlds, or, as with post-humanists, to overcome the limits of the body by fusing with technology. These modern and postmodern forms of the quest for disembodiment, it is suggested, now threaten civilization, the future of humanity and most terrestrial life. This analysis is used to clarify the liberating mission of the grand narrative for re-embodiment, exemplified by the quest for Inclusive Democracy, Earth Democracy, Ecological Civilization, or for an Ecozoic Age. The grand narrative of the Age of Re-embodiments is shown to be inseparable from the struggle for truth, justice and liberty as central to real democracy empowering people to augment rather than undermine the conditions for life. (shrink)

Taking into account Jones’s adoption of principles of modernist poetics—juxtaposition, allusion, and parataxis, all geared “to create newness”—this essay examines the theological ramifications for the poet’s breaking down, in his semi-autobiographical World War I poem, of modernist order and control. Jones unravels modernist aesthetics, conveying their inadequacy to the brutal realities of war. A space for religious belief appears through this process, but one not of heightened understanding; instead it is a via negativa, an unknowing, consonant with ideas from (...) class='Hi'>medieval mysticism but applied to the modern Waste Land. This pattern is borne out in Jones’s handling of the medieval trope of “misadventure,” his references to Eliot, his play on the word “line,” and his development of the concept of “parenthesis.”. (shrink)

Alexej Remizov is usually regarded by literary critics as a Symbolist rather than a Futurist writer. However, I would posit that Remizov similarly to the Futurists viewed language as “logos,” bozhestvennii glagol. According to the mystical interpretation of the famous words “At the beginning there was Word and the Word was with God and the Word was God”, when God was creating the world he named the objects, and these abstract names became a force for the appearance of an object (...) in physical reality. In the light of these words, The Medieval mystical and magical philosophers claimed that one could restore the divine language of Creation, possess the ability to create objects anew, and thereby become Creator himself. One can argue that a major goal of Remizov was similar to that of hisMedieval predecessors: to reveal the mystical power of language in order to create, not to describe reality. The paper analyzes three chapters from Alexej Remizov’s Rossiya v pis’menah, a book which can be read as a manifesto of Remizov’s attitude toward language and reality, and discuss possible sourcesthat might have influenced Remizov in his attitude towards language. (shrink)

Alexej Remizov is usually regarded by literary critics as a Symbolist rather than a Futurist writer. However, I would posit that Remizov similarly to the Futurists viewed language as “logos,” bozhestvennii glagol. According to the mystical interpretation of the famous words “At the beginning there was Word and the Word was with God and the Word was God”, when God was creating the world he named the objects, and these abstract names became a force for the appearance of an object (...) in physical reality. In the light of these words, The Medieval mystical and magical philosophers claimed that one could restore the divine language of Creation, possess the ability to create objects anew, and thereby become Creator himself. One can argue that a major goal of Remizov was similar to that of hisMedieval predecessors: to reveal the mystical power of language in order to create, not to describe reality. The paper analyzes three chapters from Alexej Remizov’s Rossiya v pis’menah, a book which can be read as a manifesto of Remizov’s attitude toward language and reality, and discuss possible sourcesthat might have influenced Remizov in his attitude towards language. (shrink)

Alexej Remizov is usually regarded by literary critics as a Symbolist rather than a Futurist writer. However, I would posit that Remizov similarly to the Futurists viewed language as “logos,” bozhestvennii glagol. According to the mystical interpretation of the famous words “At the beginning there was Word and the Word was with God and the Word was God”, when God was creating the world he named the objects, and these abstract names became a force for the appearance of an object (...) in physical reality. In the light of these words, The Medieval mystical and magical philosophers claimed that one could restore the divine language of Creation, possess the ability to create objects anew, and thereby become Creator himself. One can argue that a major goal of Remizov was similar to that of hisMedieval predecessors: to reveal the mystical power of language in order to create, not to describe reality. The paper analyzes three chapters from Alexej Remizov’s Rossiya v pis’menah, a book which can be read as a manifesto of Remizov’s attitude toward language and reality, and discuss possible sourcesthat might have influenced Remizov in his attitude towards language. (shrink)

Alexej Remizov is usually regarded by literary critics as a Symbolist rather than a Futurist writer. However, I would posit that Remizov similarly to the Futurists viewed language as “logos,” bozhestvennii glagol. According to the mystical interpretation of the famous words “At the beginning there was Word and the Word was with God and the Word was God”, when God was creating the world he named the objects, and these abstract names became a force for the appearance of an object (...) in physical reality. In the light of these words, The Medieval mystical and magical philosophers claimed that one could restore the divine language of Creation, possess the ability to create objects anew, and thereby become Creator himself. One can argue that a major goal of Remizov was similar to that of hisMedieval predecessors: to reveal the mystical power of language in order to create, not to describe reality. The paper analyzes three chapters from Alexej Remizov’s Rossiya v pis’menah, a book which can be read as a manifesto of Remizov’s attitude toward language and reality, and discuss possible sourcesthat might have influenced Remizov in his attitude towards language. (shrink)

La presente versión del tratado De Bono Habitu Liber o El libro sobre la buena condición, de Galeno de Pérgamo, se presenta al lector de habla hispana como un acercamiento a la prolífca obra flosófca de quien fuera reconocido en su época como un notable médico anatomista y físico. Los argumentos expuestos por el autor acerca de la ‘buena condición’ dan cuenta de la infuencia retórica de Platón y Aristóteles, al mismo tiempo, de las enseñanzas médicas de Hipócrates. Junto al (...) texto original y la traducción al español, se ofrece una versión en latín empleada en el proceso de traducción como un apoyo para resolver las difcultades textuales y léxicas que presentaba el texto griego, al permitir confrontar una recepción medieval del tratado. (shrink)

Virtue theorizing, long in eclipse, has revived strongly in recent times. However, virtue-type approaches predominate in non-Western cultures and dominated Western thought before the modern period. So the revival can make one wonder whether modern epistemology and ethics do not represent a kind a medieval period relative to these other historical/sociological facts. Why did virtue ethics and epistemology go into eclipse in the West during the modern period? The emerging importance of the individual may represent a kind of shock (...) of modernity that left Western virtue approaches decimated in its wake. Both Cartesian epistemology and modern rights theory represent emergent individualism, but the revival of virtue approaches recently may indicate that the shock of modernity is starting to wear off. (shrink)

In this short discussion of the Irish modernist writer, the author establishes a link between the mind of James Joyce and medieval theology. He shows how Joyce's fiction was suffused by his reading of St. Thomas Aquinas, Giordano Bruno and Nicola da Cusa and the book creates a dialogue between the saint, the novelist and the critic.

As Modernist doctrines emphasizing the unity and agency of the educated self are increasingly set up as the straw men of contemporary educational discourses, premodern and Medieval theories of selfhood tend to disappear from the horizon of educational thought altogether. In this essay, in order to subvert this overcoming of our intellectual past, I examine Thomas Aquinas’ reading of the doctrine of original sin. Relying on Graham McAleer’s claim that Aquinas’ metaphysical theory sanctifies the body, I argue that Aquinas’ (...) understanding of original sin relies on a discursive, pedagogical model to account for human finitude. (shrink)

This collection of essays argues that any valid theory of the modern should—indeed must—reckon with the medieval. Offering a much-needed correction to theorists such as Hans Blumenberg, who in his _Legitimacy of the Modern Age_ describes the “modern age” as a complete departure from the Middle Ages, these essays forcefully show that thinkers from Adorno to Žižek have repeatedly drawn from medieval sources to theorize modernity. To forget the medieval, or to discount its continued effect on contemporary (...) thought, is to neglect the responsibilities of periodization. In _The Legitimacy of the Middle Ages_, modernists and medievalists, as well as scholars specializing in eighteenth-, nineteenth-, and twentieth-century comparative literature, offer a new history of theory and philosophy through essays on secularization and periodization, Marx’s theory of commodity fetishism, Heidegger’s scholasticism, and Adorno’s nominalist aesthetics. One essay illustrates the workings of medieval mysticism in the writing of Freud’s most famous patient, Daniel Paul Schreber, author of _Memoirs of My Nervous Illness_. Another looks at Michael Hardt and Antonio Negri’s _Empire_, a theoretical synthesis whose conscientious medievalism was the subject of much polemic in the post-9/11 era, a time in which premodernity itself was perceived as a threat to western values. The collection concludes with an afterword by Fredric Jameson, a theorist of postmodernism who has engaged with the medieval throughout his career. _Contributors_: Charles D. Blanton, Andrew Cole, Kathleen Davis, Michael Hardt, Bruce Holsinger, Fredric Jameson, Ethan Knapp, Erin Labbie, Jed Rasula, D. Vance Smith, Michael Uebel. (shrink)

This book investigates the central role of reason in Islamic intellectual life. Despite widespread characterization of Islam as a system of belief based only on revelation, John Walbridge argues that rational methods, not fundamentalism, have characterized Islamic law, philosophy and education since the medieval period. His research demonstrates that this medieval Islamic rational tradition was opposed by both modernists and fundamentalists, resulting in a general collapse of traditional Islamic intellectual life and its replacement by more modern but far (...) shallower forms of thought. However, the resources of this Islamic scholarly tradition remain an integral part of the Islamic intellectual tradition and will prove vital to its revival. The future of Islam, Walbridge argues, will be marked by a return to rationalism"--Provided by publisher. (shrink)

With the publication of this inaugural issue of the internationally peer-reviewed journal Biosemiotics, our still-developing young interdiscipline marks yet another milestone in its journey towards adulthood. For this occasion, the editors of Biosemiotics have asked me to provide for those readers who may be newcomers to our field a very brief overview of the history of biosemiotics, contextualizing it within and against the larger currents of philosophical and scientific thinking from which it has emerged. To explain the origins of this (...) most twenty-first century endeavour effectively, however, will require tracing—at least to the level of a thumbnail sketch—how the ‘sign’ concept appeared, was lost, and now must be painstakingly rediscovered and refined in science. To relate this long history, this article will appear in Biosemiotics in three instalments, examining, respectively: (1) The History of the Sign Concept in Pre-Modernist Science, (2) The History of the Sign Concept in Modernist Science, and (3) The Biosemiotic Attempt to Develop a More Useful Sign Concept for Contemporary Science. In this instalment, we begin our introductory ‘stroll through the woods of sciences and signs’ by following the development of the sign concept within the context of scientific inquiry, in necessarily broad outline, from the beginnings of such inquiry in sixth century BCE, through its long development in the Middle Ages, and up unto the onset of modernity. For only within this larger historical context can our contemporary attempt to develop a naturalistic understanding of sign relations be understood. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.3 (2000) 513-530 [Access article in PDF] Hans Blumenberg and Hannah Arendt on the "Unworldly Worldliness" of the Modern Age Elizabeth Brient Introduction In attempting to describe and respond to the dominant ethos of the modern age one is quickly confronted with a startling and seemingly intractable paradox: the age which has defined itself by the very intensity of its "this worldly" orientation (...) is at the same time haunted by an ever growing sense of world loss, of the Unheimlichkeit of modern reality.On the one hand the modern turn away from the transcendent contemplative and religious ideals and values of antiquity and the Middle Ages is evidenced by a profoundly new, active, and indeed constructive approach to the world. Modern science is predicated on an objective stance which demystifies the cosmos and allows for a technological mastery of nature which has improved human life in innumerable ways. The modern conception of the self is grounded in a new conception of the autonomy and dignity of the individual, and modern political theory begins with the notion that society is an artifact to be constructed in the service of the very individuals who constitute the body politic. We are made uneasy by the nagging suspicion that life in this world which we have remade for ourselves is somehow hollow, an artificial construction without depth or solidity, a merely superficial order which threatens to dissolve into meaninglessness. The technological advances made possible by modern science have also brought the atomic bomb, global warming, and acid rain. Power over nature has led to the power to destroy nature. The modern world has seen an unprecedented rise in individual freedom, and yet the autonomy of the individual has all too often given way to the anomie of the individual. Loss of community advances alongside failed experiments in social engineering, and the specter of totalitarianism haunts the modern dream of social and political emancipation. [End Page 513]Paradoxically, then, modern worldliness is attended by an uneasy sense of world alienation. It has become quite common in attempting to give an account for this perplexing state of affairs to speak of a process of secularization in the transition from the medieval to the modern world, a process in which many of the central ideas and principles of the modern age are taken to be secular variations on medieval theological themes. Thus, for example, faith in the progress of science or of history is taken to be a secularized version of belief in divine Providence, the political equality of all individuals under the law is said to be a secular reiteration of the understanding of the equality of all human beings before God, the transcendental subject is exposed as a secular version of the divine or angelic knower, and the communist state and other modern utopias marking the end of history are said to be secularizations of Christian eschatological expectations of the end of the world and the coming reign of God.This reading of the epochal transition explains the worldly character of modern reality in terms of the "immanentization" or secularization of religious attitudes and expectations. It also serves to explain the uncanny sense of worldlessness characteristic of much of modern life. This is because the new secular forms are now revealed either as distorted and impoverished versions of an originally meaningful world view (as for example in Neo-Scholasticism) or as the unfortunate perpetuation or unfolding of an inherently nihilistic tradition (as say Nietzsche, Heidegger, and many contemporary post modernists would have it). But does the secularization thesis as a tool of historical explanation really do justice either to the complex reality of the epochal transition in concrete historical terms or even, and more to the point, to the fundamental character of the supposedly secularized modern ideas?Hans Blumenberg and Hannah Arendt would both no doubt answer emphatically in the negative. Both insist on the genuine novelty of modernity, on the fundamentally unprecedented character of the modern orientation to and in the... (shrink)

In this new book, Marko Zlomislić argues that Slavoj Žižek's work does not contain any sort of radical emancipatory project, especially as it passes through the ideology of communism and Lacanian psychoanalysis. The evidence for the failure of communism is vast and includes the more than six hundred mass graves recently located in Žižek's homeland of Slovenia. Zlomislić demonstrates that the way out of the capitalist dilemma is not a repetition of communism but a return to the late medieval (...) notion of haecceity or "individual thisness" that was rejected by modernity. Haecceity, or the indescribable and indefinite here and now of the person, shows that the late medieval Franciscans were already "postmodernists." It is no wonder that the totalitarianism of the modernist Hegel is embraced by thinkers such as Žižek, Badiou, Hardt, Negri, and Laclau and was already rejected by Leibnitz, Kierkegaard, Nietzsche, Levinas, Deleuze, and Derrida. This important book shows that Žižek's work must be rejected because it does not uphold the dignity, worth, and uniqueness of the person. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Divine Illumination: The History and Future of Augustine’s Theory of KnowledgeSteven P. MarroneLydia Schumacher. Divine Illumination: The History and Future of Augustine’s Theory of Knowledge. Challenges in Contemporary Theology. Chichester: Wiley-Blackwell, 2011. Pp. xiii + 250. Cloth, $119.95.Lydia Schumacher has written an ambitious book. Among the many things she tries to accomplish in the volume, three stand out to this reviewer. First of all, she proposes to reexamine (...) Augustine’s theory of knowledge. She argues that Augustine’s philosophy is grounded in theology. For his theory of knowledge this means, by Schumacher’s reading, that the aim of cognition is to enable the human being to regain its original status as “image of God,” which latter state is manifested in knowing God and making God known. It is the mental, and by extension ethical, process of becoming God’s image that Schumacher says we should, in the Augustinian context, take the phrase ‘divine illumination’ to signify. For Augustine, Schumacher insists, this process is an entirely internal phenomenon constituted by a self-correcting series of intellectual reflections on the part of the mind. In holding to this view, Schumacher emphatically rejects the understanding, common in scholarship, that “divine illumination” for Augustine had to do with mental reference to what she labels an “extrinsic” standard such as the eternal ideas in God’s mind. [End Page 293]Second, Schumacher argues that the Augustinian project, epitomized in his theory of knowledge, was carried out by most of the thinkers of the Latin Middle Ages, particularly by Anselm and Thomas Aquinas. These latter two individuals are therefore divine illumi-nationists of the first order. What historians often designate as an Augustinian current, evident in the high Middle Ages among scholastics from the Franciscan Order, represented instead a deviation, a turn to an entirely novel theological-philosophical project. Here, mind’s work was conceived of as “the immediate and totalized knowledge of an individual essence.” And for this, recourse to an extrinsic standard filled the bill. Consequently, high-medieval Franciscans were the actual propounders of the theory of knowledge Schumacher tells us has wrongly been associated with divine illumination. Moreover, this Franciscan current of thought, once severed from its original theological underpinnings, provided the historical inspiration for modern philosophy, thereby acting as a kind of catalyst for the modernist philosophical problems—as Schumacher receives them—of rationalism and fideism, skepticism as well.Third, Schumacher sounds the call for a contemporary return to the authentic Augustinian project. By starting philosophy, as she claims Augustine did, with theological assumptions, she wants to fashion a “faith-based concept of knowledge” and with it, most importantly, to escape the modernist dilemma of the incompatibility of faith and reason. Grounding philosophy in theology—Christian theology, she maintains—will restore a lost integrity to our procedures of thinking, ultimately redeeming philosophy itself.How much of this program has Schumacher managed to achieve? Since this reviewer is marked out as the key spokesperson for the interpretation of both divine illumination and the history of medieval thought against which Schumacher inveighs, perhaps he should not be the one to answer the question. Still, the reader forewarned, I lay out my opinion. With regard to her first goal, Schumacher makes good on her promise to render Augustine as a theologian bent on working from his assumptions to designate a process whereby philosophy and mankind can be simultaneously restored. She is not so convincing in her attempt to equate this program with divine illumination. For Schumacher, the process of divine illumination is correlative to the idea of God as source of the mind’s power to act. Yet Augustine often plainly associates what he describes as illumination with turning to God and conceding his ideas an important role in the mental processes of judgment and concept formation. It is hard to see how one can honestly exclude this extrinsic element of what Augustine intended.Regarding her second goal, Schumacher does an excellent job of reminding us how Augustinian were almost all medieval scholastics, Thomas included, and warning us not to take the high-scholastic recourse to Aristotle as a sign of opposition to Augustinian modes of thought... (shrink)

Often depicted as pitted in cosmic struggle against nobler multitudes of spiritual or heavenly warriors, when viewed from our modernist perspective, the ghostly or demon warriors of Chinese tradition are stigmatized as being, at best, ambiguous in status and, at worst, as perverse beings of consummately evil ill repute. However, discoveries from investigation into the historical origins of these demonic soldiers or troopers demand that we regard them as much more enigmatic in their roles and functions than is initially suggested. (...) Documented earliest references indicate not only how the concept of demon warrior first arose for the purposes of furthering and facilitating the immortality ethos of religious Daoism. Also evident from these first written mentions is the clear and unassailable fact that the prototypes for these ghostly beings were unmistakably and very often unremarkably human. Subsequent literature, especially that surviving in the genre of early medieval tales of the strange, only reinforces the notion of these sometimes real and other times fantastical purveyors of violence as occupants of the permeable vortex thinly separating the human and the supernatural worlds, allowing them to manifest themselves at will and freely in either venue. Furthermore, we learn foremost how their primal function was not unlike that of Western guardian angels in being principally tutelary, with the tacit expectation that they should serve dutifully in defense of those who either cultivated or conjured them forth, ensuring the wellbeing of the living by acting as a kind of collective bulwark against the forces of death. (shrink)

The ArgumentThe Doctor of Philosophy, a nonmedieval academic figure who spread throughout the globe in the Modern Era, and who emblemized the transformation of academic knowledge into the “pursuit of research,” emerged through a long and tortuous path in the early modern Germanies. The emergence and recognition of the Doctor of Philosophy would be correlative with the nineteenth-century professionalization of the arts and sciences. Throughout the Early Modern Era, the earlier Doctors and older “professional” faculties from the medieval university (...) — Theology, Law, and Medicine — opposed recognition of the Doctor of Philosophy. In Saxony, the forces of “medievalism” were able to block recognition of the Doctor of Philosophy, and they retained the degraded Master of Arts or Philosophy as the highest degree in arts and sciences. Forces of “modernism” prevailed, however, in Austria and Prussia in the late eighteenth and early nineteenth centuries. In Austria, the Doctor of Philosophy arrived as a wholly modern figure, the creation of a nice dossier and a civil service examination: the medieval “juridical” persona became a modern “bureaucratic” persona. Between this bureaucratic modernism of the Austrians and corporatist medievalism of the Saxons, the Prussians pursued a via media. Unlike the Saxons, they recognized the Doctor of Philosophy; but unlike the Austrians, they did not completely bureaucratize the candidate's persona. The Prussians demanded from the candidate a “work of research,” a doctoral dissertation, which exhibited the aesthetic qualities of the Romantic artist: originality and personality. (shrink)

A Confederacy of Dunces (Confederacy) by John Kennedy Toole portrays an interplay between competing definitions of humanism. The one school of humanism—called by some the Modernist Paradigm—saw the Italian Renaissance as the origin of nineteenth- and twentieth-century modernist views that celebrated science, technology, and individual human freedom. The other school, led by Paul Oskar Kristeller, sought to historicize humanism by establishing that Renaissance writers and thinkers were generally conservative and preserved the philosophical ideas of the medieval era. Kristeller was (...) the President of the Renaissance Society of America and was at the height of his influence at Columbia University during the late 1950s, when Toole studied for his Master’s degree there. The main character in Confederacy, Ignatius J. Reilly, presents a parody of Kristeller’s position, which he uses to critique modern society. Ignatius also plays the part of a child of the planetary god Saturn, both by acting out the ancient astrological tradition of associating Saturn with misfortune and disorder and by being a parody of the Renaissance concept of the Genius as a Child of Saturn begun by the Renaissance philosopher whom Kristeller studied most, Marsilio Ficino. Ignatius’s worldview is an antithesis of the Modernist Paradigm. Confederacy is critical of both Modernist humanism with its attendant materialism and its antithesis—Ignatius’s dysfunctional version of Kristeller’s Renaissance philosophy. When the community expels Ignatius as a scapegoat, Toole appears to gesture toward a dialectical synthesis of the two concepts of humanism in the novel’s happy ending. (shrink)

Einstein, Descartes, Locke, Bohr, Rorty, Berkeley, Hume, Kant -magical names When we step on an airplane, turn the key in the ignition, or switch on an air conditioner we - not just academicians - all agree that the ideas of these far-sighted sages of the Enlightenment and Modernism saved us from the Medieval life. But, as the author shows, if we fully accept their ideas a drastic change in our world-view ensues. Fred Bauer has been examining the great (...) minds for many years, and in easily understood terms gives us a surely amazing Grand Unifying Theory. Of course, he gives ample reasons why we each have to choose for ourselves - rejecting or accepting concepts. In any case, The Wonderful Myth Called Science poses an exciting and at times an emotionally challenging exploration of science and living. (shrink)

Science and technology studies has perhaps provided the most ambitious set of challenges to the boundary separating history and philosophy of science since the 19th century idealists and positivists. STS is normally associated with `social constructivism', which when applied to history of science highlights the malleability of the modal structure of reality. Specifically, changes to what is implies changes to what has been, can be and might be. Latour's account of Pasteur's scientific achievement is a case in point. Two polar (...) attitudes towards the world's modal malleability are identified: over - and under - determination, which correspond, respectively, to a belief in the inevitability and the precariousness of science as a form of knowledge. The distinctness of these positions reflects a cordon sanitaire between the history and the philosophy of science. Consequently, historical agents are not given full voice as constructors of reality: They are either quarantined to a foreign realm called `the past' by the historian or selectively assimilated to an imperial present by the philosopher. The second half of the essay explores what it might mean to restore a robust sense of reality construction to the historical agents. My case in point here is that of the 13th century Franciscan friar, Roger Bacon, who has been alternatively seen as a mad medieval or a proto-modernist. To give Bacon full voice would involve taking the future that he envisaged as a normative benchmark for judging our own world. (shrink)

Although Oakeshott's philosophy has received considerable attention, the vision which underlies it has been almost completely ignored. This vision, which is rooted in the intellectual debates of his epoch, cements his ideas into a coherent whole and provides a compelling defence of modernity. The main feature of Oakeshott's vision of modernity is seen here as radical plurality resulting from 'fragmentation' of experience and society. On the level of experience, modernity denies the existence of the hierarchical medieval scheme and argues (...) that there exist independent ways of understanding our world, such as science and history, which cannot be reduced to each other. On the level of society, modernity finds expression in liberal doctrine, according to which society is an aggregate of individuals each pursuing his or her own choices. For Oakeshott, to be modern means not only to recognise this condition of radical plurality but also to learn to appreciate and enjoy it. Oakeshott did not think that it was possible to find a comprehensive philosophical justification for modernity, therefore the only way to preserve modern civilisation seemed to be an appeal to sentiment. As a consequence he was a passionate defender of liberal education as the best way to underwrite the 'conversation of mankind.'. (shrink)

In this article, we argue that the usual restriction of critical theory to ‘modern’ norms is subject to problems of coherence, historical accuracy and moral obligation. First, we illustrate how critical theory opposes itself to societies designated as pre-modern, through a summary of Honneth’s recognition theory. We then show how an over-emphasis on modernity’s normative novelty obscures counter-currents in ethical life that threaten the unity of the modern era. Those two steps prepare the main analysis: that the ‘exceptionalist’ modernism (...) of critical theory distorts our view of history and ignores normative dimensions of the past. We show how medieval and early-modern societies in Europe experienced many conflicts and possessed institutions that create illuminating configurations with modern norms. As a result, we articulate several kinds of moral and political link to the past that should lead critical theorists to expand the historical reach of their analyses. (shrink)

A Confederacy of Dunces (Confederacy) by John Kennedy Toole portrays an interplay between competing definitions of humanism. The one school of humanism—called by some the Modernist Paradigm—saw the Italian Renaissance as the origin of nineteenth- and twentieth-century modernist views that celebrated science, technology, and individual human freedom. The other school, led by Paul Oskar Kristeller, sought to historicize humanism by establishing that Renaissance writers and thinkers were generally conservative and preserved the philosophical ideas of the medieval era. Kristeller was (...) the President of the Renaissance Society of America and was at the height of his influence at Columbia University during the late 1950s, when Toole studied for his Master’s degree there. The main character in Confederacy, Ignatius J. Reilly, presents a parody of Kristeller’s position, which he uses to critique modern society. Ignatius also plays the part of a child of the planetary god Saturn, both by acting out the ancient astrological tradition of associating Saturn with misfortune and disorder and by being a parody of the Renaissance concept of the Genius as a Child of Saturn begun by the Renaissance philosopher whom Kristeller studied most, Marsilio Ficino. Ignatius’s worldview is an antithesis of the Modernist Paradigm. Confederacy is critical of both Modernist humanism with its attendant materialism and its antithesis—Ignatius’s dysfunctional version of Kristeller’s Renaissance philosophy. When the community expels Ignatius as a scapegoat, Toole appears to gesture toward a dialectical synthesis of the two concepts of humanism in the novel’s happy ending. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 151-155 [Access article in PDF] Buddhism and Christianity: A Multicultural History of their Dialogue. By Whalen Lai and Michael von Bruck. Maryknoll, N.Y.: Orbis, 2001. xiv + 265 pp. This book is an abridged translation of Buddhismus und Christentum: Geschichte, Konfrontation, Dialog, first published in 1997 by Verlag C. H. Beck in Munich. I do not know how much has been lost in the abridgement, (...) but this English version remains a treasure trove that deserves to be read and digested by everyone engaged in Buddhist-Christian dialogue.From the English title, I expected a somewhat dry work of intellectual history, summarizing dated doctrinal debates. This book provides much more than that. Most valuable is its emphasis on the historical and cultural context of Buddhist-Christian encounters, especially the poisonous legacy of Western colonialism (which still survives today as economic neocolonialism). These quite varied contexts have usually been decisive for the success or failure of the encounter, and as this nuanced but frank study shows, the failures have been at least as notable as the successes. Here, too, we must remember the past if we want to do more than keep repeating it. As well as identifying specific problems, there is a perceptive analysis of the obstacles to openness and dialogue in each case.The penultimate chapter includes a discussion of our Society for Buddhist-Christian Studies, its conferences, and this journal. As a relative newcomer to the conversations, I found this particular example of contextualizing fascinating. In just the few conferences I have been able to attend, there have been so many facets to the dialogue that it has been difficult to gain a sense of the whole, to understand how the main threads have developed and interwoven. How well do we remember what has already been discussed, and often agreed upon? It is important that we do not just keep repeating ourselves, and I know of no other book that conveys the historical dimension of the dialogue so well. The silent, contemplative aspects of the encounter are also addressed: cross-cultural meditation groups, Christian Zen teachers, and visits to each other's monastic centers.A useful foreword by Hans Kung reviews his own contributions, including his [End Page 151] paradigm analysis of six different "general constellations" found in the Christian tradition (the original Jewish-apocalyptic paradigm, the ancient ecumenical-Hellenistic paradigm, the medieval Roman Catholic paradigm, the Reformation Protestant-evangelical paradigm, the modernist progress-oriented paradigm, and now the postmodern ecumenical paradigm) and six other constellations in the Buddhist tradition (Gautama's original paradigm, the Theravada- sravakayana paradigm, the Mahayana paradigm, the tantric Vajrayana paradigm, a defensive modernist paradigm, and most recently an emerging postmodernist paradigm), with the implication that we need to be careful to clarify which of the paradigms we are comparing.Inevitably, the focus is limited: India and Sri Lanka are discussed at length, but not southeast Asia; China and Japan, but not Korea; Germany, but not the rest of Europe. The Indian chapter is mostly about Tibetans in exile. I was intrigued by the generation gap between older, conservative Tibetan monks and more freethinking younger ones. Otherwise, the Indian dialogue seems not to have been as intensive as many other places in Asia, which makes sense since there are relatively few Buddhists in India today. Given the mass conversions of Dalits, the social context has usually been the emancipation of disadvantaged social groups, and is further complicated now by the increasing influence of neo-Hindu political movements, which makes all interreligious exchange more sensitive.The Sri Lankan dialogue, perhaps more than any other, has been preoccupied with the heritage of colonialism. Sinhalese take pride in being citizens of the only country to have shaken off colonial rule with a successful Buddhist revolution, which reversed the power relationship between the two religions. Evidently most Sinhala Buddhists, including much of the sangha, accept the need to defend Buddhism and Buddhist culture militarily, if necessary. The ruling political class that succeeded the British, a largely Buddhist- and Marxist-inspired elite, opted for constructing a national identity... (shrink)

The study brings about the contribution of Islam to world civilization. It traces the rise of Muslim power in Asia, Europe and Africa over more than ten centuries combining political ascendancy with promotion of basic sciences, philosophy, literature and arts. It deals with the prevailing myths which have for long blocked the way to a correct understanding of the faith and the traditions of Islam. Vigorously debated issues, such as jihad, status of women, and national patriotism are discussed in their (...) historical context. The book provides lucid exposition of theological concepts, the schools oflaw, the Shariah, the on-going conflict between orthodoxy and modernism, and Sufism, on the basis of the Quran and the Hadith. It gives interesting account of the willing acceptance in medieval Europe of Islamic scholarship in sciences along with bitter hostility against Islam in the ecclesiastical establishment of Christian period. The nature of the Muslim rule and its relationship with non-Muslim communities in the Caliphates, in the Ottoman realm and in the Sultanate and Mughal empire in the Indian subcontinent has been evaluated. The events and the personalities contributing to India's partition in 1947 are examined to assess the truth of the so-called separatism in the mind of Indian Muslims. The book gives the background of the tension between Muslim countries and Western nations which intensified with the conclusion of World War I in 1918 and rose to be acute with the end of the Cold War in 1990. The continued political, economic, and military intervention by European powers and the U.S.A. has been discussed in the context of the present situation when Muslims tend to look upon the West as anti-Islam and in the Western world-view Islam is considered to be a menace to civilization itself. (shrink)

Purpose. The paper considers the establishment of the paradigmatic determinants of the understanding of crime on the basis of fundamental changes in understanding of the essence of a man in ancient, medieval, Renaissance, modern and postmodern philosophy. Theoretical basis. The author determines that the understanding of the concept of crime is possible only in the combination of historical, philosophical, legal and sociological approaches. The interpretation of the essence of this concept dynamics and relevant legal practices is based on structuralist, (...) post-structuralist and hermeneutical methodological principles. Originality. The author has proved that the concept of "crime" is not a constant but a historically variable category whose dynamics of meanings is linked to a change in philosophical anthropological paradigms. Its understanding is primarily related to the interpretation of the essence of a man and the imperatives of his behavior. This allows a new understanding of the philosophical foundations of modern criminology. Conclusions. The article establishes that in the history of Western philosophy, there are five anthropological paradigms that differ in a thorough rethinking of the essence of a man. The first cosmocentric regards man as a microcosm, his soul and actions must be in harmony with the harmony of the Cosmos. The second Theocentric considers a man the image and likeness of God, though he is at the same time burdened with original sin. In the era of early Modernism, the third paradigm, which we called cognitive-centric, becomes dominant, since the essence of a man is reduced primarily to his mind. It gradually changes to the fourth – sociocentric, which focuses on the social essence of a man. However, despite its continued existence in our time, at the end of the XX century, there is a transition to the fifth paradigm – postmodernist, which deconstructs the essence of a man, reducing it to the role of an element of power systems. These paradigms, with a certain synchronicity, create the corresponding concepts of "crime": from violation of polis-space laws to identification with sin, from non-observance of mental and moral standards to social deviance. Contemporary understandings of crime are, for the most part, relativistic and constructivist, which is consistent with the postmodern anthropological paradigm. However, the diversity of interpretations of the concept of "crime" that exists in the current scientific literature needs further comprehension. (shrink)

Girolamo Saccheri (1667--1733) was an Italian Jesuit priest, scholastic philosopher, and mathematician. He earned a permanent place in the history of mathematics by discovering and rigorously deducing an elaborate chain of consequences of an axiom-set for what is now known as hyperbolic (or Lobachevskian) plane geometry. Reviewer's remarks: (1) On two pages of this book Saccheri refers to his previous and equally original book Logica demonstrativa (Turin, 1697) to which 14 of the 16 pages of the editor's "Introduction" are devoted. (...) At the time of the first edition, 1920, the editor was apparently not acquainted with the secondary literature on Logica demonstrativa which continued to grow in the period preceding the second edition \ref[see D. J. Struik, in Dictionary of scientific biography, Vol. 12, 55--57, Scribner's, New York, 1975]. Of special interest in this connection is a series of three articles by A. F. Emch [Scripta Math. 3 (1935), 51--60; Zbl 10, 386; ibid. 3 (1935), 143--152; Zbl 11, 193; ibid. 3 (1935), 221--333; Zbl 12, 98]. (2) It seems curious that modern writers believe that demonstration of the "nondeducibility" of the parallel postulate vindicates Euclid whereas at first Saccheri seems to have thought that demonstration of its "deducibility" is what would vindicate Euclid. Saccheri is perfectly clear in his commitment to the ancient (and now discredited) view that it is wrong to take as an "axiom" a proposition which is not a "primal verity", which is not "known through itself". So it would seem that Saccheri should think that he was convicting Euclid of error by deducing the parallel postulate. The resolution of this confusion is that Saccheri thought that he had proved, not merely that the parallel postulate was true, but that it was a "primal verity" and, thus, that Euclid was correct in taking it as an "axiom". As implausible as this claim about Saccheri may seem, the passage on p. 237, lines 3--15, seems to admit of no other interpretation. Indeed, Emch takes it this way. (3) As has been noted by many others, Saccheri was fascinated, if not obsessed, by what may be called "reflexive indirect deductions", indirect deductions which show that a conclusion follows from given premises by a chain of reasoning beginning with the given premises augmented by the denial of the desired conclusion and ending with the conclusion itself. It is obvious, of course, that this is simply a species of ordinary indirect deduction; a conclusion follows from given premises if a contradiction is deducible from those given premises augmented by the denial of the conclusion---and it is immaterial whether the contradiction involves one of the premises, the denial of the conclusion, or even, as often happens, intermediate propositions distinct from the given premises and the denial of the conclusion. Saccheri seemed to think that a proposition proved in this way was deduced from its own denial and, thus, that its denial was self-contradictory (p. 207). Inference from this mistake to the idea that propositions proved in this way are "primal verities" would involve yet another confusion. The reviewer gratefully acknowledges extensive communication with his former doctoral students J. Gasser and M. Scanlan. ADDED 14 March 14, 2015: (1) Wikipedia reports that many of Saccheri's ideas have a precedent in the 11th Century Persian polymath Omar Khayyám's Discussion of Difficulties in Euclid, a fact ignored in most Western sources until recently. It is unclear whether Saccheri had access to this work in translation, or developed his ideas independently. (2) This book is another exemplification of the huge difference between indirect deduction and indirect reduction. Indirect deduction requires making an assumption that is inconsistent with the premises previously adopted. This means that the reasoner must perform a certain mental act of assuming a certain proposition. It case the premises are all known truths, indirect deduction—which would then be indirect proof—requires the reasoner to assume a falsehood. This fact has been noted by several prominent mathematicians including Hardy, Hilbert, and Tarski. Indirect reduction requires no new assumption. Indirect reduction is simply a transformation of an argument in one form into another argument in a different form. In an indirect reduction one proposition in the old premise set is replaced by the contradictory opposite of the old conclusion and the new conclusion becomes the contradictory opposite of the replaced premise. Roughly and schematically, P,Q/R becomes P,~R/~Q or ~R, Q/~P. Saccheri’s work involved indirect deduction not indirect reduction. (3) The distinction between indirect deduction and indirect reduction has largely slipped through the cracks, the cracks between medieval-oriented logic and modern-oriented logic. The medievalists have a heavy investment in reduction and, though they have heard of deduction, they think that deduction is a form of reduction, or vice versa, or in some cases they think that the word ‘deduction’ is the modern way of referring to reduction. The modernists have no interest in reduction, i.e. in the process of transforming one argument into another having exactly the same number of premises. Modern logicians, like Aristotle, are concerned with deducing a single proposition from a set of propositions. Some focus on deducing a single proposition from the null set—something difficult to relate to reduction. (shrink)

In Rationalities in history, the distinguished historian David d'Avray writes a new comparative history in the spirit of Max Weber. In a strikingly original reassessment of seminal Weberian ideas, d'Avray applies value rationality to the comparative history of religion and the philosophy of law. Integrating theories of rational choice, anthropological reflections on relativism, and the recent philosophy of rationality with Weber's conceptual framework, d'Avray seeks to disengage 'rationalisation' from its enduring association with Western 'modernity.' This mode of analysis is contextualised (...) through the examples of Buddhism, Imperial China, and sixteenth-century Catholicism--in the latter case building upon unpublished archival research. This ambitious synthesis of social theory and comparative history will engage social scientists and historians from advanced undergraduate level upwards, stimulating interdisciplinary discourse, and making a significant contribution to the methodology of history. D'Avray explores the potential of this new Weberian analysis further in his companion volume, Medieval religious rationalities"--Provided by publisher. (shrink)

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

The article is devoted to the philosophical and cultural analysis of postmodern philosophy on the basis of the Hegelian methodology, Heidegger's philosophy of language, structural psychoanalysis, deconstructionism, hermeneutics, universal ethics and philosophy of dialogue. The article substantiates the thesis that postmodernism as a model of theoretical reflection is autonomous with regard to liberalism and relativism with the concept of a "French school", which has an anti-liberal orientation and corresponds to the conservative Christian attitudes imposed by implicit ontological meanings. The (...) class='Hi'>medieval ontological "nuclei" of postmodernism are concepts: "Real" by J. Lacan, "Archepism" by J. Derrida, "Schizoid" by J. Deleuze, "language reconfiguration" by P. Ricker. Thus, freed from the stereotypes of relativity, postmodernism appears as a third alternative in opposition to the European choice between liberalism and radicalism. The double standard extends to the attitude of liberals to radical currents in crisis processes. Initially, liberal leaders take an overwhelming majority in right-wing nationalism, using it as a tool to support the status quo of capitalism, a means of distracting the masses from real problems, and a mechanism of intimidation. When the mass is intimidated enough, it is proposed to liberalism as "a source of defacing" as the "only alternative". We can talk about the artificial situation of identifying the choice of Fa versus Antifa for the subject who is forced to choose between "purse and life" - between multiculturalism and radical nationalism The key task of structural psychoanalysis is not only the returning of the conflict to its original place, that is, the disclosure of the deep-seated class traumas of the capitalist neoliberal world itself, according to S. Zizek and other representatives of the Slovenian school, but also - the separation of the philosophy of postmodernism as a spiritual phenomenon from political projects of neoliberalism and multiculturalism, which until recently were considered an applied dimension of postmodern politics and promoted the introduction into the social practice of the vicious circle "liberalism - nationalism liberalism" - a circle that does not provide choice and which excludes from its own semiosfery any other values: ethical and dialogical, modern, conservative, religious, international, non-system Left and others. In order to realize this task, postmodernism must be considered under the other viewpoint, depriving it of the stereotypes of "relativism", "cynicism" and "enlightenment", that is, it is necessary to demonstrate that the authentic core of postmodern philosophy is far from multicultural indifference of "post-truth" and includes expressive ontological motives. The double goal of our study: to carry out a critical rethinking of postmodernism as a form of manifestation of a conservative attitude based on hereditary archetypes of the Middle Ages and Modernism, and to show that postmodernism as a philosophy is not the cause of the tragic self-denial of postmodernism as an applied measurement of multiculturalism, that multiculturalism with its vicious circles of relativity, devastation and radicalism is separate from the phenomenon of postmodernism and belongs to the "shock" project of American liberal democracy, and not to "French school" Moreover, the School of Post-Structuralism of the Sorbonne, as the basis of postmodernism, is the descendant of the Marxist school of "new left" in Frankfurt and its meaning is fundamentally anti-capitalist and anti-liberal. By combining among themselves in a single interdisciplinary field the classical philosophy of M. Heidegger's language, J. G. Derrida's "grammar", G. Lacan's structural psychoanalysis, J. Habermas's universal ethics, J. de Gaulle's schizodiscourse, and hermeneutics and the philosophy of P. Ricker's dialogue, we have shown that In the semantic field of postmodernism there are ontological kernels of conservatism, which approximate this philosophical model to medieval traditionalist thought and make the border between modern and postmodern very conditional. The return of postmodernism to the status of the philosophy of being and the liberation of the French school from the stereotypes of "lack" and "loseness" is necessary in order to protect postmodernism from accusations of cynicism, relativism and "emptiness", since these allegations are, firstly, based on the mixing of postmodernism with liberal irony, and, secondly, often serve as an excuse for the revival of various kinds of fundamentalist aspirations. We have shown that liberalism, by provoking through the irony of the identification of the "illusion", initially contributes to the development of radical movements, and then, when they emerge from the symbolic control, they remove them from the agenda as "fascist", opposing them to themselves. There is a closed vicious circle of impossibility to choose between "Fa and Antifa". Our work was an attempt to remove postmodernism from this circle. (shrink)

In order to understand the reactions to the publication in 1893 of l’Action by Maurice Blondel, we should investigate the philosophical climate at the end of the 19th century both at French universities and in ecclesiastical circles. In the latter, Blondel was suspected of modernism because he criticised Thomist metaphysics as losing itself in abstractions because of its distance from life. Did this perhaps show contempt of the metaphysical abilities of the intellect? In his own philosophy, moreover, Blondel presented (...) the supernatural as absolutely necessary and yet as absolutely impossible. Was this overrating the intellect? If human reason in explaining human nature deals with the metaphysical level, does not this reduce the metaphysical to the merely natural level? Blondel’s philosophy did indeed owe a debt to the method of immanence, which he thought capable of speaking about what medieval man knew as desiderium naturale Dei . At French universities, on the other hand, the principle of immanence had been raised to a quasi-dogma. The neo-Cartesians agreed with the neo-Kantians that philosophy should limit itself to that part of worldly reality which reason can master. The criticism from both sides were due to a misunderstanding of Blondel’s intentions. He intended to work out a metaphysics of the will. Within this framework, it was his conviction that all forms of thinking are threatened by abstraction as soon as they refuse to acknowledge that thinking is related to the dynamics of the will, albeit different trom the act of volition. Blondel’s metaphysics of the will is based on an extensive phenomenology of action, whose existential impact goes together with a rigorous dialectical line of reasoning. As the dialectics of Hegel’s Phänomenologie searches for the adequacy between consecutive certainties and ultimate truth, so Blondel’s dialectics goes in search of the adequacy between the consecutive aims of the will and the ultimate goal of the will’s dynamics. We discuss this analogy in the awareness that Blondel is not a Catholic Hegel. As to the theological discussion of the supernatural within a philosophical perspective, Bouillard’s interpretation is succinctly presented. (shrink)

Gilles Deleuze and Félix Guattari frequently discuss Western classical music, referencing such diverse traditions as medieval polyphony and 20th century modernism. In their work, however, they have an intense focus, common among philosophers, on composition, with very little consideration given to performance. Nevertheless, I find that their work resonates with questions of performance in important ways. In this paper, I bring Deleuze and Guattari’s work to bear on the practices and processes of musical interpretation and performance, transposing into (...) this musical domain the concepts of the smooth and the striated that they explicate in A Thousand Plateaus. The basic claim is that there exist smooth and striated methods of interpreting and performing music and that these concepts allow us to articulate afresh important differences in performance practice. Ultimately, I claim that the smooth is perhaps the privileged term, but that a good performance necessarily includes both smooth and striated elements. (shrink)

This article examines how the work associated with Henry de Bracton functioned in early modern political and legal thought as an ideograph, a one-word summation of arguments deployed by communities in support of ideological goals. The first part explains the medieval and early modern milieu of 'Bracton' and discusses key folios in context. In the second section the authors discuss in detail the ways in which Civil War Royalists and Parliamentarians made De Legibus pertinent to their antithetical causes. The (...) third part explores 'Bracton's' role in the disputes of the late Stuart period, when attempts to alter the succession in Charles II's reign and at the Glorious Revolution brought a reprise of civil war theorizing. Finally, whereas many early modernists see in seventeenth-century England a break with the medieval past, we follow the lead of those medieval scholars who treat the history of political ideas from the twelfth to the seventeenth century as a single epoch. In so doing we hope to contribute to the ongoing discussion of how seventeenth-century political literature can best be read and understood. (shrink)

Benedict de Spinoza (1632–1677) was about the most radical of the early modern philosophers who developed a unique metaphysics that inspired an intriguing moral philosophy, fusing insights from ancient Stoicism, Cartesian metaphysics, Hobbes and medieval Jewish rationalism. While helping to ground the Enlightenment, Spinoza’s thoughts, against the intellectual mood of the time, divorced transcendence from divinity, equating God with nature. His extremely naturalistic views of reality constructed an ethical structure that links the control of human passion to virtue and (...) happiness. By denying objective significance to things aside from human desires and beliefs, he is considered an anti-realist; and by endorsing a vision of reality according to which everyone ought to seek their own advantage, he is branded ethical egoist. This essay identified the varying influences of Spinoza’s moral anti-realism and ethical egoism on post-modernist thinkers who decried the “naïve faith” in objective and absolute truth, but rather propagated perspective relativity of reality. It recognized that modern valorization of ethical relativism, which in certain respects, detracts from the core values of the Enlightenment, has its seminal roots in his works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Nietzschean Bestiary: Becoming Animal Beyond Docile and BrutalRobert N. MatuozziA Nietzschean Bestiary: Becoming Animal Beyond Docile and Brutal, edited by Christa Davis Acampora and Ralph R. Acampora ; xxxii & 371 pp. Lanham, MD: Rowman & Littlefield, 2004. $75.00 cloth, $29.95 paper.What if instead of re-reading Nietzsche's corpus, one imagines what it would be like to view his works on the "Nietzsche Network." Imagine a spectator situated (...) in the middle of a vast amphitheatre preparing to watch these simulacra. Gazing up and around a series of giant, flat-screen video monitors arrayed in layers around the interior wall of an amphitheatre, the spectator views and listens to Nietzsche's multi-media texts as, simultaneously, they seductively flash their provocative narratives in flickering streams of high-resolution sounds, words, and images.The Nietzsche Network is a roaring carnival. It consists of colorful, speculative historical dramatizations and equally enticing philosophical tableaux. Dark ambient musical motifs, laced with interludes of explosive, uncontrollable laughter, are a subliminal presence. Lurid detective stories and somber cultural narratives and slashing polemics implicate cultures and ideologies in festivals of cruelty and soul-murder. Poignant genealogical and aphoristic asides on joy [End Page 443] and work and suffering, weird psychological skits starring well-known ensemble casts are accompanied by hoarse oratory, soaring denunciations, and sober etymological digressions. Intermittently, the spectator is startled by abrupt, sometimes strident proclamations, like confessional bulletins shot from nowhere.Nietzsche's siren-like prose exhibits an extraordinary rhetorical range. This is particularly true of the polychromatic works originally published in the gloaming of his career in the period after 1886. Nietzsche's compelling, fluvial style is accounted for in this volume by the kinetic movements of lizards and the halcyon tones of birds, to his study of the ancient Greek and Roman classics (and to the lost musicality of Greek tragedy in particular), and to his emphatic embrace of a kind of plosive, Dionysian philosophical technics.The content of the Nietzsche Network spans thousands of years of human experience and thought. A prequel features a substantial bestiary of traditional animals and emergent biomorphic forms set in a variety of carefully animated zoological dioramas. Among the modernists, has there been another thinker as strangely original and subversive? Allowing for fundamental differences, only Valéry comes to mind. Like the silent, ruminating cow in his "untimely" essay on history, Nietzsche prevents the past from injecting noise into present and future philosophizing. He will be the exemplary philosopher of the other-than-human as he campaigns to re-inscribe human animality into the zoological text of nature. Through explicit pronouncements and in scattered philosophical sorties involving human animality and his (desperate) utopist vision of human perfectibility, Nietzsche attempted to attain—at least conceptually—what Richard Rorty aptly calls the "historical sublime, a future which has broken all relations with the past."This excellent collection of essays on Nietzsche's bestiary demonstrates the surprising persistence of the animal imaginary in his thought. The various pieces also illuminate the multiple thematic and linguistic transformations Nietzsche develops as he enlists animals in his feral, anti-essentialist dialectic on the obscure continuum between "humans," "animals," and "nature." It turns out that a degraded version of Nietzsche's strangest thought experiment on animalism, the übermensch, is perhaps only a few years away from being produced through emerging boutique bioengineering, a prospect that has some commentators on both the left and the right blinking with apprehension. These essays amply demonstrate that Nietzsche's bestial philosophy of human and animal alterity subverts, among other paradigms, the strange Cartesian notion that animals are mechanical automata while humans are transcendental rationalists. As one commentator in this book broadly puts it, Nietzsche shows that the various schemes concocted to put an illusory distance between humans and animals have ended up being an immensely corrupting "pretense" (p. 224).Precursor bestiaries are indicated in this volume, though the medieval tradition originating in the Physiologus is here mostly displaced by a different [End Page 444] menagerie of cultural affiliations. The fabulist Aesop is present, along with Aristotle and Montaigne, though La Fontaine is not, and Pico Mirandola's famous remarks in his Oration on... (shrink)