Utopian Moments is an edited volume of essays with an exceptionally wide reach, covering 250 years of the utopian canon, from More's archetype to Le Guin's The Dispossessed. The editors, Miguel A. RamiroAvilés and J. C. Davis, clearly favor the classics, or what Lyman Tower Sargent, in his contribution, calls "exemplars of the mainstream of utopian writing". All the usual suspects are here—Campanella, Bacon, Harrington, Fourier, Owen, Bellamy, Wells, and others—plus a few "wild cards" thrown in (...) to keep things interesting. True, similar projects have been done before. Claeys's excellent Cambridge Companion to Utopian Literature and Claeys and Sargent's comprehensive Utopian Reader... (shrink)
In ‘Ineffability’ Alston suggests that philosophical mystics take care to delimit the class of predicates which cannot be ascribed to God. It is suggested that some qualification of ‘ineffability’ is necessary lest the mystic be trapped into such simple contradictions as that of ascribing predicates like ‘ineffability’ to God, while denying that any predicates can be ascribed to God. By the end of Alston's dialogue Mysticus, the would-be defender of mysticism, is browbeaten into meekly asking, ‘Yes, I see that [qualifying (...) statements of God's ineffability] would be better. But how does it happen that so many philosphers make ineffability statements without qualification?’. (shrink)
The aesthetics reflection can not carry out through the exclusive analysis of the figure produced by the artist, but demands to know the various nature factors that have intervened in the gestation of the work. For the study of the present aesthetics in the work of Michael Angel, results indispensable to know what the medieval philosophy expresses on what is beautiful. Furthermore, Michael Angel was a deep intellectual anxieties man. Therefore, the study of the theories outstanding aesthetics in (...) his era, it could give impulse to his own creativity. (shrink)
The current research inspired by Foucault’s concept of panopticon, analyzes within the novel The Mister President the power relationships as a manifestation of a speech ruled by a logocentric structure of surveillance and denunciation. The work also studies the relevance of this text considering the presence of the panopticon in the represented continental reality as a coercive mechanism of control capable of normalizing the identity of the individuals and determine the political and interpersonal relationships.