In the article, the scenario-moulding is evaluated through the linguistic and conceptual accessibility of the future and the moral challenges of doing and allowing harm to the future participants of the practical discourses rooted in the present-centered scenarios. The viability of the scenarios is suggested to be defined by the alienation from the present and past imaginative contexts, as well as by overcoming the projections of humanity exclusiveness through inversible forecasting with the shift from human power to vulnerability as the (...) key issue in scenario-making. The eccentric approach to the future makes it possible to review both intergenerational and intragenerational perspectives of the future through the chronological distance and yet-inexistent subjects’ expectations and needs simulation. Taking to account the impact of the past, present and future otherness implies the three-dimensional assessment model involving metaphorical evaluation of the past-rooted patterns as paradise lost, illusions of the accessible futures as paradise found, and refusal of the futurized present expectations for the yetunknown imaginative future contexts as paradise conceptually postponed. The approach can find its practical application in tailoring and evaluating migration solutions and scenarios. (shrink)

In his epic poem, Paradise Lost, Milton does not, as many critics have recently claimed, repudiate monarchy and recommend republics; he rather asserts that the legitimacy of any particular form of government in any particular situation depends upon what he refers to as the ‘merit’ or ‘worth’ of the rulers and the ruled. On a strict definition of republicanism as a position grounded in the repudiation of monarchy and the recommendation of republics, this poem would thus fail to (...) qualify as a republican text. However, neither Livy's History nor Machiavelli's Discourses unconditionally repudiates monarchy and recommends republics; both texts claim that the legitimacy of any particular form of government in any particular situation depends upon many things, including the merit of the rulers and the ruled. Given that both of these texts fall within the tradition of republican thought, it follows that Milton's teaching on the forms of government in Paradise Lost is consistent in important respects with some of the central texts of this tradition, and that the poem may thus reasonably be understood as a republican text. But this teaching is also consistent with Milton's Protestant commitment to evaluating all human works and forms on the grounds of the spirit in which they are produced and administered. (shrink)

I focus on the No-Paradise Dilemma, which results from some initially plausible epistemic ideals, coupled with an assumption concerning our evidence. Our evidence indicates that we are not in an epistemic paradise, in which we do not experience cognitive failures. I opt for a resolution of the dilemma that is based on an evidentialist position that can be motivated independently of the dilemma. According to this position, it is rational for an agent to believe a proposition on the (...) agent’s total evidence just in case the (total) evidence stably supports the proposition. Based on this evidentialist position, I argue that it is not an epistemic ideal in the actual world that we hold rational beliefs that are logically equivalent to our rational beliefs. The dilemma is resolved by giving up this ideal for the actual world and adopting the evidentialist position in terms of stable evidential support. (shrink)

Sport, in modern times, finds its roots in the mythological sources of ancient Greece, where it was born as a sacred game to be performed in the honour of Zeus in Olympia or of other gods elsewhere during the Panhellenic games. Since the beginning of the twentieth century and until the 1970s sport was mythogenic (Barthes 1975). But is sport still mythogenic in the twenty-first century? Our analysis attempts to answer two questions: (i) what has been the influence of doping (...) and sponsorship on contemporary sport; and (ii) how (if at all) have both influenced the symbolic contemporary forms of the sportsman/woman myth. We argue that modern sport has become increasingly dependent upon the industrial and entertainment worlds, thus losing along the way the imprinting of symbolic innocence that the myth conferred in the recent past. Moreover, the contemporary perception of sportsmen/women by the general public has changed in so far as it concerns the symbolic aspect of the performer. If their function as social link appears to be intact, sportsmen seem to have lost the classical Olympic symbolism that was generally accepted among spectators until a few decades ago. It does not appear that the mythical aura of sport has been lost but rather the symbols that it has previously carried. Popular admiration is nowadays more concentrated on the sportsman's capacity to acquire fame and fortune by means that appear to be in everybody's reach, including doping. Consequently, the commoner identifies him/her self with the sportsman/woman but does not see him/her any longer as a hero carrying classical moral values. (shrink)

Scientists continually face public concerns over the potential risks of biotechnology. This article reflects on the 1970s when leading molecular biologists established a moratorium, and initiated the second international Asilomar conference, on recombinant DNA molecules. Since then, this event has been widely perceived as an important historical moment when scientific actors took into account public concerns. Yet, by focusing on the history of the Public Understanding of Science discourse, we gain new insight into how ‘‘science’’ and the ‘‘public’’ have in (...) the meantime been framed in political discourses as homogeneous but antagonistic concepts. This sheds new light on the ways scientific, political, and administrative actors in biotechnology perceive the events, which occurred in the 1970s. Through interviews, we found that, with the Asilomar II conference serving as a quasi role model, the quest to reconcile ‘‘science’’ and the ‘‘public’’ is being traced back to a moment in history when such divisions had yet to be considered. This leads us to ask whether the politics of PUS contributed as much to the production of these two entities as it is claimed to have done in bridging the differences between them. (shrink)

This paper reconstructs the deficiencies of formal democracies to explain the internal injustices of the modern state, the self‐righteous swaggering foreign policy of Western powers, and the dangerously over‐simplified, polar logic characterizing the war rhetoric of the modern era. In a brief tour through the non‐liberal tradition of democratic thought, drawing connections between the tragic mythological origins of Western understandings of self and world, the paper attempts to demonstrate that a failure to find alternate, healthier means of value‐creation has caused (...) Westerners, in their constructive identity work, to adhere themselves to their systems with a ritualized, ‘religious’ fervour. Legitimacy in the world becomes, in the final analysis, a simple matter of might. The possession of firearms and bread render self‐sanctifying myths legitimating aggressions on the argument of ‘good’ powers fighting the battle against ‘evil’ contaminants. (shrink)

This paper reconstructs the deficiencies of formal democracies to explain the internal injustices of the modern state, the self‐righteous swaggering foreign policy of Western powers, and the dangerously over‐simplified, polar logic characterizing the war rhetoric of the modern era. In a brief tour through the non‐liberal tradition of democratic thought, drawing connections between the tragic mythological origins of Western understandings of self and world, the paper attempts to demonstrate that a failure to find alternate, healthier means of value‐creation has caused (...) Westerners, in their constructive identity work, to adhere themselves to their systems with a ritualized, ‘religious’ fervour. Legitimacy in the world becomes, in the final analysis, a simple matter of might. The possession of firearms and bread render self‐sanctifying myths legitimating aggressions on the argument of ‘good’ powers fighting the battle against ‘evil’ contaminants. (shrink)

Ascent: Philosophy and Paradise LostZamirTzachioup. 2018. pp. 218. £36.49.

The work of Bernard Suits continues to be discussed in the sports philosophy field, over forty years after the publication of his brilliant book, The Grasshopper: Games, Life, and Utopia. Much of t...

Engaging with heady topics such as knowledge, meaningful agency, vitality, and gratitude, Ascent advances an argument regarding Milton's Paradise Lost and the role of the imagination in religion. Miltonists are offered not a contextualization of Milton's views relative to his contemporaries or predecessors, but rather an attempt to bring him into conversation with pressing topics of contemporary philosophy.

In lieu of an abstract, here is a brief excerpt of the content:Hume’s Dialogues and Paradise LostPeter DendleDiscussions of the background of Hume’s Dialogues Concerning Natural Religion (1779) tend to focus more on scientific, philosophical, and theological sources than on literary ones, which is only natural given that the work is a philosophical dialogue. Yet the epistolary-dialogue form, a departure from Hume’s usual expository philosophical style, encourages exploring the Dialogues as a work of literature independently of its contribution to (...) the history of philosophy. 1 Newton, Clarke, and the French skeptics are crucial background figures in understanding the importance of Hume’s criticism of natural theology, and the influence of classical writers such as Cicero and Lucretius is equally obvious; but it is not sufficiently appreciated that more recent literary figures such as Milton, Dryden, and Pope also inform the Dialogues. Their influence is not as great as that of those others named, perhaps, but it represents a significant substratum, illuminating in many ways Hume’s conceptualization of the cosmological and philosophical principles to which he responds. The Restoration and Augustan poets, essayists, and even novelists contribute images evoked and examples raised by the disputants in Hume’s dialogue, and an understanding of how these images are used in the Dialogues contributes toward a broader understanding of the conceptual foundations of Hume’s philosophy in relation to the intellectual mainstream of the Enlightenment in general.Among the various works Hume quotes in the Dialogues, including those of Dryden, Lord Bacon, and Lucretius, Paradise Lost provides the longest quotation and is the only source quoted more than once. In the opening pages of the Dialogues (D 134) Philo quotes five lines from Book 2 of Paradise Lost (PL, 565–69), in which the fallen angels, emerging from their great pandemonic council, [End Page 257] take to philosophical speculation. 2 He cites the passage out of context, to demonstrate that skepticism, if forced, is not meaningless and that “Vain Wisdom all and false Philosophy” may yet “charm Pain” and “arm the obdurate breast / With stubborn Patience.” Thus Philo defends against Cleanthes’ charge that skepticism amounts to empty raillery and can have no practical consequences in one’s behavior. The image of the demonic council, confounded in meandering speculation, is an appropriate lead-in for the work as a whole: like the characters in the Dialogues, Milton’s devils “reasoned high.... And found no end, in wandering mazes lost” (PL, 2.558–61).The second of the three quotations from Paradise Lost occurs a third of the way through the Dialogues, when Philo notes in Part V, “The two great sexes of male and female, says MILTON, animate the world” (D, 168; PL, 8.151). Here the innocent adage of Edenic proliferation becomes twisted into an impertinent analogy concerning the sexuality of deities: “Why must this circumstance [sexual reproduction], so universal, so essential, be excluded from those numerous and limited Deities?” (D, 168). 3 It is among the insolent analogies that Philo claims must follow from Cleanthes’ principles. In Part X (D, 195–96) Demea offers a third quotation from Paradise Lost, the longest in the Dialogues, in his attempt to portray the misery of the human condition in this world. The nine lines from Book 11 of Paradise Lost he cites express the wretchedness of the human condition rather morbidly. 4 Thus, the three quotations from Paradise Lost are either distorted for an insalutary effect or are unwholesome to begin with, and they loosely mark the beginning, middle, and latter part of the Dialogues (just as they are taken from the beginning, middle, and latter part of Paradise Lost).The world of Paradise Lost is very much one of counsel and debate, discourse and dialogue: the heavenly and hellish councils of books 2 and 3 give way to the more pastoral conversations within the garden, where Adam and Eve struggle to understand their condition, Raphael and Michael offer wisdom, and Satan tempts. Although the backdrop is the entire cosmos rather than Cleanthes’ library, Milton’s epic no less than Hume’s Dialogues progresses through its stages by the primary vehicle of dialogue rather than action. Paradise Lost affirms the very role of dialectical (as opposed to intuitive) reasoning... (shrink)

Ascent: Philosophy and Paradise Lost, by ZamirTzachi. Oxford: Oxford University Press, 2018. Pp. 216.

“Three poets in three distant ages born Greece, Italy and England did adorn; The first in loftiness of thought surpassed. The second in majesty; in both the last.” (http://philpapers.org/profile/112741).

This book reads Milton’s Paradise Lost as a poem that seeks to educate its readers by narrating the education of its main characters. Many of Milton’s characters enter the action in late adolescence, newly independent and eager to test themselves, to discover who they are and their place in the world. The poem charts their progress into moral adulthood. Taking as its premise that attention to the moral development of the poem’s main characters will open the poem to (...) most undergraduate readers, this book explores both the pedagogical activity within Paradise Lost and the pedagogical activity that the poem encourages. (shrink)

Milton's Socratic Rationalism focuses on the influence of Milton's years of private study of classical authors, chiefly Plato, Xenophon and Aristotle, on Paradise Lost. It examines the conversations of Adam and Eve as a mode of discourse closely aligned to practices of Socrates in the dialogues of Plato and eponymous discourses of Xenophon.

Paradise Lost can be read on various levels, some of which challenge or even contradict others. The main, explicit narrative from Genesis chapters 2 and 3 is shadowed by many other related stories. Some of these buried tales question or subvert the values made explicit in the dominant narrative. An attentive reader needs to be alert to the ways in which such references introduce teasing complexities. The approach of Satan to Eve in the ninth book of Paradise (...) Lost is loaded in just that way with allusion to the literature of Greece and Rome. The poem recovers for this long and intricately constructed passage the weight of classical reference, especially in similes, that it had during the first Satanic books. Gardens, both classical and biblical, disguised or transformed serpents, and the weight of allusions that Eve is required to bear, all threaten to undermine the meanings of the overt narrative. The narrator has difficulty rescuing Eve from the allusions she attracts, or the many stories told about her. (shrink)

In his epic Paradise Lost, John Milton aims at a philosophically and theologically sound theodicy in order to “justify the ways of God to men”1. Milton’s approach has been criticised for creating an unsolvable tension between God’s foreknowledge and man’s free will and responsibility. The article wants to show that this criticism turns out to be unjustified if the philosophical basis behind the epic is thoroughly examined. Milton draws heavily on St. Augustine’s ontology: Every kind of being depends (...) on its intrinsic goodness insofar as it really is what it is by nature. God himself is the ultimate goodness: Therefore he is not subject to change, but transcends space and time. In his perfection, he cannot lack any kind of knowledge, but knows all things in an atemporal manner, without depriving men and women of their capability of free choice and action, for these are the distinct features that constitute the goodness of human nature. The crucial question of the article is why, according to Augustine and Milton, God’s foreknowledge should not at all be confused with fated determinism. (shrink)

Literature and Moral Feeling argued that ethics is best understood as a constraint on egocentric self-interest. That constraint is specified variously by groups or individuals who set parameters differently within common ethical principles, and who use a range of emotion-guided narrative genres to imagine and evaluate possible actions. Though it covers many ethical concerns (collectively termed “morality”), this account leaves out fairness (alternatively, justice). The following essay seeks to make up for that deficit. Framing its analysis by reference to a (...) well-known problem in Milton's Paradise Lost, it distinguishes two systems of ethical response organized around first- and third-person perspectives. Like the first-person concerns of morality, third person concerns of justice are specified by setting parameters within common principles. In treating these principles and parameters, the essay articulates cognitive and affective components of third-person ethical evaluation. These, then, help to resolve the problem with Milton's poem. That resolution, in turn, suggests further complications in the account of ethical evaluation. (shrink)

The history of Milton's reception in Poland suggests that he was mainly seen as a model practitioner of epic poetry, rather than as a political or religious thinker. This conclusion is borne out by comparing two of the three complete translations of Paradise Lost into Polish—the first by Jacek Przybylski (1791), the second by Władysław Bartkiewicz (1902) (the third being Maciej Słomczyński's 1974 translation). The examination of a few crucial passages demonstrates that the earlier translation, Przybylski's, is more (...) successful in representing Milton's linguistic sophistication, theology, and attitude to the Roman Church, than Bartkiewicz's later translation, which, characterized above all by a concern with Catholic correctness, includes many omissions and distortions. Słomczyński's translation, criticized for its theological inaccuracies, is only briefly discussed, as are a few fragments of Milton's work that were translated by other Polish poets. (shrink)

Stephen Scully both offers a reading of Hesiod's Theogony and traces the reception and shadows of this authoritative Greek creation story in Greek and Roman texts up to Milton's own creation myth, which sought to "soar above th' Aonian Mount [i.e., the Theogony]...and justify the ways of God to men." Scully also considers the poem in light of Near Eastern creation stories, including the Enûma elish and Genesis, as well as the most striking of modern "scientific myths," Freud's Civilization and (...) its Discontents. Scully reads Hesiod's poem as a hymn to Zeus and a city-state creation myth, arguing that Olympus is portrayed as an idealized polity and--with but one exception--a place of communal harmony. This reading informs his study of the Theogony's reception in later writings about polity, discord, and justice. The rich and various story of reception pays particular attention to the long Homeric Hymns, Solon, the Presocratics, Pindar, Aeschylus, Aristophanes, and Plato in the Archaic and Classical periods; to the Alexandrian scholars, Callimachus, Euhemerus, and the Stoics in the Hellenistic period; to Ovid, Apollodorus, Lucian, a few Church fathers, and the Neoplatonists in the Roman period. Tracing the poem's reception in the Byzantine, medieval, and early Renaissance, including Petrarch and Erasmus, the book ends with a lengthy exploration of Milton's imitations of the poem in Paradise Lost. Scully also compares what he considers Hesiod's artful interplay of narrative, genealogical lists, and keen use of personified abstractions in the Theogony to Homeric narrative techniques and treatment of epic verse. (shrink)

Resumo: Existe uma acirrada discussao entre os estudiosos do classico ingles Paradise Lost (John Milton, 1674) sobre o suposto misogenismo do autor. A maioria dos estudiosos, inclusive mulheres sustentam que n áo . A analise da Eva Miltoniana apresentada abaixo deixa claro que n áo so Milton de é fato misogenista, mas seu misogenismo vai alem da opini áo comum de uma epoca que via a mulher como encarnaç áo do mal. Milton, atraves de sua Eva, justifica esta (...) vis áo da mulher, aprofundando e perpetuando com sua mitopoetica a vis áo etica-teologica da mulher. Sua vis áo , longe de ser "moderna ", representa a reafirmaç áo do ethos paternalistico da tradic áo judaico-crist á. (shrink)

Classical education includes an apprenticeship in the art of rhetoric. It also gives a central place to the study of major works of literature, philosophy, and theology. There is often, however, an assumed disconnection between the art of rhetoric and the study of great texts. This disconnection undermines students’ ability to hear the voices of these texts as conversation partners in ongoing debates. This article illustrates how historically-based rhetorical-poetic reading enables us to hear the voices in a given text and (...) to consider how they work together. The argument first outlines some modern assumptions about the relation between poetry and rhetoric. The second part explains what rhetorical-poetic reading involves when approaching John Milton’s epic, Paradise Lost. The final section focuses on the second book of Milton’s poem, establishing how layered persuasive purposes constitute the fabric of the work and what the poem reveals through its curious dramatization of demonic deliberation. (shrink)

“Almost in the same historical moment when Galileo directed all modern physics to the reading of that book which Nature was supposed to have written herself in geometric or, subsequently, algebraic signs, the modern novel and modern theatre stepped in as evidence that modern readers and spectators enjoy the effects of those fictions most of all when they are altogether free of science.” Friedrich Kittler, “Man as a drunken town musician”.

Tanner uses Kierkegaard's thought, in particular his theory of anxiety, to enrich a bold new reading of Milton's Paradise Lost. He argues that for Milton and Kierkegaard, the path to sin and to salvation lies through anxiety, and that both writers include anxiety within the compass of paradise. The first half of the book explores anxiety in Eden before the Fall, original sin, the aetiology of evil, and prelapsarian knowledge. The second half examines anxiety after the Fall, (...) offering original insights into such issues as the demonic personality, remorse, despair, and faith. (shrink)

Comparisons have frequently been made between the works of Dante and Milton, more often than not by critics with a definite predilection one or the other poet. The author of this systematic comparison has approached the task without partisanship, but with a warm admiration for both poets. It is her contention that, although Dante was generally out of favor during the seventeenth century, even in Italy, Milton had read the Divina Commedia sympathetically and with care by the time he came (...) to write Paradise Lost. In substantiation Professor Samuel cites many parallel uses of language, imagery, theme, and method, while also taking note of divergences. Source materials are given in the appendixes, including Milton's references to Dante and a list of previously published comparisons. (shrink)