We discuss two interpretations of two-dimensional semantics (2DMS) due to D. Chalmers and R. Stalnaker. The main problem with both interpretations of the formal framework is the relinquishng of rigidity for terms. They are in a sense unfaithful to an agent's beliefs. We present alternative principles to capture what we take to be agents's beliefs, namely: the principles of hyper-rigidity and backward reference to actuality. We propose then to go back to a one-dimensional semantics which affords a satisfactory model of (...) beliefs reports. Our proposal, like 2DMS, addresses typical problems of representation for beliefs and epistemological difficulties related to modal knowledge. (shrink)

Dans le monde philosophique français, tout allait bien jusqu'à ce matin de juin 1976 oáu Bernard-Henry Lévy, dans un dossier des "Nouvelles littéraires", annonçait l'irruption d'une "authentique relève dans le monde de la pensée": les "nouveaux philosophes". Les passions se déchaînent. S'agit-il de "jeunes oracles", de "nouveaux gourous", "d'imposteurs"? On connaît les noms. On a pris connaissance des volumes suscités par la tempête; on a peut-être lu certains articles de presse, qui ont fait écho à la bataille. Les livres restent, (...) alors que les articles de presse risquent d'être emportés par la tempête du temps et, de toute façon, sont dispersés: Sylvie Bouscasse et. (shrink)

The big economic story of our times is not the Great Recession. It is how China and India began to embrace neoliberal ideas of economics and attributed a sense of dignity and liberty to the bourgeoisie they had denied for so long. The result was an explosion in economic growth and proof that economic change depends less on foreign trade, investment, or material causes, and a whole lot more on ideas and what people believe. Or so says Deirdre N. McCloskey (...) in _Bourgeois Dignity_, a fiercely contrarian history that wages a similar argument about economics in the West. Here she turns her attention to seventeenth- and eighteenth-century Europe to reconsider the birth of the industrial revolution and the rise of capitalism. According to McCloskey, our modern world was not the product of new markets and innovations, but rather the result of shifting opinions about them. During this time, talk of private property, commerce, and even the bourgeoisie itself radically altered, becoming far more approving and flying in the face of prejudices several millennia old. The wealth of nations, then, didn’t grow so dramatically because of economic factors: it grew because rhetoric about markets and free enterprise finally became enthusiastic and encouraging of their inherent dignity. An utterly fascinating sequel to her critically acclaimed book _The Bourgeois Virtues, Bourgeois Dignity_ is a feast of intellectual riches from one of our most spirited and ambitious historians—a work that will forever change our understanding of how the power of persuasion shapes our economic lives. (shrink)

The criterion of truth is the measure of the truthfulness and reliability of our knowledge. It is also the basis for determining the correctness of our concepts and how much our perceptions, ideas, and concepts accord with objective reality. Idealism holds to the idea that the criterion of truth does not involve the integration between theory as created by human intelligence and objective reality, but rather that the criterion of truth involves the "clarity and correctness" of perception, viewpoints, and concepts (...) by the subject. For instance, the Machists 1 think that the criterion of truth is experience, however, they neither interpret experience from a materialistic viewpoint, nor view experience as the result of humans interacting with nature as they reform it. The Machists view experience as a summary of perceptions and as the subjective experience of humans. In this sense, perception must be tested by perception itself. In attempting to escape the trap of solipsism, they proposed "collective experience" as the criterion of truth. According to such a view, anything that involves "common significance," that is, anything acknowledged by everyone, is the truth. Lenin exposed the absurdity of idealist theory by pointing out that by following the view of "socially formed experience" it is very easy to consider as normal the most absurd and farcical notions, such as ghosts, for such beliefs are also a form of human "experience." Religion also possesses a "common significance," for innumerable people believe in ghosts and miracles, etc. Nevertheless, religion does not become the truth because of this. The concept of the "criterion of truth" held by the Machists played a dominant role in modern bourgeois philosophy. Jean Jacques Rousseau and John Dewey, along with other reactionaries in philosophy all denied scientific criteria. They would rather that the masses remain ignorant of how to understand and determine the truth. (shrink)

L'idéalisme comprend le devoir moral comme une catégorie éternelle et le formule en lois qui s'adressent aux sentiments de chaque individu. Le matérialisme, au contraire, cherche à expliquer la conscience morale par les conditions sociales et à l’exposer historiquement. L'article ci-dessus donne les grandes lignes d'une telle analyse. Il distingue entre la morale, phénomène de notre temps, l'éthique de l'antiquité et la conception autoritaire du moyen âge. La morale se base essentiellement sur la société bourgeoise, dans laquelle l'intérêt particulier et (...) l’intérêt général sont distincts. L'individu qui, dans l'activité quotidienne, ne recherche que son propre avantage, éprouve à l’appel de sa conscience, le souci de la société. L'auteur démontre ce fait au moyen d'une analyse de l’impératif catégorique de Kant.La morale bourgeoise contient déjà les germes de sa victoire sur elle- même. Elle tend vers une société dans laquelle le devoir et l'intérêt ne seront plus séparés. On retrouve cette tendance non seulement chez Kant, mais encore chez d'autres grands philosophes bourgeois. Les idées de justice, d'égalité et de liberté prennent peu à peu, au fur et à mesure que la société bourgeoise se développe, une autre signification que celle qu'elles paraissent avoir eue au début ; elles exigent aujourd'hui la modification des conditions pour l'introduction desquelles elles ont pourtant été proclamées à l'origine. Cette dialectique est une des raisons de la perplexité actuelle en matière d’idées sur le monde et la vie. Dans l'exposition de cette dialectique, l'auteur montre comment les idées bourgeoises ne vivent plus aujourd'hui dans la pensée idéaliste, mais bien plus dans la pensée matérialiste. Les deux formes principales d’expression de la morale ont actuellement, d’après M. Horkheimer, la pitié et la politique. Elles ne peuvent pas être rationnellement liées l'une à l'autre, mais le sens moral se manifeste dans toutes deux.L'impulsion morale est vivante non seulement dans la vie pratique, mais aussi dans la science. Le matérialisme nie la possibilité d'une science entièrement objective : les intérêts des hommes influencent la recherche scientifique. Il est vrai que ces intérêts, si sublimes qu'ils puissent être, ne sont pas l'émanation d’un sujet libre, comme l'enseigne l'idéalisme, mais la conséquence nécessaire du processus historique. Aussi le matérialisme n’exige- t-il nullement, pour autant que le respect de la vérité reste l'élément de base, le manque de chaque jugement moral dans la science. La croyance du positivisme actuel à la possibilité de faire des constatations affranchies de toute théorie, comme d'ailleurs son aversion envers toute théorie en général, sont dues à ce qu’il ne possède pas lui-même de grandes idées directrices. La théorie naît partout où les connaissances sont sciemment rapportées à un but, c'est-à-dire strictement en relation avec des valeurs de la pratique.Philosophical idealism conceives moral obligation as an eternal category, and formulates it in commandments that appeal to individual sentiment. Philosophical materialism on the other hand, endeavours to explain moral consciousness in terms of social conditions, and to present it in its historical perspective. This essay attempts to furnish the main features for such an analysis. It distinguishes ethics, as a phenomenon of modern times, from that of ancient times, and from the authoritative attitude in the middle ages. Its foundation rests on bourgeois society in which individual and collective interests become sharply separated from each other. The individual, who in his daily work looks to his private interests, experiences through his conscience, concern for the public welfare. H. proves this through his analysis of Kant’s categorical imperative.Bourgeois morality already contains within itself the seeds of its own dissolution. It indicates a society in which duty and interest are no longer separate. This tendency in ethics becomes manifest, not only in Kant, but also in other great philosophers of bourgeois society. With the development of the latter the ideas of Justice, Equality, and Freedom acquire a content other than that they seem to have possessed in their genesis, and to-day require that change in conditions, to effect which, they were originally introduced. This dialectical process is one of the causes of the present-day philosophical uncertainty. H. shows in his exposition of this dialectical process, how bourgeois ideas are no longer active in idealist thought, but are so in materialist thought.The two main forms in which contemporary ethics expresses itself, are according to H. pity and politics, which cannot indeed, in a rational way, be connected one to the other. Both arise out of a moral sentiment. This moral impulse is active not only in practical life, but also in knowledge. Philosophical materialism denies the possibility of completely objective knowledge : men’s interests find expression also in their cognition. Indeed, however sublime these interests are, they do not spring from „free“ beings, as idealism maintains, but are the necessary results of historical processes.Accordingly, materialism in no way claims for knowledge, freedom from all subjective valuations, but only that a consideration for truth, remain the dominant characteristic. The belief of modern positivism in the possibility of attitudes free from all valuations, as well as its disinclination for all theory, is due to the fact that it possesses no great leading ideas. In all cases is theory vindicated, only when knowledge has a definite aim, that is, when it is related to practical values. (shrink)

David Hume, Adam Smith, Jeremy Bentham and John Stuart Mill are often viewed as contributors to or participants in a common tradition of thought roughly characterized as ‘the liberal tradition’ or the tradition of ‘bourgeois ideology’. This view, however useful it may be for polemical or proselytizing purposes, is in some important respects historiographically unsound. This is not to deny the importance of asking what twentieth-century liberals or conservatives might find in the works of, say, David Hume to support (...) their respective ideological persuasions. It is only to insist that attempts to use selected arguments, or parts of arguments, from great eighteenth-century thinkers to shore up twentieth-century programmatic political positions must be categorically distinguished from attempts to understand what Hume, Smith, Bentham or Mill actually meant, or could imaginably have meant, to say. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

(Conference proceedings 2014) This presentation (International Development Ethics Association, July 2014) considers economic vulnerability, exploring the risk of deprivation of necessary resources due to a complex and rarely discussed vulnerability that arises from hope. Pierre Bourdieu’s sociological account of French petit-bourgeois aspiration in The Social Structures of the Economy has recently inspired Wendy Olsen to introduce the term “aspiration paradox” to characterize cases wherein “a borrower's status aspirations may contribute to a situation in which their borrowings exceed their capacity (...) to repay,” leaving the individual much the worse, due to an aspiration to betterment. If such financial opportunities were not made available to these people – if some were denied loans due to a careful assessment of their vulnerability – would they be better off? We should seriously consider that they might be. I will hazard the straightforwardly paternalistic suggestion that limiting access to lending to those who are vulnerable to their aspirations can be a just policy. Because aspiration paradox is a cross-cultural phenomenon, and because lending frequently involves asymmetries in mathematical education between borrowers and lenders, I hope to elude at least some of the charges of colonialism that have gained a stronger purchase on adaptive preference arguments. (shrink)

Yang Hsien-chen and other comrades' theory of "combining two into one" consciously uses the bourgeois world view to oppose the proletarian world outlook. It is basically opposed to the philosophy of Marxism. "Marxist philosophy holds that the law of the unity of opposites is the fundamental law of the universe. This law is universally existent in the natural world, human society, and people's thinking." (1) However, the theory of "two into one" declares that "there is nothing in the phenomena (...) of the natural world, or in human society, thought, etc. which is not a case of ‘two combining into one.’" (2) The law of the unity of opposites holds that all things in the world are always dividing into two opposite sides which struggle with each other in a unity. The unity of opposites is conditional and relative, but the struggle of opposites is unconditional and absolute. The theory of "two into one" asserts that "anything is a combination of two into one." "The unity of contradiction only means that the two sides of the contradiction are inseparably connected." (3) However, the law of the unity of opposites holds that "the result of the struggle between the two opposite sides of the contradiction is that there is nothing which cannot be transformed into its opposite under definite conditions" (4), and "in human society and the natural world, unities are always splitting into different parts." (5) The theory of "two into one" simply regroups the contradictory relationships of things into "two opposite sides indivisibly linked together" (6), that is, things possess a so-called "inseparability." Since the theory of "two into one" in this way obliterates antagonistic contradictions and the absoluteness of antagonism, it also denies that the antagonism of contradiction must, under certain conditions, lead to the splitting of a unity and the transformation of opposites (into each other). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 29.1 (2005) 1-23 [Access article in PDF] Literature and Evolution: A Bio-Cultural Approach Brian Boyd University of Auckland Many now feel that the "theory" that has dominated academic literary studies over the last thirty years or so is dead, and that it is time for a return to texts.1 But many more outside literary studies—in fields as diverse as anthropology, economics, law, psychology, and religion—have recently (...) come to recognize that the deep past that shaped our species can help to explain our present and recent past. Since a bio-cultural model of the human can only be richer than a solely cultural model, and since it implies neither genetic determinism nor limitation to the status quo, I want to argue for a bio-cultural or evolutionary approach to literature, first in very general terms, and then through a few aspects of a single familiar example, Hamlet.2 Such an approach, I suggest, can offer both a more comprehensive theory of literature and a closer investigation of literary texts. I Traditional views of literature tended to see it as reflecting nature, especially human nature, all the way from Plato's discomfort with, or Aristotle's admiration for, mimesis to Shakespeare's or Stendhal's images of art as holding the mirror up to nature. Common-sense traditional views of art and literature have easily shaded into transcendental views, widespread because religious beliefs have been so pervasive and because both artists and their patrons in state or church benefit by nurturing a sense of awe at art's putatively divine origins and power.In the twentieth century, first in sociology, anthropology, and even [End Page 1] psychology, then by the 1960s in the combination of these with Saussurean linguistics that produced structuralism and its aftershocks, and therefore impacted on literature, there has been a rejection of human nature as a given and a stress on human nature as the product only of culture and convention. "Theory," or what the Norton Anthology of Theory and Criticism more pointedly calls cultural critique, rightly critiques traditional common-sense and transcendental views of art, pointing out that the nature, human nature, or supernature that art or literature was supposed to reflect was merely what was assumed of these things from within a local cultural perspective.3 Roland Barthes, for example, criticized "the mystification which transforms petit-bourgeois culture into a universal nature."4 Modern Theory also rejects the individual as another bourgeois or capitalist or Western notion, as when Fredric Jameson echoed Barthes's Death of the Author by announcing the Death of the Subject.5 Criticism since the 1960s "has denied, on theoretical grounds, the relevance of the single historically definable author."6However, as many have lately realized, there are problematic ethical consequences of both the denial of human nature and the denial of the individual. After such denials, on what basis do we then claim equal rights for all humans, and on what basis do we assign responsibility for particular actions?7 If there is no "single historically definable author," does that mean that someone penning a racist screed cannot be held accountable?A critique of unquestioned Western assumptions about human nature was needed, but the post-1960s critique was shortsighted: it has not looked nearly far enough. While structuralism and its more or less rebellious offspring were continuing the lineage of early twentieth-century social sciences, the natural sciences were moving in the opposite direction, towards the first comprehensive scientific attempt to understand human nature in the context of evolution and human, animal, and artificial cognition and behavior.In the humanities there has of late been widespread skepticism about science. Some postmodernists have what they deem "a sophisticated appreciation of the futility of proof and the relativity of all knowledge claims." But, as Daniel Dennett comments, "this opinion, far from being sophisticated, is the height of sheltered naïveté, made possible only by... ignorance of the proven methods of scientific truth-seeking and their power."8 Science does not generate only true answers: ideas proposed within it can of... (shrink)

For Bakhtin the “gradual narrowing down” of the carnival’s regenerative power is directly linked to its separation from “folk culture” and its ensuing domestication as “part of the family’s private life.” Nonetheless, Bakhtin’s faith in the inherent indestructibility of “the carnival spirit” compels him to find it preserved, even if in an interiorized and psychological form, in the post-Renaissance literary tradition, and he specifically names Diderot, along with Molière, Voltaire, and Swift, as authors who kept alive the subversive possibilities of (...) a Saturnalian laughter. But, of course, as Bakhtin himself recognizes, much more has changed in both the nature and the effects of that laughter than merely its locus of action. The crucial difference, according to Bakhtin, is a new sense of terror felt at the heart of the post-Renaissance carnival grotesque:The transformation of the principle of laughter which permeates the grotesque, that is the loss of its regenerating power, leads to a series of other essential differences between Romantic grotesque and medieval and Renaissance grotesque…The world of Romantic grotesque is to a certain extent a terrifying word, alien to man…Something frightening is revealed in that which was habitual and secure. [Pp. 38-39]Directly linked to this burden of terror, of laughter as a response to dread, not exuberance, is a change in the literary function of madness:Other specific traits are linked with the disappearance of laughter’s regenerating power…. The theme of madness is inherent to all grotesque forms, because madness makes men look at the world with different eyes, not dimmed by “normal,” that is by commonplace ideas and judgments. In folk grotesque, madness is a gay parody of official reason, of the narrow seriousness of official “truth.” It is a “festive” madness. In Romantic grotesque, on the other hand, madness acquires a somber, tragic aspect of individual isolation. [P. 39]Bakhtin’s typology of laughter, for all its richly textured local insights, is haunted, from its inception, by a wistfully nostalgic longing for a realm of pure and ahistorical spontaneity, a rite of universal participation whose essentially affirmative character is guaranteed by its very universality. The most characteristic feature of such a carnival is, in fact, its abolition of all distinctions between participant and viewer:Carnival does not know footlights, in the sense that it does not acknowledge any distinction between actors and spectators. Footlights would destroy a carnival, as the absence of footlights would destroy a theatrical performance. Carnival is not a spectacle seen by the people; they live in it, and everyone participates because its very idea embraces all the people. While carnival lasts, there is no other life outside it…. It has a universal spirit: it is a special condition of the entire world, of the world’s revival and renewal, in which all take part. [P. 7]Yet as soon as the question of representation arises, whether in Rabelais or in his successors, the “footlights” which separate actor and spectator, reader and character, come into being, introducing the very divisions the work’s themes deny. Belatedness, the knowledge of coming after the festival has already been fragmented, is thus not limited to a post-Rabelaisian, bourgeois culture; it is itself a condition of every Saturnalian text, and what has changed is not the inclusiveness of the carnival per se but the literary consequences of acknowledging that belatedness. Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione, a volume of verse. He is currently at work on a book about the Abject Hero and literary genealogy. (shrink)

In our time, a time of fundamental societal changes associated with the development of the world socialist system, which conditions the progressive course of mankind's social development, the problem of the prevention of war has come to be of immense importance. This problem has not only the greatest practical significance, but also a theoretical, philosophical aspect. The philosophical aspect of this problem is reflected, in the first place, in the fact that some hold the view that a new world war (...) is predestined by history, and represents a fatal inevitability, so that struggle against it is "Utopian." This view denies the possibility of peaceful coexistence among the given countries differing in societal and political systems. Such a position is in irreconcilable contradiction with the teachings of Marxism-Leninism, which stand opposed to the bourgeois conceptions of Karl Jaspers, W. Schmidt, Raymond Aron, G. Wetter, and many others who employ pseudoscientific argumentation to propagate the idea that such peaceful coexistence is impossible. (shrink)

This paper draws from contemporary psychoanalytic theory as well as nineteenth-century crowd theory to critique Louis Althusser’s account of the ideological interpellation of the subject. I argue that rather than ideology interpellating the individual as a subject, bourgeois ideology interpellates the subject as an individual. By “bourgeois ideology” I mean the loose set of ideas and apparatuses associated with European modernity, an instrumental concept of reason, and the emergence of the capitalist mode of production. The advantage of reversing (...) the Althusserian account is that the subject is not pre-constrained to the individual form, a form that is itself always already as failing and impossible as it is assumed and demanded. In Althusser’s version, the individuality that emerges in history is posited as universal, a given. In mine, the individual form is itself the problem; it’s a coercive and unstable product of the enclosure of the common in never-ceasing efforts to repress, deny, and foreclose collective political subjectivity. The individual is thus a form of capture. Rather than natural or given, the individual form encloses into a singular bounded body collective bodies, ideas, affects, desires, and drives. There is nothing necessary about the link between subjectivity and individuality; it is an effect contingent to the array of processes that converge into bourgeois modernity. (shrink)

By decision of the World Council of Peace, progressive mankind marked, on October 5, 1963, the 250th anniversary of the birth of an outstanding representative of the French Enlightenment, Denis Diderot. Diderot occupies an honored place in the history of world thought on esthetics, as one of the greatest theoreticians of realist art. The esthetic theory founded by Diderot, calling for the representation of nature, was directed against the feudal, theological world view and against the aristocratic art of the (...) court. Diderot's esthetics, like his philosophy, served the cause of ideological preparation for the bourgeois revolution at the end of the 18th century in France. "Each age has its distinctive spirit," said Diderot. "The spirit of our age is the spirit of freedom.". (shrink)

I knew I was in for trouble, that the going would be rough, when I removed the wrapper from the “Race,” Writing, and Difference issue of Critical Inquiry and observed the word “race” in quotation marks. Something deep was clearly brewing. And any doubts were quickly removed when I turned to the opening remarks of Henry Louis Gates, Jr. “Who,” he asked me, “has seen a black or a red person, a white yellow, or brown?” . There was a question (...) that spelled trouble, a glove in the face if I ever saw one. Here I was, crude, unregenerate, lacking the hypersensitivity that prevents someone like Gates from making such infra dig distinctions; here I was, daring to use words without quotation marks, actually believing that I referred to something identifiable when I spoke of black people, Americans, musicians, and whatnot, and being told that it was all just my own narcissistic and preemptive fantasy. Here I was, faced with the impossible choice of keeping permanently quiet or of perpetuating ruthless violence—of denying the individuality of all of God’s creation—not only by referring to knives, cats, my brother, or Indians, but simply by referring at all. But why, I wondered, was only the word “race” in quotation marks? Why not every single word in the entire issue of Critical Inquiry? For to refer, it seems, is to colonize, to take things over for one’s own brutal use, to turn everything else into a mere Other. There was Gates engaging in the academic’s favorite pastime, épater les bourgeois, and here was I, a hopeless bourgeois, just asking for a put-down. Harold Fromm is an independent scholar who has taught for many years in university English departments. He has published articles on Leonard and Virginia Woolf as well as on literary theory, politics, and professionalism. His most recent work concerns the Brontës. (shrink)

Critics, then, who label theories such as objectivism or deconstructionism as “authoritarian” or “subversive” are committing a fallacy of overspecificity. To call Hirsch’s theory authoritarian is to assume that such a theory lends itself to one and only one kind of political use and that that use can be determined a priori. To refute such an assumption, one need only stand back from the present in order to recall that today’s authoritarian ideology is often yesterday’s progressive one, and vice versa. (...) Indeed, there’s considerable historical irony in the fact that objectivism has now acquired the status of a right-wing idea, while Nietzsche and Heidegger have emerged as heroes of literary leftism. As recently as a few decades ago, these alignments were different. George Orwell, for instance, thought that the tendency to deny the possibility of objective truth reflected a totalitarian mentality. “Totalitarianism,” he wrote, “in the long run probably demands a disbelief in the existence of objective truth.” He added that “the friends of totalitarianism in this country tend to argue that since absolute truth is not attainable, a big lie is no worse than a little lie. It is pointed out that all historical records are biased and inaccurate, or, on the other hand, that modern physics has proved that what seems to us the real world is an illusion, so that to believe in the evidence of the senses is simply vulgar philistinism.”10It’s not that it hadn’t occurred to Orwell that the notion of objective truth could easily be used to justify the actions of tyrants and oppressors. But Orwell’s experience of Fascist and Communist falsification of history showed how the denial of the possibility of objectivity could also justify oppressive actions, perhaps in a more disarming way. For various historical reasons, Orwell’s insight is easily lost today. His is one of those Enlightenment concepts of truth which have been compromised in usage. As the Enlightenment has come to be associated not with progress, democracy, and equality but with the ideological exploitation of those concepts in the interests of social control, a great moral and political transvaluation of the epistemological vocabulary has occurred. Enlightenment thinking is frequently associated with the bourgeois complacency or the menacing technology of Western democracies or is identified with the totalitarian regimentation of the Soviet Union. Thus the concepts of objective truth, nature, essence, identity, and teleology have come to be viewed as conservative or reactionary ideas, as if these ideas had never operated, and never could operate, in quite other ways.11 10. George orwell, “The Prevention of Literature,” The Collected Essays, Journalism, and Letters of George Orwell, ed. Sonia Orwell and Ian Angus, 4 vols. , 4: 63-64.11. As Frederic Jameson has noted, “it is certainly the case that a belief in the natural is ideological and that much of bourgeois art has worked to perpetuate such a belief…. Yet in different historical circumstances the idea of nature was once a subversive concept with a genuinely revolutionary function, and only the analysis of the concrete historical and cultural conjuncture can tell us whether, in the post-natural world of late capitalism, the categories of nature may not have acquired such a critical charge again”. (shrink)

Viewing the development of French trade and manufacturing between 1650 and 1820, Jeff Horn underscores their great success based largely on overseas markets. His evidence supports the view of Friedrich Engels and Perry Anderson that capitalism developed within the pores of the Old Regime. Yet Horn attempts to deny the leading role of the bourgeoisie in this advance. He claims that it was through the Old Regime system of economic privileges rather than the agency of bourgeois capital accumulation that (...) such progress was made. This article rejects Horn’s exclusive preoccupation with the positive economic role of the privileges granted by the state. It reasserts the importance of the agency of the bourgeoisie in furthering economic development. Moreover, it contends that for all the economic gains made by the system of state privileges, such privileges were more than offset by the weight of rents on the peasantry and to the benefit of the nobility and Church imposed by this same regime of privileges. The distorted development that privileges imposed on economic and social life became an important factor behind the outbreak of the Revolution. (shrink)

The persistent struggle waged by the Soviet Union and the other socialist countries for peaceful coexistence among states with differing social systems has greatly increased the authority of this humanitarian policy in the eyes of the peoples of the world. Belligerent appeals for an outright rejection of peaceful coexistence are heard less and less frequently, even among the ideologists of imperialism. They are compelled to adapt themselves to the situation and to camouflage themselves with the masks of the peacemaker. (...) class='Hi'>Bourgeois professors of social science say they are for peace and peaceful coexistence. However, these concepts are sometimes given such a distorted interpretation that all real content evaporates. "Peaceful coexistence and the cold war," we read, for example, in the words of the British professor, Hugh Seton-Watson, "are literally the same thing." [All quotations from non-Russian sources are retranslated from the Russian.] Thus, a single sentence suffices, by an act of sophistry, to transform peaceful coexistence into a state of international tension and intensive war preparations. The ideologists of imperialism deny, in essence, the possibility of cooperation between the socialist and capitalist countries in the process of peaceful coexistence. (shrink)

IntroductionIn May 2006, the small group of doctoral students working on ecophilosophy at the Higher Institute of Philosophy at K.U.Leuven invited the Dutch environmental philosopher Martin Drenthen to a workshop to discuss his writings on the concept of wilderness, its metaphysical and moral meaning, and the challenge social constructivism poses for ecophilosophy and environmental protection. Drenthen’s publications on these topics had already been the subject of intense discussions in the months preceding the workshop. His presentation on the workshop and the (...) three critical responses by Wim Bollen, Glenn Deliège, and Richard Kover are published here in a thoroughly revised form on the basis of further and ongoing discussions about the issues involved. Three further contributions to the discussion are added: one by Nathan Edward Kowalski, a young Canadian philosopher who studied in Leuven and wrote his as yet unpublished dissertation on “Evil in Nature,” a second one by Kingsley Goodwin who is currently writing a dissertation on deep ecology at University College in Dublin and, finally, my own unsystematic thoughts inspired by Martin Drenthen’s provocative and stimulating hermeneutics of our postmodern understanding of nature and wilderness, as well as the diverse critical responses to Drenthen’s views by the other contributors. I owe gratitude to all of them for enriching my own ecophilosophical thought and enlarging its horizon although as my fragmentary reflections show at the cost of yet greater uncertainty and more questions about the possibilities of arguing for a radical environmentalist position. Such a position would somehow connect or ground our moral obligation to preserve genuine non-human otherness, wild and free nature, in the non-human meaning of such nature and in our essential need to be in direct and concrete contact with that field of wild non-human meaning because we ourselves belong to nature, because we are not only and purely civilized but are also and most fundamentally wild and free. Three fundamental questions need to be distinguished: the question about our moral obligations regarding nature and its preservation, the metaphysical question about the nature of nature or the meaning of nature, and the question of the metaphysical grounding of our morals in general, and of our moral obligation regarding nature in particular, in the nature or meaning of nature. The complex intertwinement between these three questions is at the heart of Martin Drenthen’s reflections.The authors contributing to the present discussion approach the various issues from markedly different philosophical backgrounds and concerns: critical theory, anthropology, analytic philosophy, phenomenology, hermeneutics, and deep ecology are all to some degree or other brought to bear on the question of what wilderness means for us, why we are fascinated by it and what it actually and in the first place is.Another interesting difference between the five respondents to Martin Drenthen’s wilderness-philosophy relates to the place from which they write: while the Canadians Richard Kover and Nathan Edward Kowalski have wilderness of some sort still close at hand, the Belgians Wim Bollen and Glenn Deliège write from a place which has been thoroughly domesticated, cultivated, and industrialised for a long time. Martin Drenthen himself, of course, writes from the same kind of place as these last two, which explains why he only refers to the wilderness that he has read about in novels, seen in movies, or experienced as recreated in the reserves of the Netherlands. The Irish Kingsley Goodwin writes perhaps from a third, intermediate place that is not wild anymore but still much more natural than Belgium or the Netherlands are.The differences in philosophical approach and concern combined with the difference of place generate a rich tapestry of perspectives and voices wrestling with the fundamental questions of our perceived homelessness and alienation from nature, our cultural discontent, our longing for and need for radical alterity, of immanence and transcendence, of who we are and where we belong, and more concretely of whether there is more to ground our efforts to preserve nature than enlightened self-interest and subjective preference. Martin Drenthen deserves praise for inaugurating this fruitful discussion with his intriguing and highly paradoxical effort to hybridize a postmodern deconstruction of the idea and ideal of wilderness as unspoilt and true nature on the one hand with a new metaphysics of wilderness on the other. Arne Naess, who is generally regarded as the founding father of deep ecology, pointed out the positive and stimulating role that vagueness in the expression of ideas can play in political and philosophical debate. Such general and vague but highly suggestive expressions as ‘all life is one’ are not empty at all, as is often claimed; they are rather full of possibilities of ‘precisation’ and differentiation. Drenthen’s wilderness-philosophy is certainly not vague to the degree of ‘all life is one,’ but his expositions are similarly pregnant with a wealth of further questions, precisations, distinctions, and conceptual clarifications. Good examples of different kinds are to be found in the contributions of Nathan Edward Kowalski and Richard Kover. Kowalski points out that Drenthen’s notions of culture and wilderness need to be made more precise by distinguishing them from the notions of civilization and wildness such that wild cultures become a conceptual possibility. Richard Kover takes the lead from Drenthen’s question about the reason for our postmodern fascination for wilderness to confront it with our primordial fascination in terms of the dependence in the evolution of our subjectivity and our consciousness on the focused perceptual attention on wild forms.Glenn Deliège situates Martin Drenthen’s wilderness-philosophy in its original context of the Dutch debate on the preservation of nature, in particular on the new wilderness paradigm. According to this paradigm, the nature to be preserved should be true and pure, truly natural and wild nature, that is nature outside of and free from the cultivating and domesticating influence of humans. In the Netherlands, however, such nature no longer exists; it can only be preserved after it has first been artificially recreated. Deliège gives an informative summary account of the highly charged three-cornered debate between the adepts of this wilderness-paradigm, the proponents of the more traditional form of conservation of remnants of the typical European landscapes created by pre-industrial farming practices and the modern technocratic functionalists. This debate makes obvious that there are quite different views of the nature of nature and its value. Enter social constructivism: the contested nature of nature is nothing more than a social construct, an idea in a collective mind. The contestation itself is a struggle for authority and power between different such social constructs, any claim to scientific objectivity and objective truth for one’s image of nature is an arrogation of a truth which doesn’t exist and is potentially oppressive by silencing other views. Nature then is up for the grabs of politics, political negotiation, and compromise between various interest groups who all want to get some benefit from nature, some use-value.The problem with Drenthen’s effort to articulate a normative concept of nature which cannot be deconstructed in this way is the extreme formality and emptiness of his metaphysical concept of wilderness as that which is always ‘beyond’, always ‘more’ and which can never be exhausted by any image and construction of nature. Any more concrete determination is mere appearance; the thing in itself is a border concept of that which in fact cannot be grasped conceptually. Glenn Deliège is critical of this formality and emptiness from which it will be impossible to derive any concrete guidance for our conservation practices. He then goes on to defend the Arcadian tradition of our appreciation of nature as giving us a historically well-grounded orientation for those practices. Of course that Arcadian tradition is obviously a cultural construction but that doesn’t make it completely arbitrary and contingent since it is itself ultimately grounded in and open to modification by our concrete sensuous experiences of nature.Deliège here raises the very important issue of the relation between our concrete perceptual and bodily experiences in and with nature and our concepts and metaphysical images of nature. Drenthen himself approaches this issue from the hermeneutical perspective of our need to make sense of our experiences and to articulate their meaning. His confrontation with social constructivism and his effort to salvage something from its relativizing acid lead him, however, into the direction of a highly abstract and empty concept of wilderness.Richard Kover shows that perception is, indeed, the key to a radical critique of social constructivism. He does this with the help of the ecological anthropology of Paul Shepard, the structuralist anthropology of Claude Levi-Strauss and the phenomenology of Maurice Merleau-Ponty. It needs to be said here that Kover takes his leave from an unpublished paper by Martin Drenthen with the title “How to appropriate wilderness appropriately?” – the paper is accessible though on Drenthen’s web-site - in which Drenthen comments and reflects upon three contemporary wilderness-tales, one of them being Werner Herzog’s much-discussed documentary on Timothy Treadwell, an American environmentalist drop-out who lived thirteen summers among wild grizzlies in the Alaskan wilderness before being killed together with his girlfriend by a grizzly bear.Kover tries to show that we are not imprisoned in the mirror-cabinet of our mind or of our human sociality. To make his case, he starts from Paul Shepard’s thoughtful observation that the evolutionary emergence of the mind did not remove us from the natural world but actually connected us deeper with it. Through our mind we evolved more fully into it because our mind is primordially in our senses and in the ability to articulate a perceptual world. The natural world in the form of the system of natural species and their relations is the primary model for perceptual discriminations, for the fundamental discovery of order with its twin-aspects of distinction and discontinuity on the one side and relations and continuity on the other side. Our cognition is essentially perceptually based, our subjectivity is primordially informed by our inherence in the sensible world. Perceptual cognition is inherently intentional and relational, it is not an autonomous mental construction, it is rather in the world and informed by that which is perceived. The other is always intertwined with the subject. We are always already hooked up with the world, with the others, before we start reflecting, thinking, and conceptualizing. This is one of the major themes in Shepard’s work: what this insight means with regard to our relations to non-human otherness, in particular to our perceptual encounter with wild animals. In our encounter with non-human otherness, we are confronted with an essentially ambiguous sense of both affinity and disjuncture. Wild animals demonstrate to us that we are not homeless or alien to this world, that we fundamentally belong to it and are part of it. Their difference, however, shows us that there are different perspectives and ways of being in the world. “Thus the encounter with non-human others inform humans that we are both of the world and simultaneously not the world and there are horizons of significance beyond our own perspective.”Nathan Edward Kowalski comes to a similar conclusion when he situates our morality in the larger moral order of wild nature. According to Kowalski it is indeed a moral order though not our own, an Other to our morality but not simply a negative one. It is, as Drenthen says, a highly paradoxical amoral morality. But what can it mean to speak of morality here? For Kowalski it means that the issue is not merely the theoretical recognition and acknowledgment of axiological transcendence, of non-human values out there, but whether we will appropriately conform to and comport ourselves towards that axiological transcendence so that we can find a human homeland in wild nature instead of turning it into a wasteland. The question then is, how to fit our own human morality into this larger order and greater reality, to subordinate it to that greater reality as a part of it and encompassed but not denied by it so that we can be moral and natural at the same time, tender carnivores hunting the sacred game. Indigenous people follow a moral protocol in their relationship with non-human others which acknowledge and respects their autonomy, their alterity, and the sacred mystery of their different ways of being. They are not befriended but some of them are hunted and eaten – as an exchange in the gift-economy of nature.The problem of the homelessness and alienation from nature is discussed by Wim Bollen from the radically different vantage point of critical theory. In Adorno’s and Horkheimer’s Dialectic of Enlightenment the human story unfolds as a tragic effort to liberate ourselves from nature and to become fully human through rational control when in the end this effort turns against ourselves and instead of liberation and human flourishing we get social domination and repression of our natural needs. The frustrations and mutilations imposed upon us by a repressive civilization give rise to the regressive desire for a return to a natural existence. Referring to the myth of Odysseus and Circe as interpreted by Adorno and Horkheimer, Wim Bollen equates such a natural existence with animal life. In the light of contemporary knowledge about primitive existence, however, this equation is highly problematic. Palaeolithic foragers were already fully human in all respects. A life without civilization need not be an animal-existence.According to Adorno/Horkheimer, our subjectivity and autonomy have to be wrested from animal-nature through an exertive struggle that cannot but proceed by a threefold strategy of domination: the domination of non-human otherness, of human others, and of our own inner nature. The siren song of nature consists in the temptation to give up that struggle for the promise of an unreflective, non-alienated natural existence without toil.When Odysseus’ men give in to Circe’s seduction they are, however, not transformed into wild animals but into swine. According to Bollen this signifies that we cannot re-wild ourselves, that we remain imprisoned in civilization, either as master-subjects or as domesticated animals. Bollen, by the way, like Drenthen, does not distinguish conceptually between civilization and culture. Since re-wilding for Bollen means the impossibility of returning to animal-existence, which is actually the impossibility of becoming another species since biologically we are animals already, to be imprisoned in civilisation means nothing else than to be imprisoned in our humanity. The fact that we cannot become wild animals again – according to Paul Shepard, however, we are still wild animals – is indeed, as Bollen stresses, a trivial form of alienation. A more meaningful concept of alienation which can be put to critical use must refer to a culturally and historically determined frustration and deficit inside the cultural order that is to be overcome not by an impossible regression but by progressive politics leading beyond the three intertwined forms of domination. Not back to nature but forward towards a reconciliation of culture with nature! Such a reconciliation would neither collapse culture into the immanence of nature nor submerge nature into the transcendence of culture. According with the three forms of domination it would be a three-dimensional form of reconciliation.Odysseus’ men did not got what they thought were promised them: the complete liberation from the burden of being autonomous subjects, of being civilized, but they got something worthwhile, namely a certain from of pleasure, a limited and provisional relief and escape. Bollen sees a critical potential in these piggish pleasures after all and consequently even in the siren song of nature since these pleasures were only experienced because Odysseus’ men gave in to it. But one has to give in to this siren song critically if it is to unfold its liberating potential. The problem with pleasure though in bourgeois society is that it is necessarily betrayed, instrumentalized and sold.Kingsley Goodwin’s paper starts by defending deep ecology against the charge of asserting a naïve and dogmatic metaphysics of nature. For convenience sake, but not quite unproblematically, he identifies deep ecology with the environmental thought of Arne Naess. A metaphysics of nature for Naess is always part of a personal worldview. Worldviews which are partly inspired by ecology Naess calls ecosophies. Naess always stresses the personal character of such a worldview and the irreducible plurality of them. It used to be a common misunderstanding of the platform of deep ecology which Naess conceived together with George Sessions that it expressed in a condensed form the metaphysical beliefs of deep ecology. Naess’ intention, however, was to try to articulate in a general fashion the basic viewpoints on which the supporters of the deep ecology movement agreed. It would be possible then to derive these viewpoints from quite different worldviews. In light of this, I think, that Goodwin’s characterisation of the platform as “pragmatic and activist” is not quite appropriate.Goodwin goes on to compare Drenthen’s conception of wilderness and wildness with the similar position developed by Neil Evernden in his book The Social Creation of Nature. He like Naess in his personal ecosophy stresses the crucial role of perceptual experience of wild otherness to find an antidote to the relativity and contingency of our interpretations of nature. Evernden refers to studies on child development to argue for a non-dualistic and relational conception of the self, similar to Naess’ relational ontology. According to Goodwin, Drenthen, in spite of his hermeneutical approach remains too much indebted to the Western subject/object-dualism. The object, in this case wild nature, is pure otherness.With regard to a compost heap, Goodwin shows that we are not separated from nature by an inseparable gulf, that nature is close at hand, and that we can experience and explore it, appreciate the complex play of identity and difference it consists of, the exchanges and transformations and that we can identify with the organisms involved in these exchanges.*The proceeding remarks only highlight some of the prominent themes and considerations in the various contributions to this topical issue of Ethical Perspectives. Hopefully the reader will feel invited and enticed to read the articles themselves, starting, preferably of course, with the essay by Martin Drenthen, who sparked off this lively discussion on the moral meaning of wild nature. I am honoured and pleased to be able to introduce these rich explorations by such talented young environmental philosophers who are eager to develop environmental philosophy further and lead it into new directions. They all have to wrestle with and find answers to the challenge postmodern deconstruction and social constructivism pose for environmental philosophy. In the face of that challenge, it is even more difficult than it already was to provide solid and convincing arguments for the defence of wild and free nature beyond merely pragmatic arguments in terms of its utilitarian value for us. The reason for that defence is not clear-cut and proves to be just as evasive as the moral meaning of nature itself. But neither that reason nor that meaning are mere phantoms and mirages that vanish when we approach them and try to grasp them. They are more substantial, even if they will never have the solidity of a mathematical proof or a scientific measurement. Their locale is the lifeworld which from the point of view of scientific and logical precision and clarity is a messy place where subject and object, reason and heart, fact and value, experience and thought and, yes, nature and culture cannot be clearly separated. This has important consequences for environmental philosophy and its methodology. Conceptual analysis and logical argumentation have to become sensitive to the richness of experience in the lifeworld and to the diverse efforts of its articulation: i.e., they have to open themselves up and maybe even to subordinate themselves to phenomenological and hermeneutical approaches. For me personally this is one of the most important conclusions I draw from the discussion presented here. (shrink)

Thomas Mann’s famous novella “Death in Venice” is more than social critics or metaphor of artistic search for means. Its ambiguous poetry of forbidden longing offers a game we play ever since, a drama of strange, dreamlike romance unfolding itself in a highly troublesome atmosphere of ordinary life succumbing to the oncoming devastation and catastrophe of the outer world that inexplicably links with the wishes of a soul. This plot became a focus of ideas, a web of meanings covering more (...) and more areas of mentality and imagination while living on. One of the latter writers rarely compared to Mann, a popular American author Stephen King, master of macabre fantasy, suddenly shows some extraordinary level of coincidence of his works’ throughout motives/invariants with those of the European classic. The answers both of them are chasing after lie in the mysterious character of the Whole of the world denying any isolate and solid sense, medium lands of affection and connection, Gordian knots of disastrous dialectics interweaving will and passivity, creation and destruction. Why dark fantasy (that King embodies) constantly insists on destroying, erasing the entire world for the sake of some bittersweet heroic pathos upon its ruin, as before Mann unleashes the epidemics to his story’s bourgeois backgrounds to celebrate the phantom love of his characters? Why does Beauty transgress the borders of subjectivity very much like Death does the borders of physicality, and they both lead us to the same revelation of some great apophatic quasi-Platonian chora at the core of our being where everything is born and we are all one? (shrink)

In his essay “La judéité dans la musique,” Richard Wagner’s horrid portrayal of a Jew by way of physical, economical, linguistic and musical description exposed his anti-Semitic convictions. Much of this aspect has either been forgotten or softened, however, when evoking Wagner, it is in fact the relationship between his anti-Semitism and his work that is the most problematic. This paper proposes to consider three symbolic forms through which this reticence is expressed by looking at the the theoretical writings, opera (...) booklets and their music. Using the Beckmesser character in Les Maîtres Chanteurs de Nuremberg, although Beckmesser is not introduced as a Jew but rather a good German bourgeois, one cannot deny the allegory positioning him as a Jew. First element of demonstration: the analogical resemblance between Beckmesser and the Viennese music critic Eduard Hanslick to whom Wagner accused of hiding his Jewishness. Second element: it has already been proven that Beckmesser’s serenade sung during the second act to the Master Singers was a mockery of a Jewish prayer. Third element: in Cosima’s, Wagner’s wife, diary she explains that this particular piece generated at that time a strong reaction by the Jewish community in Vienna, thus supporting the claim that his antisemitism was already known and problematic to his contemporaries. (shrink)

As in Marx's and Lenin's time, bourgeois critics of Marxism are accusing Marxists of denying ethics in principle. Some of them say that Marxist economic theory entirely rules out any element of free choice of actions and ethical judgment. Others say that Marx's economic analysis includes a moral indictment of capitalism as an unjust society, but that this means no more than that the ethical element in Marxism is entirely pushed aside by economic analysis and plays no independent role. (...) In the opinion of these critics, Marxism merely reduces such questions as what man should do, and what the ethical norms of his life are, to acceptance of the justice and moral rightness of whatever emerges in history as economic necessity. In other words, Marxism allegedly "makes a virtue of necessity" where ethics is concerned, and demands of human beings nothing more than adaptation to what is or to what will be. In either case, according to that interpretation of Marxism, people must accept without qualification that which corresponds to historical necessity. Free choice, reason, and human conscience can play no role. (shrink)

The article reconstructs the false foundations of Soviet designs imaginable urbanization detects starting social places concepts of "classical" days of building socialism. Projected into the future the idea of permanent revolution, the destruction of "bourgeois barbarism" and desire the establishment of legal order Bolsheviks led the workers to the approval of a new type of state and the formation of a new anthropological type of person. This type - "eternal revolutionary", "architect of the new world" had to live with (...) a single purpose - to extend the principles of proletarian justice to the axis of the world. The epicenter of the factory or the formation of the new man was an industrial city - industrial zone heroically-miltarism work. The main method of the formation of cities and the new man was a total mobilization, the image of the antagonistic enemy of mythic-Titanic goal, collectively practice of collective responsibility, temporal-topeni the control of the state-party bodies the army-camp architecture, etc. The Communists sought to build the city for centuries, people, nomos chose to build incubators "eternal revolutionaries", the barracks of the unknown soldier or barracks devotees of "Stakhanovite". In the draft party not only needs to become an industrial base for future victories over bourgeois barbarism, but also a gathering place loyal fighters for a revolutionary breakthrough - the construction of communism all over the world. Social city - misguided or sinister space, which is not provided for the life of a healthy society. It is the fruit of pure nomos, state coercion, that denied cultural and national experiences, socio-economic patterns, cravings human being the ruins of the Communist concepts of permanent revolution and militarism of labor. The experience of the Communist daydreaming inspires the statement that as an axiom of the relationship of nomos and fuses in urban space is the right man for happiness. A key measure of their dialectical interaction is the reliance on the security and preservation of the integrity of human nature, national heritage, the experience of past generations. (shrink)

Karl Marx believed that bourgeois morality and its concepts of freedom, equality, and justice are based upon, derive from, and express the alienated surface appearance of capitalist society. The concepts of freedom, equality, and justice proper to proletarian morality, on the other hand, derive from the scientific study of the essence of society (which contradicts surface appearance), and science allows for the beginnings of a new, higher morality. In the ‘Critique of the Gotha Program’, Marx examines several models of (...) distributive justice and argues that the present day distribution of the proceeds of labour is the only fair distribution on the basis of the present day capitalist mode of production. He holds that legal relations arise from economic ones and denies that the former can regulate the latter. This chapter explores Marx's transcendence of morality by considering an aspect of his distinction between essence and appearance. It claims that there is no ongoing contradiction between science and ethics in Marx's thought, as the contradiction theorists argue. (shrink)

Denis McManus presents a novel account of Martin Heidegger's early vision of our subjectivity and the world we inhabit. He explores key elements of Heidegger's philosophy, and argues that Heidegger's central claims identify genuine demands that must be met if we are to achieve the feat of thinking determinate thoughts about the world around us.

What is Life? This is the question asked by Denis Noble in this very personal and at times deeply lyrical book. Noble is a renowned physiologist and systems biologist, and he argues that the genome is not life itself: to understand what life is, we must view it at a variety of different levels, all interacting with each other in a complex web. It is that emergent web, full of feedback between levels, from the gene to the wider environment, (...) that is life. (shrink)

What is Life? To answer this question, Denis Noble argues that we must look beyond the gene's eye view. For modern 'systems biology' considers life on a variety of levels, as an intricate web of feedback between gene, cell, organ, body, and environment. He shows how it is both a biologically rigorous and richly rewarding way of understanding life.

In evolutionary biology changes in population structure are explained by citing trait fitness distribution. I distinguish three interpretations of fitness explanations—the Two‐Factor Model, the Single‐Factor Model, and the Statistical Interpretation—and argue for the last of these. These interpretations differ in their degrees of causal commitment. The first two hold that trait fitness distribution causes population change. Trait fitness explanations, according to these interpretations, are causal explanations. The last maintains that trait fitness distribution correlates with population change but does not cause (...) it. My defense of the Statistical Interpretation relies on a distinctive feature of causation. Causes conform to the Sure Thing Principle. Trait fitness distributions, I argue, do not. *Received July 2009; revised October 2009. †To contact the author, please write to: Department of Philosophy/Institute for the History, Philosophy of Science and Technology, University of Toronto, Victoria College, 91 Charles Street West, Toronto, ON M5S 1K7, Canada; e‐mail: denis[email protected]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:846 BOOK REVIEWS Marx's Socwl Critique of Culture. By Loms DUPRE. New Haven: Yale University Press, 1983. Pp. ix + 299. $30.00 (cloth) and $9.95 (paper). Modernity has produced in equal measure material abundance and critical disdain. Its critics may he roughly divided into two groups. Negative critics deny all value to modernity and long for a glorious past or a perfect future; the romanticism of an Othmar Spann (...) or the utopian anarchism of a Mikhail Bakunin provide excellent examples of this type. Of more interest to political theory, however, are the dialectical critics who both affirm and deny the modern project; Rousseau and Marx are the greatest thinkers in this category. Louis Dupre is certainly a critic of modernity. The nature of his complaint remains to he determined. I should begin by saying that Dupre's hook neither condemns nor worships Marx. From the start he sets for himself the unfashionable task of understanding his author before passing judgment on his ideas. Hence, Dupre explicitly distinguishes interpretation from critique and devotes most of this hook to elucidating Marx's ideas. Some readers would perhaps agree with Hahermas that interpretation is always critique, hut I find that Dupre generally maintains this distinction in these pages. I turn first to his reading of Marx. This is not a hook about what might he called high culture, a civilization 's achievements in expressing the human spirit. Dupre relies little on Marx and Engel's scattered reflections on art and society, and he spends relatively few pages on the Frankfurt School and their critique of contemporary popular culture. Dupre is rather a philosopher using Marx to think about culture in a fundamental way. His subject is modernity itself and particularly Marx's criticism of the essentially modern separation of culture and activity. The first part of the hook focuses on Marx's conception of alienation. For almost half a century questions about the unity of Marx's early and late writings have accompanied explications of Entfremdung. Dupre sides with those who see a unity of purpose in the works of the young and the old Marx. Although the idea of alienation appears rarely in Das Kapital, Dupre argues that Marx continually attacked bourgeois society for separating subject and object. Culture thus becomes in capitalist societies an object of exchange value that stands in opposition to its producers, a commodity like all others. The second chapter pursues Marx's belief that alienation must he understood socially and historically. Here Dupre provides a subtle interpretation of Marx's conceptions of base and superstructure. He concludes that Marx rejected the logical extremes of determinism and voluntarism BOOK REVIEWS 847 in history. Instead, the rational will of the proletariat was viewed as the culmination of social development. Yet, as Dupre notes, Marx's belief in the general principle that history is progressive turns on his specific analysis of the spread of capitalism; the generalization about history depends in the end on unproven assumptions about the development of capitalism. Dupre devotes his third chapter to a broad and learned discussion of the role of the dialectic in Marx and Marxist political theory. Marx himself did not provide a complete and clear account of dialectical contradiction; any tension that might lead to the destruction of capitalism fell within Marx's understanding of contradiction. Dupre's conclusion that Marx ultimately founded his dialectical method on an undefended teleology will, I think, ring true to most students of the subject. His discussion of the realist interpretation of the dialectic will occasion controversy largely because Dupre believes Engel's methodological ideas in Anti-Dukring can he legitimately associated with Marx's views. This is an important and damning link, for, of course, the scientism enunciated in Anti-Dukring took Marxism a long way toward both the relatively benign orthodoxy of the German Social Democrats and the horrible monism of Stalin. For Marx, however, the dialectic was more than anything else a way of positing the loss of social and culture unity and of foreseeing their reintegration. His exposition of Marx's atempt to unify economic and social activity contains a thoughtful reconstruction of the concept of value in classical economics... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 495 Perhaps a word should be added about those who deny that Sein und Zeit (or any of Heidegger's later work) has any bearing on theology. Both K. LOwith and H. Jonas claim that Heidegger operates under certain ontic-ontological presuppositions that are taken from and lead to an ontic negation of theology.'2 In a lecture delivered at Drew University Jonas even accused Heidegger of paganism and fatalism.'3 (...) Anybody familiar with Heidegger's thinking knows, of course, how wrong this is. In an interview Heidegger granted to the magazine der Spiegel in 1966, mainly to clarify his political activity during the Nazi period, the question of God entered into the discussion. (The interview was published only after his death in 1976 as Heidegger had stipulated.) In connection with the dangers involved in our technological society Heidegger said, "Only a God may save us. For us there remains the only possible way to prepare, through thinking and poeticizing, a readiness for the appearance of God or the absence of God [and our] doom: that we will perish in the face of the absent God.",4 These are only a few examples of the many authors Siefert discusses in her instructive book. The language is complicated, but the richness of the material as well as Siefert's keen insight reward the reader. An extensive bibliography and an index are added. ELISABETHFE1STHIRSCH Trenton State College On Materialism. By Sebastiano Timpanaro. (London: NLB, 1975. Pp. 254. $15.50) Sebastiano Timpanaro has published as a classical philologist, has been a militant member of Italian socialist parties since 1945, and has been most influenced by Leopardi, a nineteenthcentury Lucretian hedonist and materialist. His socialist and Leopardian interests are brought together in this work, which is a criticism of the tendencies in Western European Marxism (dominated by the Frankfurt school, existentialists, and structuralists) toward idealism and humanism, and their "erroneous rejection" of the biological and physical aspects of Marxism, to leave only historical materialism. Timpanaro claims that the interpretations of the Frankfurt school and Althusser "allow very little of Marxism to survive"; they are falsely antiscientific and adopt a Platonistic conception of science. From materialism he takes as his own point of departure certain hedonistic and pessimistic themes (is that the genuine Marxism?) that reached their height in Leopardi: a social and historical optimism regarding "communism as a now certain goal of human history" (in this he ignores that Marx in the Manuscripts said that communism is not the goal of, but only a stage in, human history); and "pessimism with respect to nature's oppression of man, which would continue to be a cause of unhappiness even in communist society." Again Timpanaro ignores the Manuscripts and Grundrisse where Marx reminds us that nature is our body with which we are in interaction. Timpanaro's pessimism can be understood as a result of the alienation we experience because of the attitudes of conquest and domination of nature--attitudes still endorsed by him in his claim that the animal merely uses nature, while man, who can set goals for himself and use means to his ends, can master nature. But we are in a position, historically, where our very survival depends on our moving back into harmony with nature, by overcoming that alienation. Timpanaro is not yet free of that outdated, bourgeois worldview; his is in accord with the view of capitalism, of which the final contradiction may be the ecological crisis of pollution and the depletion of resources in the name of "necessary" growth. Leopardi's materialist pessimism predicated human solidarity 12On LOwithsee Siefert, pp. 173-180. "On Jonas see Siefert, pp. 180-184,esp. p. 181 n. where Siefert refers to Father Richardson's answer to Jonas. 14May 31, 1976, p. 209. 496 HISTORY OF PHILOSOPHY upon the foundation of the struggle against nature, whereas Marx based the overcoming of our alienation from nature on the reestablishment of an equilibrium and solidarity with nature, our body. In his treatment of structuralism, Timpanaro is not only wallowing in his nineteenthcentury worldview, but he stoops to the lowest level of labeling and name calling, often without supporting arguments, of which dogmatic Marxists are... (shrink)

In 1484, humanist philosopher and theologian Marsilio Ficino published the first complete Latin translation of Plato's extant works. Students of Plato now had access to the entire range of the dialogues, which revealed to Renaissance audiences the rich ancient landscape of myths, allegories, philosophical arguments, etymologies, fragments of poetry, other works of philosophy, aspects of ancient pagan religious practices, concepts of mathematics and natural philosophy, and the dialogic nature of the Platonic corpus's interlocutors. By and large, Renaissance readers in the (...) Latin West encountered Plato's text through Ficino's translations and interpretation. -/- In Plato's Persona, Denis J.-J. Robichaud provides the first synthetic study of Ficino's interpretation of the Platonic corpus. Robichaud analyzes Plato's works in their original Greek and in Ficino's Latin translations, as well as Ficino's non-Platonic writings and correspondence, in the process uncovering new aspects of Ficino's intellectual work habits. In his letters and works, Ficino self-consciously imitated a Platonic style of prose, in effect devising a persona for himself as a Platonic philosopher. Plato's dialogues are populated with a wealth of literary characters with whom Plato interacts and against whom Plato refines his own philosophies. Reading through Ficino's translations, Robichaud finds that the Renaissance philosopher seeks an understanding of Plato's persona(e) among all the dialogues' interlocutors. In effect, Ficino assumed the role of Plato's Latin spokesperson in the Renaissance. -/- Plato's Persona is grounded in an extensive study of scholarship in Renaissance humanism, classics, philosophy, and intellectual history, and contextualizes Ficino's intellectual achievements within the contemporary Christian orthodox view of Platonism. Ficino was an influential figure in the early Italian Renaissance: the key intermediary between Greek and Latin, and between manuscript and print, giving voice to Plato and access to the ancient frameworks needed to interpret his dialogues. (shrink)

Over the course of human history, the sciences, and biology in particular, have often been manipulated to cause immense human suffering. For example, biology has been used to justify eugenic programs, forced sterilization, human experimentation, and death camps—all in an attempt to support notions of racial superiority. By investigating the past, the contributors to _Biology and Ideology from Descartes to Dawkins_ hope to better prepare us to discern ideological abuse of science when it occurs in the future. Denis R. (...) Alexander and Ronald L. Numbers bring together fourteen experts to examine the varied ways science has been used and abused for nonscientific purposes from the fifteenth century to the present day. Featuring an essay on eugenics from Edward J. Larson and an examination of the progress of evolution by Michael J. Ruse, _Biology and Ideology_ examines uses both benign and sinister, ultimately reminding us that ideological extrapolation continues today. An accessible survey, this collection will enlighten historians of science, their students, practicing scientists, and anyone interested in the relationship between science and culture. (shrink)

In _Apparaître: Essai de philosophie phénoménologique_, Denis Seron proposes a phenomenological approach to intentionality as a positive contribution to the contemporary debate in the philosophy of mind.

This paper comprises a case study illustrating ethical and practical challenges for a Ugandan hospital-based social worker early in the COVID-19 pandemic, followed by a commentary. The hospital was under-resourced, with staff and patients experiencing lack of information and panic. The social worker, Denis Adia, recounts his responses to new and ethically challenging situations, including persuading Muslim patients to stop fasting for the good of their health; deciding to keep a baby in hospital with parents although this was against (...) the rules; and supporting a stigmatised former patient in the face of intimidation by colleagues. He reflects on the importance of recognising each person’s unique needs and circumstances, seeing this as a vital role for social workers. The case is followed by a commentary from a UK academic (Sarah Banks), who notes the cognitive and emotional effort (‘ethics work’) undertaken by the social worker to: see the ethical aspects of particular situations; take account of patients’ specific needs; ensure they are treated with respect; promote their well-being; and perform as a good social worker. Banks draws attention to the key role of the virtue of courage in pandemic conditions, which involves working with new risks and facing fears with confidence. (shrink)

During the last thirty years, most linguists and philosophers have assumed that meaning can be represented symbolically and that the mental processing of language involves the manipulation of symbols. Scholars have assembled strong evidence that there must be linguistic representations at several abstract levels--phonological, syntactic, and semantic--and that those representations are related by a describable system of rules. Because meaning is so complex, linguists often posit an equally complex relationship between semantic and other levels of grammar. The Semantics of Syntax (...) is an elegant and powerful analysis of the relationship between syntax and semantics. Noting that meaning is underdetermined by form even in simple cases, Denis Bouchard argues that it is impossible to build knowledge of the world into grammar and still have a describable grammar. He thus proposes simple semantic representations and simple rules to relate linguistic levels. Focusing on a class of French verbs, Bouchard shows how multiple senses can be accounted for by the assumption of a single abstract core meaning along with background information about how objects behave in the world. He demonstrates that this move simplifies the syntax at no cost to the descriptive power of the semantics. In two important final chapters, he examines the consequences of his approach for standard syntactic theories. (shrink)

Though Heidegger’s Being and Time is often cited as one of the most important philosophical works of the last hundred years, its Division Two has received relatively little attention. This outstanding collection corrects that, examining some of the central themes of Division Two and their wide-ranging and challenging implications. An international team of leading philosophers explore the crucial notions that articulate Heidegger’s concept of authenticity, including death, anxiety, conscience, guilt, resolution and temporality. In doing so, they clarify the bearing of (...) Division Two’s reflections on our understanding of intentionality, normativity, responsibility, autonomy and selfhood. These discussions raise important questions about how we may need to rethink the morals of Division One of Being and Time , the broader project to which that book was devoted, the shaping influence of figures such as Aristotle and Kierkegaard, as well as Heidegger’s relationship with his contemporaries and successors. Essential reading for students and scholars of Heidegger’s thought, and anyone interested in key debates in phenomenology, ethics, metaphilosophy and philosophy of mind. Contributors: William Blattner, Clare Carlisle, Taylor Carman, Steven Galt Crowell, Daniel O. Dahlstrom, Sophia Dandelet, Hubert Dreyfus, Charles Guignon, Jeffrey Haynes, Stephan Käufer, Denis McManus, Stephen Mulhall, George Pattison, Peter Poellner, Katherine Withy, Mark A. Wrathall. (shrink)

"Pensées philosophiques" de Denis Diderot. Ecrivain, philosophe et encyclopédiste français (1713-1784).

Denis Donoghue has been a key figure in Irish studies and an important public intellectual in Ireland, the UK and US throughout his career. These essays represent the best of his writing and operate in conversation with one another. He probes the questions of Irish national and cultural identity that underlie the finest achievements of Irish writing in all genres. Together, the essays form an unusually lively and far-reaching study of three crucial Irish writers – Swift, Yeats and Joyce (...) – together with other voices including Mangan, Beckett, Trevor, McGahern and Doyle. Donoghue's forceful arguments, deep engagement with the critical tradition, buoyant prose and extensive learning are all exemplified in this collection. This book is essential reading for all those interested in Irish literature and culture and its far-reaching effects on the world. (shrink)

Edwards, Denis All those who read Laudato Si' are struck by the way Pope Francis says over and over again that everything is interconnected, or that everything is interrelated. In this article I will seek to explore the significance of this theme. In particular, I will ask about its theological meaning, attempting to bring out two aspects of Pope Francis's thought: the insight that interrelationships of the natural world can be seen as a pale reflection of the dynamic relations (...) of trinitarian life; the conviction that ecological conversion-learning to relate to the natural world, as well as to other humans and to God-is essential to the very nature of the human made in the image of the dynamically relational God. (shrink)

Edwards, Denis Amid the wide consultation that is essential to the Australian Plenary Council 2020, it is also important to ask what theology can offer. In my view, a fundamental part of theology's contribution is an understanding of the Holy Spirit that can encourage the practice of genuine openness to the Spirit. It is already clear that this council will be an event of the Spirit. It will be an event in which the Spirit is invoked and in which (...) the Spirit acts. The question is: will we, who make up the church in this land, be open to the Spirit, and be faithful to the Spirit, in our contributions, responses, and actions? (shrink)

Minns, Denis Review of: Vatican II notebook: A council journal, 1962-1963, by M.-D. Chenu, critical edition and introduction by Alberto Melloni, translated by Paul Philibert, Adelaide: ATF Theology, 2015, pp. xi + 163, hardback, $34.95, paperback, $29.95.

Stanley, Denis This snippet from the poetry of Elizabeth Barrett Browning (1806-1861) captures how blind we can be to the presence of God in our lives. In the Gospels, being healed from physical blindness is also a celebration of coming to faith in Christ and using that new gift to follow him. The gift of having one's eyes opened is our constant prayer, more so than ever during Lent.

[Denis Vernant: Introduction a la logique standard].

Denis Worrall draws on 20th century South African history and his own experience as a South African to show some of the less obvious but extremely important facets of apartheid that directly impact its dissemination.

Paul Boghossian has pointed out a ’circularity problem’ for dispositionalist theories of meaning: as a result of the holistic character of belief fixation, one cannot identify someone’s meaning such and such with facts of the form S is disposed to utter P under conditions C, without C involving the semantic and intentional notions that such a theory was to explain. Alex Miller has recently suggested an ’ultra‐sophisticated dispositionalism’ (modelled on David Lewis’s well known version of functionlism) and has argued that (...) this version of dispositionalism escapes Boghossian’s ’circularity problem’. Miller argues, nonetheless, that another of Boghossian’s criticisms of dispositionalism, ’the infinity problem’ still applies to this ’ultra‐sophisticated dispositionalism’: C will still draw upon a potential infinity of mediating background clusters of belief. The present paper argues that the feature that ’the infinity problem’ presents as problematic is a feature of a host of familiar explanations. Our fundamental difficulty in this area is not our inability to understand how a more general model can be applied to a particular domain (the intentional understood as dispositional) but our failure to understand that general model itself (dispositional explanation). (shrink)

Nous remercions Denis Bekaert de nous avoir autorisé à reproduire ce texte, que l'on trouvera également sur Premier Mardi, le carnet en ligne de l'équipe de la Bibliothèque Sainte-Barbe à Paris. Invité à prononcer la conférence inaugurale du dernier congrès de l'ABF, le sociologue des professions Claude Dubar distinguait chez le bibliothécaire quatre postures superposées en strates, témoins des grandes phases d'évolution de son métier et liées aux changements des politiques publiques. Au « classique » - Rythmes du social.