The existentialist philosopher Karl Jaspers is the father of a discourse on the spiritual consequences of the Holocaust. First addressed as the Schuldfrage (the question of guilt) by Jaspers immediately after the Second World War in his famous Heidelberg lecture, it has reappeared in various forms in German life and letters. Post-unification Germany has witnessed the valorization of the German experience of the Second World War. This ongoing re-evaluation has its antecedents in the generational literature of the 1970s and 1980s. (...) Whereas the Vaterliteratur of the 1970s (by authors such as Christoph Meckel, Uwe Timm, and Peter Henisch) was often embedded in a left-wing critique of the establishment, recent contributions to this growing genre (by Marcel Beyer, Stephan Wackwitz, Wibke Bruhns, and Ulla Hahn among others) speak to the issue of collective identity and transgenerational family trauma outside distinct left- and right-wing interpretations of National Socialism. The current writings on the life during the Third Reich (filtered through the experiences of discrete generations) are a confluence of historical writing, memorial literature, biography, and fiction. They are closely related to the discussions that W. G. Sebald initiated in his 1997 lecture series on the silence of German postwar literature with respect to German suffering. The subsequent debate on how to bring closure to this ?German suffering? was intensified by Günter Grass's widening of the concept of German victimization beyond the air war controversy in his book Crabwalk (2002). As Grass distinguishes clearly between the various post-World War II generations (and their different perspectives on historical events), the question becomes whether these recent writings will bring about a final so-called ?zero hour? in German postwar history. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us (...) to reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Between God and the President: Literature and Censorship in North AfricaHafid Gafaiti (bio)Assassination is the extreme form of censorship.—George Bernard ShawThose who fight with the pen will perish by the sword.—Slogan of the Algerian Muslim fundamentalistsIf you speak up, you die. If you don’t speak up, you die. So, speak up and die!—Tahar Djaout, the first writer assassinated in the context of the current Algerian political crisisIn the West, (...) censorship has been understood for the most part as the state’s control over cultural production. Many critics in the postwar period, however, have argued that other forms of censorship, such as market censorship, are comparable to the actions of the state. The Christian right’s attacks on art in the United States in the 1980s and early 1990s together with Congressional moves to disempower and dismantle the NEA have generated a new set of debates about censorship in this country. It was understood that the extreme right sought to repress cultural productions carrying a message of ethnic and sexual difference, targeting the works by rappers, the photographer Mapplethorpe, Madonna’s music videos, and so on. The right provided rhetoric to support the privatization of public space, the control of language and public images, and the promotion of “safe” art.While many critics refer to this as the “new censorship,” structurally it is exactly the same as the “old” censorship, that is, state control intervening in the liberal subject’s absolute right to free expression. It appears that the dichotomy between the left’s claim for the absolute freedom of the artist and the right’s attempt to repress it is most often conceived in moral terms and is paradigmatic of the Western liberal oppositional categories used to describe censorship.This position views the relationship between art and censorship as either a bourgeois romantic opposition to political order or a corrupt collaboration by opportunistic apparatchiks. It leaves no room for what Michael Holquist, for example, calls “negotiation.” Moreover, it does not take into account the fact that—in Third World or socialist contexts, for example—the way certain intellectuals view their role vis-à-vis the state, society, and/or the people determines their degree of cooperation with censorship mechanisms.The problem with this Manichean vision is that it implies a notion of censorship that is ahistorical: it posits that there is an essential distinction between the censor and the [End Page 59] creator or free mind. On the one hand, as Miklos Haraszti accurately outlines, at least until very recently in the Eastern European context:Censorship is no longer a matter of simple state intervention. A new aesthetic culture has emerged in which censors and artists alike are entangled in a mutual embrace. Nor is it as distasteful as traditional critics of censorship imagine. The state is able to domesticate the artist because the artist has already made the state his home.[5]On the other hand, as Richard Burt rightly suggests:What counts as censorship is not always clear. Indeed, it is hard to see how one could call many contemporary cases censorship without either seriously distorting the traditional understanding of the term or redefining it to include so many practices—ranging from institutional regulation of free expression, market censorship, cutbacks in government funding for controversial art, boycotts, lawsuits, and marginalization and exclusion of artists based on their gender or race to “political correctness” in the university and the media—that the term is overwhelmed, even trivialized, its usefulness as a tool of cultural criticism called into question.[xiii]Recent events, not only in the United States but also in other parts of the world such as Algeria, the case on which I will concentrate, show that one cannot seriously conceive the question of censorship along the lines of closed, distinct, conceptual categories expressing absolute oppositions. In other words, it is necessary to take the concept of censorship out of the realm of morality and locate it in the world of history, to displace it from the framework of philosophy and move it to the context of culture.In this essay, I will analyze the exercise of censorship in Algeria in... (shrink)

Objective Apeiron was founded in 1966 and has developed into one of the oldest and most distinguished journals dedicated to the study of ancient philosophy, ancient science, and, in particular, of problems that concern both fields. Apeiron is committed to publishing high-quality research papers in these areas of ancient Greco-Roman intellectual history; it also welcomes submission of articles dealing with the reception of ancient philosophical and scientific ideas in the later western tradition. The journal appears quarterly. Articles are peer-reviewed (...) on a double-blind basis. Topics ancient philosophy ancient science reception of ancient philosophical and scientific ideas in the later western tradition Article formats Original Articles. (shrink)

This paper deals with the possible ways of understanding the relation between the reconstruction of history and literary fiction. The transmission of memory across generations – postmemory, and the composition of literary works out of the place of the origin – ectopic literature – facilitate the formation of historical discourse, which is inevitably accompanied by modern interpretation. As interpretation is understanding reality in a subjective manner, literary fiction takes its place in the reconstruction of historical events. And ectopic literature (...) is one of the main narratives, which helps to understand the relation between facts and fantasy. (shrink)

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the works of (...) Nietzsche and Max Weber. (shrink)

An artistic interpretation of historical facts is quite relevant in the literature and non-fiction of a post-totalitarian society. Prose works on historical themes are valuable and interesting in that they create an illusion for readers to be present in a certain period of historical time, and it is the artistic modeling of events that makes priceless facts of history completely disappear. The historical past is an inexhaustible material that word artists have been referring to for centuries, creating the best (...) examples of fiction. Prose texts of historical subjects are perceived by each next generation in a new way, historical events and phenomena are interpreted from different angles, the activities of famous figures of the past are widely covered. Non-fiction literature is a kind of literature that is on the verge of artistry and documentary. The main non-fiction genres are a diary, autobiography, biography, memoirs, confession, letters, etc. On the one hand, non-fiction literature claims to recognize the author’s subjective truth about him in her texts; on the other hand, only the reader can either, demonstrating full confidence in the author, call this text documentary, or admit the presence of poetry and aesthetics in the work and tilt the scales in the direction of artistry. The material for observation and research of the phenomenon of artistic modeling are works that allow us to trace the most common, in our opinion, models of correlation of historical and artistic consciousness in postmodern literature and non-fiction of a post-totalitarian society. (shrink)

Machine generated contents note: Images of Chaos: An Introduction * Tactic I: Desertion (chaotic movement) * First Annihilation: Fall of Being, Burial of the Real * Tactic II: Contagion (chaotic transmission) * Second Annihilation: Betrayal, Fracture, and the Poetic Edge * Tactic III: Shadow-Becoming (chaotic appearance) * Chaos-Consciousness: Towards Blindness * Tactic IV: The Inhuman (chaotic incantation) * Epilogue: Corollaries of Emergence.

Philologus, founded in 1846, is one of the oldest and most respected periodicals in the field of Classics. It publishes articles on Greek and Latin literature, historiography, philosophy, history of religion, linguistics, reception, and the history of scholarship. The journal aims to contribute to our understanding of Greco-Roman culture and its lasting influence on European civilization. The journal Philologus, conceived as a forum for discussion among different methodological approaches to the study of ancient texts and their reception, publishes (...) original scholarly contributions with a strong international focus. Publications languages are: German, English, Italian, French. As of 2014 the publication of supplementary volumes will be resumed. The series Philologus. Supplemente / Philologus. Supplementary Volumes will publish monographs and edited volumes pertaining to all aspects of the study of ancient literature and its reception, with a special focus on topics concerning literary theory, philosophy and the history of scholarship from an interdisciplinary perspective. (shrink)

The historical and typological failure to represent in writing the phenomenon of the moment--light, wonder, love, unity, god, etc.--has repeatedly turned into the success of performance: writing. An examination of the various textualizations of the moment reveals it as a signifier that empties itself of the meaning it is supposed to signify, while instead it generates ever new meaning. Therefore the historical and typological textualizations of the moment of epiphany, dialectical change, recollection, deferral, etc., must be read as a genealogy (...) and an economy . This reading of the moment consists in a three-part discussion of philosophical and literary texts on epiphany in Plato and Dante, on the romantic moment in Kant, Schelling, Schopenhauer, Kierkegaard, and Wordsworth, and on the post/modern moment in Heidegger, Adorno, Nietzsche, Derrida, Goethe, Musil, and Beckett. The romantic moment deserves special attention because of its instability in foregrounding presence and absence. An intimate relationship can be seen between the romantic moment of instability and the post-modern moment of a regulated instability which ultimately shows that the romantic/post-modern moment constitutes the momentum of all previous periods and textualizations of the moment. This examination of the genealogical and economic shapings of the moment reveals it as a rhetorical device. In terms of a politics of semiotics the moment always performatively subverts its political representation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What Is Literature? What Is Art?Integrating Essence and HistoryJerry Farber (bio)I. Aesthetic ExperienceThere remains a widespread belief among literature professors that literature doesn't exist; that is, that it has no stable, transhistorical identity. The very term "literature," we are reminded, shifts its meaning from one century to another. And even if someone should insist that, when they talk about literature, they're not talking about writings in general or a (...) familiarity with books or whatever else the term "literature" may have signified in the past, but only about those texts that one might consider aesthetic, what has this person gained? Not much—since a literature professor who, in recent decades, has turned for answers to the philosophical study of aesthetics will have been likely to confront either a Wittgensteinian dismantling of "art" or, more commonly these days, an institutional theory that defines "art" not on the basis of any properties that it might possess or of any function that it might serve, but solely on the basis of its relation to a cultural institution that, in return, is identified in relation to "art." One might be forgiven for concluding that to follow this quest for essence from "literature" to "aesthetic" or "art" is to go from one sinking ship to another.So literature—as Terry Eagleton, for example, has continued to insist through two editions of his widely read Literary Theory: An Introduction1 —doesn't exist. Which makes it awkward to be a literature professor and helps to explain why so many of us have tried to reinvent ourselves as professors of something else. But this is by no means a mere problem of academic nomenclature, since more than a few of us continue to believe on some level (a level obviously below the graduate level) that there is something there all the same, something that is more stable and less culturally contingent than our theories tell us it is. We just don't know how to legitimize that belief. This dilemma tends to be reflected one way or another in [End Page 1] our teaching. We may repress any essentialist qualms and seek a lofty theoretical consistency as cultural historians for whom aesthetics is merely one more thing to situate—and we pass this disbelief in literature on to our students. Or we may learn to live with cognitive dissonance and pass that on to our students. Literature is hardly alone among the arts in its identity problem, but it does seem to have a more advanced case.Someone came for a job interview on my campus a few years ago, fresh out of a fairly prestigious doctoral program. He made his presentation and then mentioned during the question period afterward that, in his classes, he did make an effort not to ignore a text's aesthetic qualities. He stopped, looked around apprehensively, and said, "I know the term's problematic, of course...""So how do you resolve that?" I asked.He shrugged. "I don't know really."Nonetheless, just as there has been a "return of the aesthetic" in broader terms, books and articles have been appearing from the mid-90s on, arguing for or heralding a reemergence of the aesthetic in literary study.2 Certainly this makes sense, if only as a way of trying to shore up our precarious position in the academy, since, as has been repeatedly observed, literary study, in the absence of any delimiting aesthetic criterion, simply dissolves into other disciplines. And if literature doesn't exist, why spend money on literature professors? Why not hire real historians, sociologists, philosophers, psychologists, etc., to do those more respectable and definable things we keep claiming we do? But still, practical motives aside, what is to be the theoretical basis for any return to literary aesthetics? Can this merely be a matter of fashion? Will "the return of the repressed" do as a justification?The time has come, I think, not to revert to a simple, blind faith in "literature" and "art," but to find a way of reconciling our stubborn essentialist belief, on one hand, and our constructionist perspective, on the other—a way of understanding and teaching literature... (shrink)

To claim that Hayden White has yet to be read seriously as a philosopher of history might seem false on the face of it. But do tropes and the rest provide any epistemic rationale for differing representations of historical events found in histories? As an explanation of White’s influence on philosophy of history, such a proffered emphasis only generates a puzzle with regard to taking White seriously, and not an answer to the question of why his efforts should (...) be worthy of any philosophical attention at all. For what makes his emphasis on narrative structure and its associated tropes of philosophical relevance? What, it may well be asked, did any theory that draws its categories from a stock provided by literary criticism contribute to explicating problems with regard to the warranting of claims about knowledge, explanation, or causation that represent those concerns that philosophy typically brings to this field? Robert Doran’s anthologizing of previously uncollected pieces, ranging as they do over a literal half-century of White’s published work, offers an opportunity to identify explicitly those philosophical themes and arguments that regularly and prominently feature there. Moreover, White’s essays in this volume demonstrate a credible knowledge of and interest in mainstream analytic philosophers of his era and also reveal White as deeply influenced by or well acquainted with other important philosophers of history. White thus invites a reading of his work as philosophy, and this volume presents the opportunity for accepting it as such. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments LITERARY STUDIES AND THE REPRESSION OF REPUTATION by John Rodden 6 6T A Thomakesorbreaks a writer's reputation?" asked Esquire during VV the mid-1960s. The editors' answer, titled "The Structure of the Literary Establishment," came in the form of a multicolored "chart of power." Included was "virtually everyone of serious literary consequence," whether "writer, editor, agent, or simple hipster." The center of power was indicated, noted the (...) editors, by "the hot red blob in the middle," which oozed over the names of the chief literary makers and breakers.1 In 1977 Esquire drove to the heart of the blob, asking a long list of "knowledgeable" writers, academic critics, andjournalists the question, "Which American writers of this century do you consider the most overand under-rated"? Running below the responses across four pages was a sketch of Father Time, busily at work inflating and bursting bubbles bearing the images of various candidates. No consensus was sought, though Dreiser and Willa Cather fared well, and Pound, Eliot, Hemingway, Mailer, and Edmund Wilson less well. The editors acknowledged that their respondents generously volunteered a number of nonAmericans too (and stretched "writers of this century" back to the Venerable Bede), "proving that once you get started on this kind of thing, it's hard to know where to stop." 2 Unfortunately, reflection on the matter seems to stop at the doorstep of literary studies. "Reputation" is one of those subjects that readers, 261 262Philosophy and Literature critics, and scholars love to talk about, but to which serious attention is rarely paid, even by sociologists of literature—and not at all by literary critics. Separate disciplines are devoted to the study ofwealth and power, yet none to honor or reputation, the third chiefcategory ofclass systems and human motivation.3 A few cultural critics have drawn attention to the ways in which the "institution of criticism"—book publishing, book reviewing, literaryjournalism, scholarly criticism—has exerted influence on public literary taste or the profession of literary studies. But their work has typically criticized "the culture industry" or "the literary-industrial complex," rather than addressed the making of authors' and books' reputations.4 Although semesterly reading lists and even whole libraries testify to the exalted reputations of a few canonized authors, a near-total silence has prevailed in the academy on reputation as a literary issue in its own right.5 That such a central dynamic of literary life—in a sense the defining, controlling category for an essentially honorific activity like literature and literary criticism—should go virtually unattended by critics of literature might seem at first glance a professional conspiracy by Esquire's "blob." Yet the academy's neglectof"the problem ofreputation" is hardly due to outright professional collusion, but rather to a joint matter of institutional and historical factors. These have partly to do with the elusiveness of "reputation" as a concept, which has accommodated the more important repressive factors: the academy's preoccupation with literary interpretation and its persistent habit of averting its eyes from its own institutional history. This essay explores the problematics of literary reputation, the essence of which consists in our unrefiective tendency to assume that what is valued is invariably what is also reputed. II Few readers would deny that authors' reputations bear heavily on practices in publishing and literary journalism. Few even question Esquire 's buried point that "reputations get made" through institutional networks which exchange and distribute information. Yet the literary academy has traditionally relegated the subject to the slick magazines and, more recendy, to the sociology of art and occupations, where it has received scant attention and where literary canons are not made.6 On those rare occasions when journals like The American Scholar have taken up literary reputation as an issue, they have politely asked only the first of Esquire's questions (about underrated books and authors), John Rodden263 characterizing their discussion as "the game" ofrediscovering "neglected books." 7 Indeed the topic may well strike a bit too close to home, as observers as opposed in their literary politics as Norman Podhoretz and Richard Kostelanetz seem to agree.8 For elite institutions and star reputations exist in academe and in the literary... (shrink)

The nineteenth century was a time of great economic, social, and political change. The population of a modernizing Europe began demanding more freedom, which in turn propelled the ongoing discussion on the philosophy of nature. This spurred on Central European sheep breeders to debate the deepest secrets of nature: the transmission of traits from one generation to another. Scholarly questions of heredity were profoundly entwined with philosophy and politics when particular awareness of “the genetic laws of nature” claimed natural equality. (...) The realization that the same rules of inheritance may apply to all living beings frightened both the absolutist political power and the divided society of the day. Many were not prepared to separate religious questions from novel natural phenomena. Open-minded breeders put their knowledge into practice right away to create sheep with better wool traits through inbreeding and artificial selection. This was viewed, however, as the artificial modification of nature operating against the cultural and religious norms of the day. Liberal attempts caught the attention of the secret police and, consequently, the aspirations of scholars were suppressed by political will during approximately 1820–1850. (shrink)

In this article, I discuss a relatively recent development of Russian interest in Kyiv as a place with symbolic and historical significance for Russian history, which makes it a desirable target in an ongoing war. I trace the changing attitude of Russian travelers towards Kyiv’s history from the mid-eighteenth to the early nineteenth century. Earlier generations of visitors came to Kyiv primarily to visit holy places, with no knowledge of the city’s historical significance, and because it was a (...) more affordable alternative to travel abroad. However, at the end of the eighteenth century, after Catherine II’s royal visit, the publication of guidebooks, and the ascend of history as a discipline, and interest among Russian educated elites, Kyiv’s past became an obsession for many Russian travelers. Their travel accounts were motivated by a search for the past glory of Kyiv. For Russian travelers and authorities, history became one of the key means of appropriation of Kyiv, with a new generation of travelers searching for material evidence connecting Kyivan Rus to the Russian past. However, they were unable to find much material evidence and often used their imagination to present Kyiv as a site of Kyivan Rus history, ignoring the city’s non[1]Russian heritage. (shrink)

Current societal changes and challenges demand a broader role of technological universities, thus opening the question of how their role evolved over time and how to frame their current responsibility. In response to urgent calls for debating and redefining the identity of contemporary technological universities, this paper has two aims. The first aim is to identify the key characteristics and orientations marking the development of technological universities, as recorded in the history of engineering education. The second aim is to (...) articulate the responsibility of contemporary technological universities given their different orientations and characteristics. For this, we first provide a non-systematic literature review of the key pedagogical orientations of technological universities, grounded in the history of engineering education. The five major orientations of technological universities presented in the paper are technical, economic, social, political, and ecological. We then use this historical survey to articulate the responsibilities of contemporary technological universities reflecting the different orientations. Technological universities can promote and foster the development of scientific, professional, civic, legal, or intra- and inter- generational responsibility. We argue that responsibility is not specific to any particular orientation, such that the concept is broadened to complement each orientation or mix of orientations of a technological university. Our contribution thus serves as a call for technological universities to self-reflect on their mission and identity, by offering a lens for identifying the orientations they currently foster and making explicit the responsibility arising from their current orientation or the ones they strive to cultivate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 62-79 [Access article in PDF] Literature Itself:The New Criticism and Aesthetic Experience Daniel Green I AFTER ALMOST TWO DECADES of tumult and transformation in university departments that still claim literature as part of their disciplinary domain, what is most remarkable about literary study at the beginning of the twenty-first century is how similar it is to what passed for such study at the beginning (...) of the twentieth century. Like philology one hundred years ago, academic literary study today—at least at the most eminent universities and in the most prestigious journals—is a highly esoteric activity, unlikely to appeal to anyone outside its own "professional" boundaries, anyone whose foremost interest in works of literature is simply to read them. It is, therefore, an endeavor that could hardly exist outside the university's institutional protection, and it is most strikingly concerned not with the appreciation of the intrinsic qualities of literature but with the historical and cultural "knowledge" that can be acquired from works of literature through a special kind of analysis. The effort, chronicled by Gerald Graff in Professing Literature, to make "literature itself" the focus of academic study and to establish "aesthetic criticism" as the primary mode of literary study must surely be judged a failure, the current academic scene clearly dominated by the sort of scholars Graff terms "investigators." 1But of course the motives for rejecting the merely literary as a focus of study are quite different among current scholarly investigators as compared to the philologists of 1901. The attitude of the latter can probably be captured in the words of one of them quoted by Graff: "Why then waste time and brains in thrashing over again something which is after all only subjective opinion? Mere aesthetic theorizing [End Page 62] should be left to the magazine writer or to the really gifted critic" (p. 124). Such "researchers" did not deny the value of reading works of literature; they simply considered this value to be essentially "subjective," not an appropriate object of academic scrutiny. While these remarks do imply some condescension toward the "really gifted critic" and this critic's "mere aesthetic theorizing," they do not repudiate the very idea of an aesthetic approach to literature. The present generation of academics engaged in the investigation of literature, on the other hand, have repudiated the aesthetic approach, either explicitly, through the well-publicized critiques of the canon, of the very notion of the great work, or of the remaining approaches still associated with New Criticism, or implicitly through the gradual establishment of cultural investigation as the new norm for the professional training of graduate students and as the dominant mode of analysis in the influential journals. Moreover, the primary motive behind the renunciation of the aesthetic has more to do with politics than with methodology: for these scholars, the aesthetic is literally useless, quite irrelevant to the paramount goal of "intervening" in a continuing ideological struggle that is thought to be the main business of the university scholar.In the context of the history of modern literary criticism (as opposed to the history of the American university), the current situation mirrors that which prompted the emergence of The New Criticism in the 1930s. Although Vincent Leitch identifies "the evocative mode of Impressionist criticism, the moralism of Neo-Humanism, the anti-modernist cultural criticism of Mencken and Van Wyck Brooks," as well as the "sociologizing" of Marxist criticism" as the collective bêtes noires of the New Critics, it was clearly the latter they considered to be the most unwelcome. Not only had it effectively eclipsed the other practices, but it could be said to have exhibited most of those characteristics against which New Criticism expressed the deepest antipathy. 2 Compared to the close reading New Critics would espouse, Marxist criticism was superficial, willing to settle for the most readily available interpretation (according to the Marxists' own critical assumptions), moralistic, committed to the idea that the best literature was that which could be shown to be good for you, historicist, concerned to place works... (shrink)

Recently, the government of Zimbabwe unveiled a newly constructed statue of the esteemed spirit medium and liberation icon who intrepidly fought against the British imperialism. The distinguished heroine is passionately known as Mbuya Nehanda Charwe Nyakasikana. The lexical item, ‘Mbuya’ in Shona language literally means grandmother. This study examines the ways in which the spectres of religion, historiography, gender and national politics find expression in often contested state narratives of Mbuya Nehanda and in selected Zimbabwean fictional writings. Foucault’s theorisation of (...) socio-political practices and subjectification as sites of power, together with the Critical Discourse Analysis (CDA) framework and bell hooks’ feminist thought of ‘talking back’, provide provocative insights about regimes of power that could be more edifying in the interlocking discursive terrain of the African cosmology, frequently disputed archeology of historical memory, socio-political relations, which are noticeable in discourses and gender politics. The study interrogates whether the Nehanda grand narrative is told by politicians as the revolutionary story of all citizens or not. If not, what alternative versions are proffered in selected Yvonne Vera and NoViolet Bulawayo’s literary texts? Arguably, the mythology of Nehanda in the chosen literary texts locates women as agents of revolution thereby generating semantic dissonance in the Zimbabwean context, which is largely considered as land of the Fathers. Contribution: The study situates the Nehanda narrative within contested terrains of national history, gender and religion in Zimbabwe’s transitional politics and literature. It concludes that in Vera and Bulawayo’s writings, the Nehanda narrative is deployed to interject significations of woman (hood) and nation (hood) which seek to marginalise some sections of the society. The dissonances embedded in the Nehanda narrative produce a dialoguing space that’ talks back’ and rebuts single storytelling. (shrink)

This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.

Can history be objective? Is history a science or humanistic discipline? What is its subject-matter? These three questions are variations on a single theme—the objectivity of history—which I want to explore. Faced with the welter of claims and counter-claims regarding objectivity in history, there is need to be explicit about one's approach to these claims. My prime endeavor in this paper is to reformulate these questions from my scheme of reference. I want to consider the objectivity (...) of historical knowledge from a framework that does justice both to philosophic and methological issues and to historical knowledge-claims themselves. How this philosophic framework be labeled is immaterial. What is alone important is that it does distinguish philosophy proper from both science and its methodological analysis. Confusion between the three, I believe, frequently generates problems out of whole cloth. The result is that obfuscation of issues present in much recent literature concerning history. (shrink)

This book examines how the Romans came to have a literature, how that literature reflected native and foreign impulses, and how it formed a legacy for subsequent generations have become central questions in the cultural history of the Republic. It examines the problem of Rome's literary development by shifting attention from Rome's writers to its readers. The literature we traditionally call 'early' is seen to be a product less of the mid-Republic, when poetic texts began to circulate, than of (...) the late Republic, when they were systematically collected, canonized, and put to new social and artistic uses. Imposing on texts the name and function of literature was often a retrospective activity. This book explores the development of this literary sensibility from the Romans' early interest in epic and drama, through the invention of satire and the eventual enshrining of books in the public collections important to Horace and Ovid. (shrink)

The notion of ‘philosophical culture’ can be defined as the totality of conditions of philosophical thought and theory. Among these conditions is an awareness of the historical background of the philosophical culture in question. This awareness, which plays an important cognitive and normative role, often takes the form of a relatively independent discipline: history of philosophy. Over the last decade, Russian historians of philosophy have been attempting to make the repressed past accessible to contemporary philosophy, often modifying their earlier, (...) Soviet work. This can be illustrated with a survey of late Soviet and post-Soviet literature on the Russian philosopher, Vladimir Solov’ëv. (shrink)

The abstruse phrase “Qi 氣is self-generating; constancy categorically does not engender Qi. Qi is self-generating and self-arising” in Hengxian 《恒先》 should be put in the context of the “self-generating” 自生 idea of Daoism. The cosmology depicted in the first part of Hengxian serves the political philosophy in the second part. “Qi is self-generating” serves the political philosophy of “non-action.” “Self-generating” is an important opinion in the philosophy of Daoism. However, the idea in ancient Daoist literature hasn’t been clearly analyzed. Hengxian (...) shows that the idea of “self-generating” may have a long history and is related to the idea of “nature” 自然 in Laozi 《老子》 and Zhuangzi 《莊子》. “Self-generating” was inherited and developed by Yan Zun 嚴遵, Wang Chong 王充, Zheng Xuan 鄭玄, and Liezi 《列子》, and influenced Guo Xiang 郭象. The old “self-generating” theory based on Dao was developed into a new theory. Hengxian offers a precious resource for the ideological study of “self-generating.”. (shrink)

This volume presents a colourful and entertaining overview of German intellectual history by a central figure in its development. Heinrich Heine (1797-1856), famous poet, journalist, and political exile, studied with Hegel and was personally acquainted with the leading figures of the most important generation of German writers and philosophers. In his groundbreaking History he discusses the history of religion, philosophy, and literature in Germany up to his time, seen through his own highly opinionated, politically aware, philosophically astute, (...) and always ironic perspective. This work, and other writings focussing especially on Heine's rethinking of Hegel's philosophy, are presented here in a new translation by Howard Pollack-Milgate. The volume also includes an introduction by Terry Pinkard which examines Heine both in relation to Hegel and Nietzsche and as a thinker in his own right. (shrink)

The generation of companions who played a key part in writing the revelation continued this responsibility in maintaining the Sunnah and translating it to some extent. Since the Sunnah is the secondary source of religion, this activity of theirs is of great importance. In this regard, the fact that some of the companions documented the Sunnah when the Prophet was still alive or after his death yielded favorable outcomes in terms of Sirah science, which attempts to properly transmit his life (...) from birth to death. In the research, the location of the written material, which was penned by the companions and identified as “codex” or “kitāb”, in the formation process of the science of Sirah will be tried to be revealed. Because the codexes, which include the majority of the narrations relating to the ghazwa and seriyyas, are among the most important sources used by Tabi'un era Sirah scholars. In the research, the principal sources of Sirah and Islamic History were taken as a basis, recent literature was scanned and academic works on the subject were benefited from. It is seen that the offspring of the companions developed the codex, who inherited from their dads or grandfathers, with the narrations they received from third parties. This is why the research briefly mentions these important contributions they made. (shrink)

Disturbed by these acrimonious arguments, the authors - former colleagues and university-press board members - embarked on an ambitious project to reexamine a number of major literary and philosophical works dealing with the liberal arts and education. With their discussions ranging from Plato to Rousseau, from Cicero to Vico, from Erasmus to Matthew Arnold, Sousa and Weinsheimer offer not a history of education philosophy but an examination of the present.

Literature from the United Kingdom and the United States represents the cultural expression of those peoples' lived experiences. Reading British and American literature may also aid in our understanding of the values, worldview, and ideological underpinnings of western civilization. Therefore, this thesis examines the mythological and religious themes in British and American literature using literary works from both countries. Greek Myth is the source and soil of ancient Greek literature. Ancient Greek and Roman literature is a rich treasure for later (...) generations to understand myths, providing creative materials for later British and American writers. It can be said that myths and religious ideas gave birth to great literary works and some immortal poets. Among them, "_Wuthering Heights_" is the main representative work of 19 th -century literature and occupies an important position in British and American literary history. Based on this, this paper discusses British and American literature's religious and cultural characteristics in "_Wuthering Heights_", mainly from the perspective of environment description and plot shaping. I hope this research can play a role in attracting jade. (shrink)

No other thinker so engaged the Russian cultural imagination of the early twentieth century as did Friedrich Nietzche. The Revolution of Moral Consciousness shows how Nietzschean thought influenced the brilliant resurgence of literary life that started in the 1890s and continued for four decades. Through an analysis of the Russian encounter with Nietzsche, Edith Clowes defines the shift in ethical and aesthetic vision that motivated Russia's unprecedented artistic renascence and at the same time led its followers to the brink of (...) cultural despair. Clowes shows how in the last years of the nineteenth century a diverse array of writers and critics discovered Nietzsche's thought, embracing or repudiating it with equal vigor. The literary storm brewing around Nietzsche and the concurrent relaxation of censorship combined to attract a public eager to follow the new intellectual fashion. Young writers, such as Andreev and Kuprin, welcomed the idea of the "superman" as a promising path to personal fulfillment. The tragic fates of their protagonists and the alluring gospel of the vulgar Zarathustra-like characters of such bestselling authors as Boborykin, Artsybashev, and Verbitskaia found enthusiastic, if indiscriminating, audiences ready to be "taught" how to "find themselves." By considering this Nietzschean cult, Clowes draws fresh insight into the nature of the budding popular-culture industry in Russia and the fast-growing reading public. From this ferment emerged the greatest Russian literary voices of the early twentieth century. The revolutionary romantics, Gorky and Lunacharsky, sought in Nietzsche's writing a new vision of total social and cultural change. Merezhkovsky led a generation of mystic symbolists in the search for a literary myth of resurrection. Ivanov, Blok, and Belyi appropriated the image of the "crucified Dionysus" as the central symbol of spiritual transfiguration. Their encounters with Nietzschean thought disclose an even more profound creative struggle with their own cultural past and its established formulations of nation and individual, culture and history. Clowes uses the term future anxiety to speak of a creative mentality that strove to assert itself by diminishing the impact of powerful literary precursors, such as Tolstoi, Dostoevsky, and Solovyov, and opening to the imagination the vision of a future full of vast creative possibility. (shrink)

We undeniably live in an information age—as, indeed, did those who lived before us. After all, as the cultural historian Robert Darnton pointed out: ‘every age was an age of information, each in its own way’ (Darnton 2000: 1). Darnton was referring to the news media, but his insight surely also applies to the sciences. The practices of acquiring, storing, labeling, organizing, retrieving, mobilizing, and integrating data about the natural world has always been an enabling aspect of scientific work. Natural (...) history and its descendant discipline of biological taxonomy are prime examples of sciences dedicated to creating and managing systems of ordering data. In some sense, the idea of biological taxonomy as an information science is commonplace. Perhaps it is because of its self-evidence that the information science perspective on taxonomy has not been a major theme in the history and philosophy of science. The botanist Vernon Heywood once pointed out that historians of biology, in their ‘preoccupation with the development of the sciences of botany and zoology… [have] diverted attention from the role of taxonomy as an information science’ (Heywood 1985: 11). More specifically, he argued that historians had failed to appreciate how principles and practices that can be traced to Linnaeus constituted ‘a change in the nature of taxonomy from a local or limited folk communication system and later a codified folk taxonomy to a formal system of information science [that] marked a watershed in the history of biology’ (ibid.). A similar observation could be made about twentieth-century philosophy of biology, which mostly skipped over practical and epistemic questions about information management in taxonomy. The taxonomic themes that featured in the emerging philosophy of biology literature in the second half of the twentieth century were predominantly metaphysical in orientation. This is illustrated by what has become known as the ‘essentialism story’: an account about the essentialist nature of pre- Darwinian taxonomy that used to be accepted by many historians and philosophers, and which stimulated efforts to document and interpret shifts in the metaphysical understanding of species and (natural) classification (Richards 2010; Winsor 2003; Wilkins 2009). Although contemporary debates in the philosophy of taxonomy have moved on, much discussion continues to focus on conceptual and metaphysical issues surrounding the nature of species and the principles of classification. Discussions centring on whether species are individuals, classes, or kinds have sprung up as predictably as perennials. Raucous debates have arisen even with the aim of accommodating the diversity of views: is monism, pluralism, or eliminativism about the species category the best position to take? In addition to these, our disciplines continue to interrogate what is the nature of these different approaches to classification: are they representational or inferential roles of different approaches to classification (evolutionary taxonomy, phenetics, phylogenetic systematics)? While there is still much to learn from these discussions—in which we both actively participate—our aim with this topical collection has been to seek different entrypoints and address underexposed themes in the history and philosophy of taxonomy. We believe that approaching taxonomy as an information science prompts new questions and can open up new philosophical vistas worth exploring. A twenty-first century information science turn in the history and philosophy of taxonomy is already underway. In scientific practice and in daily life it is hard to escape the imaginaries of Big Data and the constant threats of being ‘flooded with data’. In the life sciences, these developments are often associated with the socalled bioinformatics crisis that can hopefully be contained by a new, interdisciplinary breed of bioinformaticians. These new concepts, narratives, and developments surrounding the centrality of data and information systems in the biological and biomedical sciences have raised important philosophical questions about their challenges and implications. But historical perspectives are just as necessary to judge what makes our information age different from those that preceded us. Indeed, as the British zoologist Charles Godfray has often pointed out, the piles of data that are being generated in contemporary systematic biology have led to a second bioinformatics crisis, the first being the one that confronted Linnaeus in the mid-18th century (Godfray 2007). Although our aim is to clear a path for new discussions of taxonomy from an information science-informed point of view, we continue where others in the history, philosophy, and sociology of science have already trod. We believe that an appreciation of biological taxonomy as an information science raises many questions about the philosophical, theoretical, material, and practical aspects of the use and revision of biological nomenclatures in different local and global communities of scientists and citizen scientists. In particular, conceiving of taxonomy as an information science directs attention to the temporalities of managing an accumulating data about classified entities that are themselves subject to revision, to the means by which revision is accomplished, and to the semantic, material, and collaborative contexts that mediate the execution of revisions. (shrink)

The spread of Islam to a wide geography in a short time had an effect on the activities of notification and invitation rather than military success. While Muslims invite communities that have not yet converted to Islam, on the other hand, they have taken care to keep the Muslim community alive with sermons and guidance by not neglecting their own internal reforms. They encouraged people who are well-equipped in terms of religious knowledge and inclined to oratory to bring religious love (...) and enthusiasm to the new generations, especially to the new generations. This sermon expectation of society has encouraged the growth of powerful preachers throughout history in the Islamic community. One of the factors that make the sermon effective is the reinforcement of the speech content with the literary language. Human nature, which is inclined towards beauty by nature, values the word being spoken by considering aesthetic concerns. The way to make speeches that are concise in words, deep in meaning, declaratively clear and intelligible depends on the proper use of literary arts. Literary writers try to make the most of the possibilities of literature and make their works permanent. In this study, the work al-Mudhish of Ibn al-Jawzī, who is one of the preachers who made his sermons effective by taking advantage of the rich possibilities of Arabic literature, was examined within the framework of the relationship between literature and preaching. The prominent literary elements in the work were examined in titles, striking examples were selected and critiqued. As a result, it has been revealed what Ibn al-Jawzī’s bringing together his sermon language and his literary work has brought to the sermon text. (shrink)

Our modern-day word for sympathy is derived from the classical Greek word for fellow-feeling. Both in the vernacular as well as in the various specialist literatures within philosophy, psychology, neuroscience, economics, and history, "sympathy" and "empathy" are routinely conflated. In practice, they are also used to refer to a large variety of complex, all-too-familiar social phenomena: for example, simultaneous yawning or the giggles. Moreover, sympathy is invoked to address problems associated with social dislocation and political conflict. It is, then, (...) turned into a vehicle toward generating harmony among otherwise isolated individuals and a way for them to fit into a larger whole, be it society and the universe.This volume offers a historical overview of some of the most significant attempts to come to grips with sympathy in Western thought from Plato to experimental economics. The contributors are leading scholars in philosophy, classics, history, economics, comparative literature, and political science. Sympathy is originally developed in Stoic thought. It was also taken up by Plotinus and Galen. There are original contributed chapters on each of these historical moments. Use for the concept was re-discovered in the Renaissance. And the volume has original chapters not just on medical and philosophical Renaissance interest in sympathy, but also on the role of antipathy in Shakespeare and the significance of sympathy in music theory. Inspired by the influence of Spinoza, sympathy plays a central role in the great moral psychologies of, say, Anne Conway, Leibniz, Hume, Adam Smith, and Sophie De Grouchy during the eighteenth century. The volume should offers an introduction to key background concept that is often overlooked in many of the most important philosophies of the early modern period.About a century ago the idea of Einfühlung was developed in theoretical philosophy, then applied in practical philosophy and the newly emerging scientific disciplines of psychology. Moreover, recent economists have rediscovered sympathy in part experimentally and, in part by careful re-reading of the classics of the field. (shrink)

This article considers current advances in tattooing that are challenging community-held views of authorship and ownership, and the need to address this tension. The key challenge is from AI-generated artworks being used as tattoo designs, but the authorial role of the tattooist is also challenged by body art projects such as tattoo collection. Legal clarity for tattooing is lacking, and in addressing this, this article advocates for an open, community-based form of shared copyright ownership and authorship for projects as tattoo (...) collecting, drawing on Dusollier’s and Mendis’ work. This article contributes to both copyright and cultural heritage legal scholarship, and to tattooing scholarship and the tattooing community. AI-generated art being tattooed on people has not been explored in the literature to date, and this article fills this gap. Furthermore, this article contributes a pilot study of the tattoo community’s views on AI-generated tattoos, which is currently lacking from the scholarly debate on AI-generated art. This article argues that the debate within the tattoo community about AI-generated art being used in tattoos needs to be addressed within the community through agreed extra-legal norms, which may well depart from how copyright law decides to approach AI-generated art globally. This article also asserts that AI should _not_ be regarded as the “author” of tattoo works in the traditional copyright sense, as only a human tattooist can draw from a number of cultural, textual, audiovisual and visual, cultural folklore, history and mythical references in creating their tattoo designs, as well as drawing on the client’s personal stories. This article explores the following: (i) an understanding of tattooing as an artform; (ii) tattoos in UK copyright law; (iii) an exploration of the authorial role of the tattooist within tattooing; (iv) the authorial role of the tattooist within tattoo collecting; (v) AI-generated tattoos—perspectives from the tattoo community, through a pilot study of YouTube videos and viewer comments about this; and (vi) a consideration of whether copyright legal reform is the solution for the tattooing community. (shrink)

Oxana Timofeeva's The History of Animals: A Philosophy is an original and ambitious treatment of the "animal question". While philosophers have always made distinctions between human beings and animals, Timofeeva imagines a world free of such walls and borders. Timofeeva shows the way towards the full acceptance of our animality; an acceptance which does not mean the return to our animal roots, or anything similar. The freedom generated by this acceptance operates through negativity; is an effect of the rejection (...) of the very core of metaphysical philosophy and Christian culture, traditionally opposed to our 'animal' nature and seemingly detached from it. (shrink)

The connection between the concept of dialogue and the philosophy of education has a long history in Western culture, going back to Socrates’s dialogues with his fellow Athenians some 2,500 years ago. One recent example of the extensive corpus of literature on this topic is Empowering Dialogues in Humanistic Education,1 edited by Nimrod Aloni, that explores the notion of educational dialogues as discussed by thinkers ranging from Confucius to Janusz Korczac, Friedrich Nietzsche, Paulo Freire and, most recently, Nel Noddings. (...) In the course of the twentieth century, dialogue has come to be viewed as an educational and cultural phenomenon whose promotion will ensure a humanistic, pluralistic, and humane model of... (shrink)

According to James C. Scott, in The Art of Not Being Governed, the resistance of Southeast Asian “hill peoples” to state subordination manifested itself in their deliberate abandonment of both sedentary agriculture and literacy. He argues that “tribality” (group-generated state evasion) is the polar opposite of “peasantry” (state-controlled agriculture). The hill peoples’ foraging and swiddening were thus political choices. Scott’s anthropological and geographical approach to these historical studies is admirable, but, despite his book’s subtitle (An Anarchist History of Upland (...) Southeast Asia), it lacks any reflection on the history of anarchism beyond the observation that tens of millions of persons wanted to avoid being bossed and taxed by the state. There is in the book, moreover, an absence of reflection on the oppressive nature of society: the state, Scott claims, is always repressive, whereas societies without a state are freer. This essay review asks whether the author shares with states, despite his criticism of them, a paucity of concern for the fates of individuals. (shrink)

Journal of the History of Biology provides a fifty-year long record for examining the evolution of the history of biology as a scholarly discipline. In this paper, we present a new dataset and preliminary quantitative analysis of the thematic content of JHB from the perspectives of geography, organisms, and thematic fields. The geographic diversity of authors whose work appears in JHB has increased steadily since 1968, but the geographic coverage of the content of JHB articles remains strongly lopsided (...) toward the United States, United Kingdom, and western Europe and has diversified much less dramatically over time. The taxonomic diversity of organisms discussed in JHB increased steadily between 1968 and the late 1990s but declined in later years, mirroring broader patterns of diversification previously reported in the biomedical research literature. Finally, we used a combination of topic modeling and nonlinear dimensionality reduction techniques to develop a model of multi-article fields within JHB. We found evidence for directional changes in the representation of fields on multiple scales. The diversity of JHB with regard to the representation of thematic fields has increased overall, with most of that diversification occurring in recent years. Drawing on the dataset generated in the course of this analysis, as well as web services in the emerging digital history and philosophy of science ecosystem, we have developed an interactive web platform for exploring the content of JHB, and we provide a brief overview of the platform in this article. As a whole, the data and analyses presented here provide a starting-place for further critical reflection on the evolution of the history of biology over the past half-century. (shrink)

This paper addresses the way Hegel determines the difference between poetry (i.e., literature) and history. Hegel’s position is particularly significant for understanding both the basic features of the two fields and the implications that their relationship generates, even in contemporary debates. Starting from a comparison with Aristotle’s fundamental position, I will show how the Hegelian proposal, while initially appearing akin to that of the Greek philosopher, actually differs profoundly from it. This divergence has to do with their different conceptions (...) of the relationship between the two disciplines and philosophy. Unlike Aristotle, for Hegel history is more philosophical than poetry, because, to be genuinely history, it must itself become philosophy. At the same time, if poetry becomes philosophy, it loses its specificity and ceases to be art. To reach this determination, I will show that the key factors concern how the individual practice of the two disciplines is conceived and, more importantly, the different ways they relate to universality. (shrink)

The essay broadens the understanding of Ortega's thought by elaborating his historiosophy, which is crucial to fully comprehend his popular work, 'The Revolt of the Masses'. The author argues that Ortega's famous sociological framework (based on the interplay between the elites and the masses) is very often trivialized due to the lack of knowledge about his anthropological assumptions, upon which the model of the evolution of culture is constructed. Utilizing the already existing literature (inter alia a synthetic work by K. (...) Polit), the essay reconstructs three philosophical crises in European thought that can be ultimately depicted as a suggestive sinusoid of social attitudes operating throughout the history of Western Civilization between the two boundary lines of the primary 'belief'. The belief is in fact a trust in the first data people have to adopt before they start to think philosophically: the priority of the object or the subject (historically: fides or ratio). The sinusoid shows the cyclical change of the first data people tended to accept and reveals a certain cultural mechanism: every culture is first developed by the inspired generation of individuals who structure reality in some way and then fight for the dissemination of their framework. After they prevail and the culture is accepted on a mass level, a process of degradation starts - this is because the culture gradually looses its link with the vivid circumstances that once constituted the stimulus for the founding generation. As a result, the culture becomes gradually more formal and distant from 'real life' - the elites do not innovate anymore, perceiving their world view as well-established and the masses are able only to renovate what is inherited. In the long run this leads to 'vital disorientation', which must force the next great generation of individuals to structure reality anew. 'The Revolt...' perceived in this way receives another layer of understanding. The popular interpretation of the book is that mass men, knowing their inherent rights (thanks to democracy) and having leisure time (technological advance) enter the public stage and want to be ruled by somebody of their sort. The author highlights that, apart from these two, a third factor is present: the long-term socialization of the culture of 'pure rationalism'. The mass man already feels that it does not correspond fully to his daily experience and becomes disoriented as a result. In consequence, the time of mass movements has come (that will be organized in accordance with the radicalized principle of either rationalism or irrationalism), until the elites harness the revolted masses again. The final part of the essay suggests the possible Eastern European dimension of Ortega's predictions about postmodern Europe and indicates that his intuitions were sufficiently accurate to foresee the emergence of some main currents in the contemporary humanities and sciences. (shrink)

In this article, I present in a systematic way Aristotle’s understanding of movement (kinêsis) as efficient cause in the Generation of Animals. This aspect of movement is not disclosed in the approach to movement as an incomplete activity in contrast to energeia, which has been extensively discussed in the literature. I explain in which sense movement is the efficient cause of generation and how this movement is related to the other factors, in particular the source of movement, the seminal fluid, (...) pneuma, and the vital heat, as well as to the form and the soul. The role of movement as efficient cause of generation shows how, for Aristotle, form and soul are inseparable from matter and movement in nature. Explaining the role of movement as efficient cause of generation also helps to make sense of the multiplicity of factors involved in the efficient causality of generation. The key to articulating these factors with one another is the identity of form of the generative movement, which is specifically the same in the source, in the tools, and in the substance that is coming into being. (shrink)

This historical survey of Greek literature from 700 BC to 550 AD concentrates on the principal authors and quotes many passages from their work in translation, to allow the reader to form his own impression of its quality, including Homer, Plato, Aristophanes, and Euripides. Attention is drawn both to the elements in Greek literature and attitudes to life which are unfamiliar to us, and to the elements which appeal most powerfully to succeeding generations. Although it is recognized that this appeal (...) lies above all in the most creative and inventive period, an account is given of the eight hundred years which followed, which saw the impact of earlier inspirations. Poetry, tragedy, comedy, history, science, philosophy, and oratory are all examined through the available literature. This new edition has been revised to take account of recent scholarship, such as the influence of oriental traditions of Greek literature, and includes several new translations and a thoroughly updated bibliography. (shrink)

In the context of a broad discussion on the relationship between historical research and aesthetic appreciation of historically remote literature in the first decade of the DVjs, Erich Auerbach presents a reading of Dante’s Commedia that combines both. In his article, »Entdeckung Dantes in der Romantik« in the DVjs of 1929, Auerbach declares that he developed this approach (further elaborated in the same year in the book Dante als Dichter der irdischen Welt) essentially from considerations found in Schelling and Hegel, (...) from whom he also inherits certain metaphysical presuppositions. The particular conception of realism inherent in this reading of Dante (to be unfolded in Auerbach’s book Mimesis in 1946) is further sharpened in the essay »Figura« of 1939 by the use of the hermeneutic concept of figural typology – albeit at the price of a certain distortion of the historical tradition of this concept. Thus, Auerbach adds a powerful instrument to literary studies, which in the following generations, in accordance with the polysemy of the Latin term figura, is often used in a somewhat unspecific way, now no longer following a conception of literature as mimesis, but as the locus of ambiguity par excellence. (shrink)

The article is devoted to the 100th anniversary of the Institute of Philosophy of the Russian Academy of Sciences (IPhRAS), held in 2021. The purpose of the article is to give an overview of IPhRAS's contribution to the study of Aristotle's ethics within the framework of domestic Aristotelian studies, to note the main works of IPhRAS employees in this field. The material of the article is aimed not only at summing up the results to a significant date, but can be (...) used as an auxiliary reference point in the domestic research literature by all those interested in the ethics of Aristotle. The article examines the articles and monographs of IPhRAS employees, makes brief descriptions of the most significant ideas expressed in them, analyzes the general process of development of Aristotle's ethics research in IPhRAS. The result of the conducted research is the identification of two directions in the study of Aristotle's ethics by IPhRAS employees – philosophical-theoretical and historical-philosophical. Within the framework of the first direction, two types are also distinguished: those aimed at the theoretical reconstruction of Aristotle's teaching on morality itself and those that turn to Aristotle's works in search of modern significant concepts. The second direction is represented by translation work, structural and comparative analysis of Aristotle's texts in order to reproduce them as accurately as possible and clarify individual concepts and statements. The main conclusion of the study is the statement that IPhRAS has not yet developed a holistic school in the approach to the study of Aristotle's ethics, and also that the two discovered areas of research are being implemented separately from each other. However, in both directions, researchers proceed largely from the analysis of the philosophical language of the Stagirite, which makes not only historical and philosophical works significant for philosophical and theoretical ones, but also vice versa. Also, despite a relatively short history, the study of Aristotle's ethics at IPhRAS has a systematic nature, all generations of employees are involved in it, which promises its further successful development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reconsiderations on History and Antiquarianism: Arnaldo Momigliano and the Historiography of Eighteenth-Century BritainMark Salber PhillipsQuando mia figlia era molto piccola si divertiva a entrare nel mio studio e a chiedermi con finta gravità: “Signore papà che cosa hai concluso?” La sua domanda mi è tornata in mente molte volte più tardi, e mi ritorna nella mente anche oggi. Concludere non è facile, in qualsiasi lingua. E io per (...) natura preferisco proporre problemi.—A. Momigliano, “Epilogo senza conclusione”The question is: can we save for ourselves and for our successors this immemorial tradition, this long-standing delight, of talking to past historians as if they were our senior colleagues?—A. Momigliano, “Polybius Between the English and the Turks”More than any other historian of this century, Arnaldo Momigliano shaped our understanding of the evolution of Western historiography from the ancient to the modern world. Fundamental to this continuity, as Momigliano saw it, was the revival in the Renaissance of the classical division of history into two distinct genres. The first (often called, without further qualification, “history”) is the narrative of public events organized in linear [End Page 297] and causal fashion; the second, antiquities, is a more diverse body of writing that neglects political narrative for philosophical, literary, topographical, and other concerns. After the Reformation antiquarianism took on new tasks in response to the religious controversies of the age, but it remained distinct from the narrative tradition. Only in the eighteenth century did a convergence begin that has finally been completed in the historical methods of our own time. 1This identification of the eighteenth century as the time when historical narrative and antiquarian research converged gives Momigliano’s views their particular interest to students of this period. His terms, however, are always far wider than any single century. In fact his argument constitutes a genealogy of modern historical method, since the merging of the two traditions—first witnessed in the erudite historiography of Edward Gibbon—was a precondition of modern practice. On these foundations, a modern historical discipline has grown up in which systematic research has become indivisible from the task of representing the past in narrative, with the consequence that the ancient separation of history and antiquities has at last been transcended.This essay is intended as a sketch of an alternative approach to the study of historical thought and writing in eighteenth-century Britain. In my view an essential point of departure is the interest of eighteenth-century writers in the structures and experiences of private life, their desire to explore the inward lives of individuals and the everyday life of societies. This revaluation of private life challenged the classical conception of history in fundamental ways, resulting in a fruitful tension between the social and sentimental interests of the age and its inherited view of history. At stake, in the very [End Page 298] broadest terms, was the need to find forms of historical narrative that met the needs of a commercial society and recognized the values and activities of a non-aristocratic audience.In the eighteenth century antiquarian erudition was far from the only genre bordering on the territory of political narrative. Conjectural history, religious history, history of manners, history of sciences and of literature, biography, memoir, and novel all defined themselves in relation to a traditional conception of history and claimed the attention of readers for their own rival narrative spaces. More particularly, these related genres ranged themselves against history’s strict identification with public life, with all the assumptions about audience, gender, and intellectual authority that accompanied the public domain. Without ever displacing the national narrative in the hierarchy of literatures, these other genres offered a variety of alternative histories whose common ground was their resistance to the assumed priority of politics. 2For a generation Momigliano’s dialectic of history and antiquarianism has served as an organizing principle for a good deal of teaching and writing on early modern historiography. 3 It is time, I believe, for a revaluation of this conceptual scheme. The wider consideration of genres I am urging would greatly enlarge the framework of discussion and give us a sharper sense of the interests of eighteenth-century historians and their... (shrink)

Cognitive science can help literary scholars formulate specific questions to be answered by archival research. This essay takes, as its starting point, embedded mental states (that is, mental states about mental states) and their role in generating literary subjectivity. It then follows the transformation of embedded mental states throughout several manuscripts of Christa Wolf’s autobiographical novel, Patterns of Childhood (Kindheitsmuster, 1976), available at the Berlin Academy of Arts. The author shows that later versions of Patterns of Childhood have more complex (...) embedments in the chapter describing the adolescent protagonist’s relationship with her schoolteacher. This textual development is integral to the process whereby the presumably authentic memories of the past are constructed to fit the present needs of the person who is doing the remembering. Accompanying the three case studies of the manuscript revision is a discussion of theoretical and practical implications of this “cognitive-archival” approach to literature. (shrink)

Among the literature of the 1970s which enthusiastically emphasized the externalist approach to the history of science was an article by John Farley and Gerald L. Geison which has often been referred to. It gave an interpretation of the spontaneous generation debate of 1859–64 between Louis Pasteur and Félix A. Pouchet, which suggests that Pasteur's victory was largely due to religious and political factors which favoured him rather than to experimental evidence. Although this view has been challenged by Nils (...) Roll-Hansen, no historian has yet appreciated the full context of the debate which involves the French Academy of Sciences. The Academy had fostered research through prize-questions on spontanteous generation and related issues for nearly twenty years. This new evidence radically alters the feasibility of Pouchet's support for spontaneous generation.A closer examination of Pouchet's writings shows that his religious beliefs influenced his work at least as much as in the case of Pasteur. Pouchet's deeply held commitment to spontaneous generation was not open to modification in the light of new experimental evidence. It was therefore a clear case of a research programme which was not ‘progressive’ and did not deserve to succeed. (shrink)

The cultural politics of Catholic restoration under Mary Tudor have been as crucial to the historical legacy of Thomas More as More's image was to the regime's own historical self-presentation. Not only did the Marian period see the first reappearance in print of many of More's writings after twenty years, the overwhelming presence of More's figure and work in official Catholic discourse, especially from 1556 onwards, also generated many instances of implicit Morean echoes pervading a great variety of Marian literary (...) texts and genres. This essay analyses a number of such hidden presences of More within classical translations of the period, from John Brende's History of Quintus Curtius, which was issued almost simultaneously with the 1553 Marian edition of More's Dialogue of Comfort, to George Colvile's Boethius and Nicholas Grimald's De officiis, whose appearance coincided with the preparation of More's English Workes for print. As it emerges, such implicit echoes and allusions to More's life and writings not only reshaped the classical works themselves, both updating them and enriching them with additional cultural and political significations; above all they helped to invest the program of Marian religious restoration with the credentials of classical learning promoted by the early Tudor humanists. (shrink)

"A consistently informative and often impressively detailed analysis of Anglo-Saxon heroic stories (especially Beowulf, Brunanburh, Maldon), this study pulls them out from under the pall of pseudo-mystical Germani-schism that has shrouded them for generations and returns them to something of their own historical, and especially political, origins."--R. A. Shoaf, University of Florida Anglo-Saxon poems and fragments seem to preserve a long-standing Germanic code of heroic values, but John Hill shows that these values are probably not much older than the poems (...) that record and advance them. In the first book-length application of anthropological research to Old English heroic literature, Hill demonstrates that the loyalties and values celebrated in "The Battle of Brunanburh," "The Battle of Maldon," and numerous other heroic episodes in Old English literature are not aspects of an archaic or ancient ethical life but instead political models serving the interests of West Saxon kingship and hegemony. Using the much more complicated Beowulf as an illuminating counterpoint, Hill works out the development in the heroic literature of these new ideals. Employing anthropological and psychoanalytic perspectives, Hill reopens for study an important subject of Old English literature long thought settled, and he provides a window onto the process of Anglo-Saxon state formation that should appeal to medievalists in both literary studies and history. John M. Hill is professor of English at the U.S. Naval Academy and author of several books, including Chaucerian Belief and The Cultural World in Beowulf. (shrink)

This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. We have represented this book in the same form as it was first published. Hence any marks seen are left intentionally to preserve its true nature.