Activation of resting T lymphocytes through the T cell antigen receptor complex is initiated by critical phosphorylation and dephosphorylation events that regulate the function and interaction of a number of signaling molecules. Key elements in these reactions are members of the Src, Syk and Csk families of protein tyrosine kinases (PTKs) and the phosphotyrosine phosphatases (PTPases) that regulate and/or counteract them, such as CD45. The PTKs can autophosphorylate and phosphorylate each other at multiple sites and, as the result of these (...) interactions, they are induced to phosphorylate other cellular proteins. These phosphorylation events lead to modulation of enzymatic activities and/or serve as binding sites for other signaling molecules having phosphotyrosine‐binding Src homology 2 (SH2) domains. As a result, these proteins translocate to the receptor complexes and are juxtaposed to the kinases that phosphorylate them. Some of the SH2‐domain‐containing polypeptides lack enzymatic activities and, instead, serve as adapter molecules that couple the signal to downstream effectors, such as regulators of the Ras proteins, and further into serine/threonine‐specific protein kinase cascades. Through largely unknown steps these reactions lead to the transcription of previously silent genes, activation of lymphocyte effector functions, progression through the cell cycle and cell proliferation. (shrink)

Anne Conway produced only one short treatise – The Principles of the Most Ancient and Modern Philosophy – but addressed key problems in the philosophy of religion which are still much discussed today. The most significant of these are the problem of religious diversity and the problem of evil. Although the sources of her ideas may be found in the Kabbalah of Isaac Luria and the work of the Cambridge Platonists and the Quaker George Keith, among others, she offers (...) her own unorthodox solutions to these problems. The idea of Christ as an indwelling mediator of the divine who assists us in our moral endeavours is designed to appeal to those of all religions and none, while her claim that God created creatures knowing that they would eventually be redeemed, and that suffering promotes moral development which leads to redemption offers a novel response to the problem of evil. Conway's work is also important for its influence on the work of Gottfried Wilhelm Leibniz, and some have argued that it prefigures, at least in outline, the field theory of modern physics. (shrink)

A major and timely re-examination of key areas in the social and political thought of Hegel and Marx. The editors' extensive introduction surveys the development of the connection from the Young Hegelians through the main Marxist thinkers to contemporary debates. Leading scholars including Terrell Carver, Chris Arthur, and Gary Browning debate themes such as: the nature of the connection itself scientific method political economy the Hegelian basis to Marxs' "Doctoral Dissertation" human needs history and international relations.

Book reviewed in this article: The Philosophical Assessment of Theology: Essays in Honour of Frederick C. Copleston. Edited by Gerard J. Hughes. Language, Meaning and God: Essays in Honour of Herbert McCabe OP. Edited by Brian Davies. God Matters. By Herbert McCabe. Philosophies of History: A Critical Essay. By Rolf Gruner. The ‘Phaedo’: A Platonic Labyrinth. By Ronna Burger. Lessing's ‘Ugly Ditch’: A Study of Theology and History. By Gordon E. Michalson, Jr. Peirce. By Christopher Hookway. Frege: Tradition and Influence. (...) Edited by Crispin Wright. The Private World. Selections from the Diario Íntimo and Selected Letters 1890–1936. By Miguel de Unamuno, translated by Anthony Kerrigan, Allen Lacy, Martin Nozick. A Third Collection: Papers by Bernard J.F. Lonergan, S.J. Edited by Frederick E. Crowe. Philosophical Papers. By Charles Taylor. 2 vols. Principles of Language and the Mind. By T.P. Waldron. The Principle of Double Effect: A Critical Appraisal of its Traditional Understanding and its Modern Reinterpretation. By L.I. Ugorji. Human Rights: Fact or Fancy By Henry B. Veatch. Enlightenment and Alienation: An Essay towards a Trinitarian Theology. By Colin Gunton. Only Human. By Don Cupitt. The Roots of the Modern Christian Tradition. Edited by E. Rpzanne Elder. ‘Africanische Theologie’: Darstellung und Dialog.. By Heribert Rücker. African Religions in Western Conceptual Schemes. By Emefie Ikenga Metuh. The Destiny of Man: Dagaare Beliefs in Dialogue with Christian Eschatology. By Edward Kuukure. The World in Between: Christian Healing and the Struggle for Spiritual Survival. By E. Milingo. Theology in Africa. By Kwesi A. Dickson. The Future of Anglican Theology. Edited by M. Darrol Bryant. Reconciling. By John Coventry. The Genesis of Faith: The Depth Theology of Abraham Joshua Heschel. By John C. Merkle. Anthropology in Theological Perspective. By Wolfhart Pannenberg. Contemporary Approaches to the Study of Religion. Volume II: The Social Sciences. Edited by Frank Whaling. American Sociology: Worldly Rejections of Religion and Their Directions. By Arthur J. Vidich and Stanford M. Lyman. A Critical Theory of Religion: The Frankfurt School. By Rudolf J. Siebert. The Anthropology of Evil. Edited by David Parkin. The Wealth of Christians. By Redmond Mullin. Biblical Interpretation in Ancient Israel. By Michael Fishbane. Reading the Old Testament: An Introduction. By Lawrence Boadt. Old Testament Theology: Its History and Development. By John H. Hayes and Frederick C. Prussner. God's Conflict with the Dragon and the Sea: Echoes of a Canaanite Myth in the Old Testament. By John Day. Law and Wisdom from Ben Sira to Paul. By Eckhard J. Schnabel. The Order of the Synoptics: Why Three Synoptic Gospels? By Bernard Orchard and Harold Riley. The Making of Mark. By J. Duncan M. Derrett. Argumentation bei Paulus. By Folker Siegert. Christians and the Military: The Early Experience. Edited by Robert J. Daly. Origienes' Eucharistielehre im Streit der Konfessionen; Die Auslegungsgeschichte seit der Reformation. By Lothar Lies. L'église de Cappadoce au IVe siècle d'après la correspondance de Basile de Césarée. By Benpit Gain Cave Monasteries of Byzantine Cappadocia. By Lyn Rodley. Augustine of Hippo, Selected Writings. Translated with an Introduction by Mary T. Clark. Wisdom from St Augustine. By Vernon J. Bourke. A History of Religious Ideas, Vol. 3: From Muhammad to the Age of Reforms. By Mircea Eliade. Les Lectionnaires Copies Annuels: Basse‐Egypte. By Ugo Zanetti. Humanism and Scholasticism in Late Medieval Germany. By James H. Overfield. Wyclif. By Anthony Kenny. The Lady and the Virgin: Image, Attitude and Experience in Twelfth Century France. By Penny Shine Gold. Unquiet Souls: Fourteenth‐Century Saints and Their Religious Milieu. By Richard Kieckhefer. Luther: Theologian for Catholics and Protestants. Edited by George Yule. La Réforme Catholique: Le Combat de Maldonat. By Paul Schmitt. Roman Catholicism in England: From the Elizabethan Settlement to the Second Vatican Council. By Edward Norman. The Life of David Brainerd. Edited by Norman Pettit. Nineteenth Century Religious Thought in the West. Edited by Ninian Smart, John Clayton, Patrick Sherry and Steven T. Katz The Significance of Jesus Christ in Asia. By Hans Staffner. Is the Virgin Mary Appearing at Medjugorje? By René Laurentin and Ljudevit Rupčić. Mary Queen of Peace: Is the Mother of God Appearing in Medjugorje? By Lucy Rooney and Robert Fancy. (shrink)

This book offers an account of loyalty that illuminates its role in our relationships with family and friends, our ties to country, and the commitment of the religious to God and their community. The book opposes the traditional view of the moral self as detached from context and history. It argues instead that loyalty, not impartial detachment, should be the central feature of our moral and political lives. It claims that a commitment to country is necessary to improve the lot (...) of the poor and disadvantaged. This commitment to country may well require greater reliance on patriotic rituals in education and a reconsideration of the Supreme Court's extending the First Amendment to protect flag burning. Given the worldwide currents of parochialism and political decentralization, the task for us, the book argues, is to renew our commitment to a single nation united in its diversity. The book reasons that the legal systems should defer to existing relationships of loyalty. Familial, professional, and religious loyalties should be respected as relationships beyond the limits of the law. Yet the question remains: Aren't loyalty, and particularly patriotism, dangerously one-sided? Indeed, they are, but no more than are love and friendship. The challenge, the book maintains, is to overcome the distorting effects of impartial morality and to develop a morality of loyalty properly suited to our emotional and spiritual lives. Justice has its sphere, as do loyalties. (shrink)

Due to the COVID-19 pandemic, most employees face increasing career-related stress, particularly those who work in multinational corporations, because the international travel constraints prevent them from going back to their families. Hence, it is imperative to investigate the critical impact of employees’ occupational burnout on career-related outcomes. In response, this research explores the moderating effect of OB on the relationships between career competencies and career sustainability. To achieve a more comprehensive understanding of relevant issues, we adopted a mixed-method research design (...) that includes both qualitative and quantitative analyses. Findings indicate that all the three dimensions of CCs were positively related to CS; moreover, OB negatively moderated the individual relationships of CC and BC with CS. The main contribution of this study is to enrich the existing career literature by addressing the critical moderating role of OB in the links of CC and BC individually with CS. Practical implications are also discussed in this study. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Persecution of Writing: Revisiting Strauss and CensorshipGeorges Van Den Abbeele (bio)In the 1542 edition of Pantagruel, Rabelais’s narrator terminates a long tirade extolling the Gargantuan Chronicles’ extraordinary virtues (curing toothaches, relieving the pain of treatments for syphilis, and so on) with the proviso that he will maintain the absurd truth of these claims “jusques au feu exclusive (to any point short of the stake)” [215]. This clause, absent (...) from earlier editions, while implicating the comic cowardice of the narrator also adumbrates a tragic sense of prudence. In the early years of the sixteenth century, not just Rabelais but the rest of his Renaissance world had come increasingly to know the heavy hand of censorship and persecution. Bookburning, of course, had lost its traditional source of terror with the invention of the printing press: no longer could a single bonfire extinguish all versions of a single manuscript. Instead, Church and State authorities had in the course of the Renaissance to invent new practices for controlling and regulating the circulation of dangerous words: bans on publication, excision of offensive passages prior to printing, indices of prohibited books, and so on. When left with no other alternative, however, one could still burn not just sample copies of the book but the offending author too, such as in the case of Giordano Bruno, whose auto-da-fé menacingly lit up the skies in the very first year of the seventeenth century. 1Today, with the advent of electronic media and the virtual extirpation of texts from the materiality of print and paper, it is even more difficult to abolish or even regulate the spread of refractory discourses. In the last decade, though, we have seen renewed attempts at censorship, not just of modern visual, aural, and electronic modes of representation (as is commonly recognized and debated), but also of that reputed cornerstone of liberal democratic rights, the printed text. And while in the contemporary American context it may seem that the debate over censorship has “become an argument almost exclusively about pornography and obscenity” [McGrail 51], there is also a critical need for reflection on the renewed onslaught today in virtually every part of the planet against the freedom of writers and that of the press per se. The gravity of the situation best emblematized by the case of Salman Rushdie should not blind us to the parallel stories of Taslima Nasrin, Wole Soyinka, Farag Fuda, Nawal el Saadawi, and others sadly too numerous to list. 2 [End Page 3]In this context, Leo Strauss’s 1941 essay “Persecution and the Art of Writing” retains a remarkable currency on the subject and remains a crucial point of departure from which to reflect on the contemporary crisis of censorship and the writer. Written at a time, over half a century ago, when another wave of explicit attacks on writers shocked the intellectual world, Strauss’s essay, on the one hand, struck a hopeful chord by evoking the kinds of techniques available to writers in their efforts to evade or foil censorship, that is, by demonstrating that no censorship can fully succeed in terroristically bringing about an end to heterodox forms of expression. On the other hand, he posits at least the possibility for every text that it has an inexorable core that is esoteric. No censorship can be total, but there is also no such thing as a pristine state of letters prior to censorship. As Michael Holquist has written in a more recent venue, “censorship is” [16], and all discussion must begin from that understanding if we are ever to approach the magnitude of the contemporary debacle.It is perhaps no small irony, too, that a certain Straussianism begs the question of censorship, complaining about the strictures of “political correctness” while seeking to restore a canon that not only would deny many forms of alternative discourse but also the very historicity of such constructs as canons and approved reading lists as well as indices of “forbidden books.” A useful approach might be to consider whether more recent forms of censorship have historically exceeded the terms of Strauss’s argument or whether the Straussian version of history is not itself an... (shrink)

In the course of the twentieth century, flag desecration came to be understood as symbolic speech offensive to observers. In 1989, the Supreme Court declared state legislation prohibiting flag desecration unconstitutional on the grounds that causing offense does not override freedom of expression. In response, Congress passed legislation prohibiting flag desecration as inherently wrong, even in private. In 1990, the Supreme Court, unable to accept an arbitrary statue, interpreted the law as preventing offense and declared it unconstitutional. Viable flag protection (...) legislation must be directed at the means in which the message is expressed rather than at the message. Such legislation could be based upon a neutral interest in protecting rituals that promote national solidarity. Three strategies for implementing legislation to protect the flag are the insistence on the use of “effective alternative means” of communication, developing a collective sense of public decency and defining the duties of respect that the individual owes the community. (shrink)

The Marquis de Sade (1740-1814) has been labeled everything from a sadomasochistic pornographer (The 120 Days of Sodom) to the fiction writer responsible for the ideas that led to the Nazi death camps. Must We Burn Sade? peels away the negative legacy that has shrouded Sade for too long. Deepak Narang Sawhney points out that "Sade's legacy has been neglected, recreated, fictionalized, and venerated by medical guilds, literary hacks, religious detractors, and intellectual movements. In the past two centuries, Sade has (...) come to represent many things for many people.... It is unclear whether we know Sade the writer or the apparatus which has been set up to either condemn or to sanctify his life and work." By contrast, this intriguing collection of essays seeks to examine Sade for what he was—a writer of novels and letters, a creator of plays and stories, and an author of essays and political manifestos. The contributors examine the literary, theatrical, political, social, and philosophical aspects of Sade's work, acquitting him of the false accusations and trials that have plagued his name by revealing his influences and motivations, and by providing an understanding of society's fear of Sade. What is so alarming about Sade's books that civilized society has felt compelled to disassociate itself from his works? This volume forces us to rethink Sade. Included are essays by Kathy Acker, David Allison, Georges Bataille, Catherine Cusset, Lucienne Frappier-Mazur, Annie Le Brun, Alphonso Lingis, Stephen Pfohl, Deepak Narang Sawhney, Philippe Sollers, and Alistair Welchman. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 127-150 [Access article in PDF] They Who Burned Themselves for Peace: Quaker and Buddhist Self-Immolators during the Vietnam War Sallie B. KingJames Madison UniversityNhat Chi Mai was a lay disciple of Thich Nhat Hanh and member of the Order of Interbeing, an Engaged Buddhist order founded by Nhat Hanh. On May 16, 1967, Vesak, the celebration of the birth of the Buddha, she burned herself (...) to death outside the Tu Nghiem Temple, a nunnery. An idealistic young student with much to live for, she sacrificed herself in an effort to bring the war to an end. In a letter to the U.S. government she wrote, I offer my body as a torch to dissipate the dark to waken love among men to give peace to Vietnam the one who burns herself for peace. 1In her farewell letter to Thich Nhat Hanh she wrote, "Thay, don't worry too much. We will have peace soon." 2On November 2, 1965, Norman Morrison, a devout Quaker and ardent pacifist, drove from Baltimore to Washington and burned himself to death at the Pentagon, at a spot estimated to be 40 to 100 feet from the window of Robert S. McNamara, then Secretary of Defense and one of the chief American prosecutors of the war. Shortly before his death, he wrote to his wife, "For weeks even months I have been praying only that I be shown what I must do. This morning with no warning I was shown.... Know that I love thee but must act...." 3 Morrison took his baby daughter, Emily, along with him and held her in his arms as he prepared for his act. Somehow--accounts differ as to how it happened--she was separated from her father before the flames engulfed him and she emerged entirely unharmed, though her clothing smelled strongly of the kerosene with which Morrison had soaked himself. 4There were others who burned themselves to death during the war in Vietnam. The venerable Buddhist monk Thich Quang Duc was the first. On June 11, 1963, [End Page 127] at a downtown crossroads in Saigon, he sat in the lotus posture and, in a state of meditative control, burned himself to death in protest of the Diem regime's repression of the Buddhist religion. Many Vietnamese Buddhist monks and nuns followed his example; I do not know all their names, or exactly how many they were.In America, to my knowledge, eight people burned themselves to death during the war. Two were Quakers: Norman Morrison and Alice Herz. Roger LaPorte, a former Trappist seminarian who had become a Catholic worker, burned himself to death one week after Norman Morrison. The others were: Hiroko Hayasaki, a Japanese-American Buddhist; Erik Thoen, a student of Zen Buddhism; another university student, George Winne; a high school student, Ronald Brazee; and Florence Beaumont, described as a "housewife." A number of others attempted self-immolation but survived. 5In this paper I will focus upon the self-immolations of Norman Morrison and Nhat Chi Mai. I will also have a few comments on Thich Quang Duc. My remarks are intended, however, to have relevance to all the Buddhist and Quaker self-immolators. 6Let us now consider in more detail some of the features of the self-immolations of Norman Morrison and Nhat Chi Mai, and some of the issues they pose to the Quaker and Buddhist communities, respectively. Precipitating Events While neither act was the result of a moment's impulse, we still would do well to ask what events most proximately precipitated the two self-immolations. In Norman Morrison's case, the precipitating events were two. The morning of the day he immolated himself he read a report of the American bombing of a village in Vietnam. Paris Match had published an interview with a French priest, recuperating in a Saigon clinic, who had witnessed and survived the bombing raid. The priest said, "I have seen my faithful burned up in napalm.... I have seen... (shrink)

The “Burning Bush” was the name of a cultural circle in Bucharest in the 1940s, comprised of clergy and intellectuals who met periodically to discuss theology, philosophy, literature and to learn about prayer. Some of the most significant members of this group were arrested during the second repressive wave by the Romanian communist regime (1958); along with twelve elderly monks and intellectuals, four students who kept in touch with them were also arrested. Their names were George Văsâi, Șerban Mironescu, (...) Nicolae Rădulescu, and Emanoil Mihăilescu. Using memoirs, oral history interviews and documents from the Securitate archives, the paper will address the interactions between the young students and the elder members of the Burning Bush group of clergy and intellectuals. The narratives of the informative and criminal files of the Securitate regarding the content of their meetings will also be depicted, all inside a larger context of the regime’s repressive measures and relations with the Romanian Orthodox Church. (shrink)

Sherwood Anderson's Winesburg, Ohio, published in 1919, is an episodic collection of character sketches based mostly around the perspective of George Willard, a small-town journalist who listens to the stories of various characters, often described in grotesque terms, whose passionate inner lives contrast with their limited outwardly lived existences. The initial critical response to these stories was to regard Anderson as a sort of cheap Freudian who was making an obvious criticism of American Puritanism and conformity. One reviewer, Regis (...) Michaud, wrote that Winesburg, Ohio was "entirely in keeping with the most recent contributions of American literature to psychoanalysis";1 another reviewer, H. W. Boynton. (shrink)

We discuss how Burns' conception may be further extended to integrate research on eye movement abnormalities, but then point to a contradiction between Burns' conception of schizophrenia as the genetic price for human social life and the diffusion tensor imaging (DTI) data, which constitute his central piece of evidence.

This is a partly provocative essay edited as a humanitarian study in philosophy of science and social philosophy. The starting point is Isaac Asimov’s famous sci-fi novella “Profession” (1957) to be “back” extrapolated to today’s relation between Thomas Kuhn’s “normal science” and “scientific revolutions” (1962). The latter should be accomplished by Asimov’s main personage George Platen’s ilk (called “feeble minded” in the novella) versus the “burned minded” professionals able only to “normal science”. Francis Fukuyama’s “end of history” in post-Hegelian (...) manner is now interpreted to an analogically supposed “end of scientific history” without “scientific revolutions” any more. The relevant dystopia of the prolonged or even “eternal” period of normal science is justified to the contemporary institution of science due to mechanisms such as “peer-review”, “impact-factor rating”, the projects’ competition for funding, etc. Positive feedbacks forcing all scientists needing careers to be more and more orthodox are demonstrated therefore establishing for that dystopia to be the real state of contemporary science. Two counterfactual case studies based correspondingly on Feyerabend’s “Against method” (1975) if Galilei should make his discoveries today and Sokal’s hoax (1996) if he suggested a scientific masterpiece to be really rejected by journals are discussed. Still one case study considering the abundance of Kelvin’s “clouds” on the horizon of today’s physics (dark matter, dark energy, entanglement, quantum gravitation, phenomena refuting the Big Bang, etc.) serves to verify the aforementioned conjecture that science has already entered that dystopia of eternal normal science. The conception of “ontomathematics” implying “creation ex nihilo” being scandalous for the dominating paradigm is sketched as an eventual revolutionary way out. An imaginary and utopic “happy end” reinterpreting the analogical “happy end” of Asimov’s “Profession” finishes the essay “instead of conclusion” relying on the Internet and AI in an increasingly “fluid” and anti-hierarchical society. (shrink)

RésuméCet article est une exégèse appréciative de l'article de Steven Burns intitulé « If a lion could talk ». Dans son essai, Burns clarifie la remarque énigmatique de Ludwig Wittgenstein, « Si un lion pouvait parler, on ne serait pas capables de le comprendre », en la situant dans le contexte plus large de l’œuvre de Wittgenstein en philosophie de la psychologie. Nous lisons l'interprétation de cette remarque par Burns comme ouvrant les questions wittgensteiniennes fondamentales au sujet (...) du sens et de la (mé)compréhension, et nous la situons dans le cadre du travail de l'enseignant de Burns, Peter Winch. Notre discussion est une exégèse étroite du contenu immédiat de la remarque sur le lion et elle met en lumière les liens avec les réflexions écrites de Wittgenstein sur The Golden Bough de James George Frazer. Nous montrons comment Burns et Winch utilisent les méthodes de Wittgenstein pour résoudre les énigmes philosophiques en attirant l'attention sur des cas familiers intermédiaires. Enfin, nous concluons par quelques remarques impressionnistes sur Socrate dans une brève discussion au sujet de la difficulté de la technique et de l'activité philosophiques que Burns déploie et recommande. (shrink)

The American Medical Association enacted its Code of Ethics in 1847, the first such national codification. In this volume, a distinguished group of experts from the fields of medicine, bioethics, and history of medicine reflect on the development of medical ethics in the United States, using historical analyses as a springboard for discussions of the problems of the present, including what the editors call "a sense of moral crisis precipitated by the shift from a system of fee-for-service medicine to a (...) system of fee-for-system medicine, better known as 'managed care.'" The authors begin with a look at how the medical profession began to consider ethical issues in the 1800s and subsequent developments in the 1900s. They then address the sociological, historical, ethical, and legal aspects of the practice of medicine. Later chapters discuss current and future challenges to medical ethics and professional values. Appendixes display various versions of the AMA's Code of Ethics as it has evolved over time. Contributors: George J. Annas, J.D., M.P.H., Arthur Isak Applbaum, Ph.D., Robert B. Baker, Ph.D., Chester R. Burns, M.D., Ph.D., Arthur L. Caplan, Ph.D., Alexander Morgan Capron, J.D., Christine K. Cassel, M.D., Linda L. Emanuel, M.D., Ph.D., Eliot L. Freidson, Ph.D., Albert R. Jonsen, Ph.D., Stephen R. Latham, J.D., Ph.D., Susan E. Lederer, Ph.D., Florencia Luna, Ph.D., Edmund D. Pellegrino, M.D., Charles E. Rosenberg, Ph.D., Mark Siegler, M.D., Rosemary A. Stevens, Ph.D., Robert M. Tenery, Jr., M.D., Robert M. Veatch, Ph.D., John Harley Warner, Ph.D., Paul Root Wolpe, Ph.D. (shrink)

Why does a wine glass break when you drop it, whereas a steel goblet does not? The answer may seem obvious: glass, unlike steel, is fragile. This is an explanation in terms of a power or disposition: the glass breaks because it possesses a particular power, namely fragility. Seemingly simple, such intrinsic dispositions or powers have fascinated philosophers for centuries. A power's central task is explaining why a thing changes in the ways that it does, rather than in other ways: (...) powers should explain why an acorn turns into an oak tree, not a sunflower, or why fire burns wood, and wood can catch fire. -/- This volume examines the twists and turns of the fascinating history of a difficult philosophical concept, focusing on the metaphysical sense of "powers"--that is, the powers that are invoked in the explanation of natural changes and activities. Scholars probe the views of thinkers from antiquity to the present day: Anaxagoras, Plato, the Stoics, Abelard, Anselm, Henry of Ghent, Gottfried Wilhelm Leibniz, Margaret Cavendish, Mary Shepherd, Immanuel Kant, Georg Wilhelm Friedrich Hegel, and numerous others. In addition, the volume contains four short reflection essays that examine the concept of powers from the perspective of disciplines other than philosophy, namely history of music, West African religions, history of chemistry, and history of art. -/- The history of philosophy brims with controversies surrounding the concept of power, and these controversies have not diminished--particularly as potentialities or powers see a revival in contemporary analytic metaphysics. Hence, telling the history of philosophical theories of powers means exploring the trajectory of a concept whose importance to the past and present of philosophy can hardly be overstated. (shrink)

W. E. B. Du Bois never felt so at home as when he was a student at the University of Berlin. But Du Bois was also American to his core, scarred but not crippled by the racial humiliations of his homeland. In Lines of Descent, Kwame Anthony Appiah traces the twin lineages of Du Bois' American experience and German apprenticeship, showing how they shaped the great African-American scholar's ideas of race and social identity. At Harvard, Du Bois studied with such (...) luminaries as William James and George Santayana, scholars whose contributions were largely intellectual. But arriving in Berlin in 1892, Du Bois came under the tutelage of academics who were also public men. The economist Adolf Wagner had been an advisor to Otto von Bismarck. Heinrich von Treitschke, the historian, served in the Reichstag, and the economist Gustav von Schmoller was a member of the Prussian state council. These scholars united the rigorous study of history with political activism and represented a model of real-world engagement that would strongly influence Du Bois in the years to come. With its romantic notions of human brotherhood and self-realization, German culture held a potent allure for Du Bois. Germany, he said, was the first place white people had treated him as an equal. But the prevalence of anti-Semitism allowed Du Bois no illusions that the Kaiserreich was free of racism. His challenge, says Appiah, was to take the best of German intellectual life without its parochialism--to steal the fire without getting burned. (shrink)

_Tracing the surge in creativity and transformations in culture and the arts during one of history’s most tumultuous decades__ _Boom: Art and Design in the 1940s_ looks at the complex shifts in technology and the arts, including music, film, and fashion, that surged in a tumultuous decade. Despite restrictions and hardships, the visual arts flourished, with some artists addressing political concerns in their work and others moving into abstraction. War disrupted the fashion industry in Paris, allowing New York to become (...) a competitive center. Furniture design made creative use of technological advances. The movement of artists during the war years and afterward catalyzed the exchange of ideas and created more diverse artistic communities. Essays by leading figures in their respective fields show how wartime restrictions impacted world economies and the innovative solutions found by creative communities, examine Hollywood of the 1940s and its ability to unite international audiences, explore the ways clothing and textiles were shaped by the rapid changes of the era, and discuss how musicians played a vital role at this moment in history and helped shape the sounds of today. Interviews with contemporary figures, such as jazz artist Christian McBride and filmmaker Ken Burns, reflect on the impact of the 1940s on their respective fields. Including paintings by Lee Krasner, Horace Pippin, and Jackson Pollock, photographs by Margaret Bourke-White and Weegee, furniture by George Nakashima, jewelry by Alexander Calder, poetry by Anna Akhmatova, and apparel by Elsa Schiaparelli, the book covers the transformational responses to a volatile time across the spectrum of artistic practice. Distributed for the Philadelphia Museum of Art Exhibition Schedule:__ Philadelphia Museum of Art_ (April 12–September 1, 2025). (shrink)

Historians go to great lengths to avoid confronting discontinuity, searching for explanations as to why such events as the fall of the Berlin Wall, George W. Bush's invasion of Iraq, and the introduction of the euro logically develop from what came before. _Moved by the Past_ radically breaks with this tradition of predating the past, incites us to fully acknowledge the discontinuous nature of discontinuities, and proposes to use the fact that history is propelled by unforeseeable leaps and bounds (...) as a starting point for a truly evolutionary conception of history. Integrating research from a variety of disciplines, Eelco Runia identifies two modes of being "moved by the past": regressive and revolutionary. In the regressive mode, the past may either overwhelm us--as in nostalgia--or provoke us to act out what we believe to be solidly dead. When we are moved by the past in a revolutionary sense, we may be said to embody history: we burn our bridges behind us and create accomplished facts we have no choice but to live up to. In the final thesis of _Moved by the Past_, humans energize their own evolution by habitually creating situations ("catastrophes" or sublime historical events) that put a premium on mutations. This book therefore illuminates how every now and then we chase ourselves away from what we were and force ourselves to become what we are. Proposing a simple yet radical change in perspective, Runia profoundly reorients how we think and theorize about history. (shrink)

Fire is a force that links everyday human activities to some of the most powerful energetic movements of the Earth. Drawing together the energy-centred social theory of Georges Bataille, the fire-centred environmental history of Stephen Pyne, and the work of a number of ‘pyrotechnology’ scholars, the paper proposes that the generalized study of combustion is a key to contextualizing human energetic practices within a broader ‘economy’ of terrestrial and cosmic energy flows. We examine the relatively recent turn towards fossil-fuelled ‘internal (...) combustion’ in the light of a much longer human history of ‘broadcast’ burning of vegetation and of artisanal pyrotechnologies – the use of heat to transform diverse materials. A combustion-centred analysis, it is argued, brings human collective life into closer contact with the geochemical and geologic conditions of earthly existence, while also pointing to the significance of explorative, experimental and even playful dispositions towards energy and matter. (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)

Can the documentary be useful? Can a film change how its viewers think about the world and their potential role in it? In Kill the Documentary, the award-winning director Jill Godmilow issues an urgent call for a new kind of nonfiction filmmaking. She critiques documentary films from Nanook of the North to the recent Ken Burns/Lynn Novick series The Vietnam War. Tethered to what Godmilow calls the "pedigree of the real" and the "pornography of the real," they fail to (...) activate their viewers' engagement with historical or present-day problems. Whether depicting the hardships of poverty or the horrors of war, conventional documentaries produce an "us-watching-them" mode that ultimately reinforces self-satisfaction and self-absorption. In place of the conventional documentary, Godmilow advocates for a "postrealist" cinema. Instead of offering the faux empathy and sentimental spectacle of mainstream documentaries, postrealist nonfiction films are acts of resistance. They are experimental, interventionist, performative, and transformative. Godmilow demonstrates how a film can produce meaningful, useful experience by forcefully challenging ways of knowing and how viewers come to understand the world. She considers her own career as a filmmaker as well as the formal and political strategies of artists such as Luis Buñuel, Georges Franju, Harun Farocki, Trinh T. Minh-ha, Rithy Panh, and other directors. Both manifesto and guidebook, Kill the Documentary proposes provocative new ways of making and watching films. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Future of the Book: Images of Reading in the American Utopian Novel by Kevin J. HayesMatthew LeggattKevin J. Hayes. The Future of the Book: Images of Reading in the American Utopian Novel. Oxford: Oxford University Press, 2022. E-book, 192 pp. ISBN 9780192670960.Kevin J. Hayes is a writer of high regard, having published many books over his distinguished career, including biographical studies such as Herman Melville, Mark Twain, (...) George Washington: A Life in Books, and several on Edgar Allen Poe. Works like the 2020 monograph Shakespeare and the Making of America showcase his intersecting interests in biography, literature, and American political history. It is these interests that are very much on display in his 2022 monograph The Future of the Book: Images of Reading in the American Utopian Novel, and we should be thankful that Hayes has turned his attention to the subject of utopian fiction as he certainly has much to add to the discussion. The book is clearly a labor of love and Hayes writes with a great degree of detail and authority suggesting he has always held a deep interest in the utopian novel. In fact, from the preface, it is clear the research supporting this book has spanned many years.The preface sets it all up very neatly. Immediately, the reader is invited into the research story of the book. Hayes has an evocative and methodical style that carries that research throughout. The author is also careful in this preface to assert his expertise in the field. Having read “virtually every utopian novel in American literature published before 1910” on microfilm gives Hayes the opportunity to explore many of the obscure and lesser-known works of the period (ix), which he notes in his introduction is primarily between 1880 and 1915. Since many of these novels are yet to be digitized, his insight is notably rare.Aside from an introduction and conclusion, the book is divided into five chapters. The first is titled “The Residential Library” and is centrally about [End Page 601] books in home-spaces, from personal libraries to books on shelves in someone’s living room. Chapter 2, “The Public Library,” explores depictions of public libraries and ways that collected knowledge might be organized and made accessible in utopian visions. “The Idea of Authorship,” chapter 3, is about the professional/amateur status of authors in utopian societies. In this section, Hayes also explores ideas about literary quality and attempts to answer concerns that a utopian age would necessarily be incapable of producing great literature. Chapter 4, titled “The Newspaper,” details the struggles utopian authors have had with the newspaper format. Finally, “The Printed Page and the Written Word” examines ways in which utopian authors sought to refine the printed and written word and their innovative suggestions in this area. Each of these chapters opens by considering Edward Bellamy’s Looking Backward in relation to the subject at hand and Bellamy’s 1888 novel is referred to extensively throughout The Future of the Book, offering a frame for Hayes’s exploration of utopian literature’s inner dialogue with the printed word.In his introduction, Hayes highlights that much of the scholarly work in this area has focused on dystopias. Indeed, when I think about the representation of literature in speculative fiction I tend, first, to think of the great dystopias like Orwell’s Nineteen Eighty-Four, in which history is erased and rewritten by The Party, or Ray Bradbury’s Fahrenheit 451, in which books are considered dangerous and thus are rigorously hunted and burned by the ironically named Firemen of the future. Alternatively, postapocalyptic movies spring to mind. Taking shelter in the New York Public Library, Sam Hall (played by Jake Gyllenhaal) frantically burns books for warmth despite the protests of several other characters in Roland Emmerich’s 2004 blockbuster The Day After Tomorrow. Likewise, in “Marooned” (1989), an episode of the British SF sitcom Red Dwarf (1988–), of which I was particularly fond during my formative years, a copy of the collected works of Shakespeare is burned to keep the last remaining human, David Lister (played by Craig Charles), alive. In the opposite direction, some postapocalyptic... (shrink)

Ulrich von Wilamowitz-Moellendorff wrote surprisingly often to British colleagues. Usually it was a matter of a letter or two. The prolonged exchange with Gilbert Murray is the exception. More typical is the brief but important one with Sir James George Frazer. Extant evidence attests that he corresponded with some forty Englishmen and Scots. I omit Anglo-Irish: J.B. Bury, J.P. Mahaffy, L.C. Purser and the papyrologist, J.G. Smyly. The evidence is incomplete because most letters after the letter N were stolen (...) and burned in the Berlin winter 1945–6. A first catalogue of his British correspondents is assembled. Because of the remoteness of much published biographical material, I include references to the important published sources and occasionally publish a document which otherwise would be forgotten. For the first time Wilamowitz's influence on the English scholars of his time is precisely documented. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Coughin'/Coffin AirAdilifu Nama (bio)Rummaging through the early remnants of a society that is facing climatic transformations, a single microbe forced America to pause, ponder and grasp the meaning of mortality in the early spring of 2020. Such a characterization is much more poetic than necessary, yet it is a frail attempt to capture the grand scale of the psychological and economic disorientation that has assailed the world and continues (...) to make suffocation a pervasive and global experience. Unfortunately, against a backdrop of pandemic savagery, a new spectacle of suffocation emerged to rival COVID-19's viral chokehold on humanity. On May 25th, 2020, George Floyd, a 46-year-old Black man, went down the streets of Minneapolis to buy a pack of cigarettes at his local grocery store. Shortly afterward, a new barbarism was broadcast for millions to partake in primetime consumption. The world witnessed a white police officer place his knee on Floyd's neck as he lay handcuffed, face on the pavement. The medical stat line reads "suffocation to death" but, in reality, Floyd cried out for his mother while a white man murdered him in broad daylight, had his knee pressed against Floyd's neck for over nine minutes: nine minutes that feels like nine hours to see it unfold. Floyd's final moments consisted of cries for his mother, the woman who breathed him into being. She had already passed but his last breaths before he died was for his mother, and with that, the world was reminded that America was birthed out of violence.America, where petty settler concerns were repackaged as God's imperative to morally justify the eradication of the indigenous population and cultural molestation resulted in annual holidays of thanks for bounties stolen and scalps delivered. Despite this, for far too many Americans, the true "gung-ho" spirit of rugged American individualism and notions of exceptionalism is not in declarations of accomplishment but found in the radical real-estate politics of manifest destiny and a torture economy, commonly referred to as American enslavement. This system of wealth extraction enshrined the public ruin of Black bodies with public beatings to compel compliance, and later public lynchings to intimidate and psychologically terrorize Black folk into a forever state of political timidity. Public lynching was the booby prized bait-and-switch from a [End Page 140] Reconstruction paradise to an extra-legal purgatory of terroristic intimidation: a spiffed-up spectacle of human degradation inspired by the old American barbarism of Indian removal and witch burning.When it comes to American lynching, not only was it a morbid spectacle but, for some, a depraved keepsake for posterity. If one missed Black corpses dangling from sturdy tree limbs, and the grapevine could only deliver soured tidbits and not juicy details of the slaying, a picture was worth a thousand obscene words. The alchemy of flash powder mixed with white smoke created eerie postcards to purchase by the time you got to town. This was some of that ole time religion. How could it not get worse than that? But when it concerns the destruction of Black bodies, like a morbid merry-go-round, something wicked this way comes. New incarnations of public death practices are guaranteed to return with extreme prejudice, laying waste to Black bodies, minds, dreams, and futures. Live births are not shown on television, but when it concerns Black folk, live deaths are shown ad nauseam. And there will be reruns, brothers and sisters. This was the traumatic reality of the digital documentation of George Floyd's savage public execution. The reruns of his tortured asphyxiation.Although political injustices, massacres, and wars have ebbed and flowed, waxed, and waned over decades, Black folk have lived in a constant state of vulnerability of negation; for Black folk, there is no place for us to catch our breath, to grab a brief respite from race in America. This is a cornerstone of the Black Experience in America. The cost of being the wrong color can leave you breathless: at the park playing, in group homes, police detention cells, making a sojourn back to the crib after a quick Skittles run, jogging around town... (shrink)

More than one reader of George Santayana will approach the pages of this book with the same anxiety that led me to go through them: Could it be even possible to give account of a current burning problem, terrorism, with elements of the philosophy of that “detached” thinker? A problem, the one of terrorism, that as the editors of the book note, presents itself with an uncommon visceral intensity whose media coverage surpasses by far the one of other urgent (...) topics (global warming, immigration,... (shrink)

Books Reviewed in this Article: Theological Investigations, Vol. XVIII: God and Revelation. By Karl Rahner. Pp.vi, 304, London, Darton, Longman and Todd, 1984, £18.50. Theological Investigations, Volume XIX: Faith and Ministry. By Karl Rahner. Pp.vi, 282, London, Darton, Longman & Todd, 1984, £18.50. Theological Investigations: Volume XX: Concern for the Church. By Karl Rahner. Pp.vi, 191, London, Darton, Longman & Todd, 1981, £14.50. Concise Theological Dictionary. Edited by Karl Rahner and Herbert Vorgrimler. Pp.541, London, Burns & Oates, 1983, £12.50. (...) A New Dictionary of Christian Theology. Edited by Alan Richardson and John Bowden. Pp.xvii, 614, London, SCM Press, 1983, £19.50. The God of Forgiveness and Healing in the Theology of Karl Rahner. By J.N. King, Pp.93, Washington, University Press of America, 1982, $17.50, $6.75. In Search of Humanity, A Theological and Philosophical Approach. By John Macquarrie. Pp.vii, 280, London, SCM Press, 1982, £8.50. Faith and the Mystery of God. By Maurice Wiles. Pp.viii, 146, London, SCM Press, 1982, £4.50. Trinity and Temporality: The Christian Doctrine of God in the Light of Process Theology and the Theology of Hope. By John J. O'Donnell. Pp.xii, 215, Oxford University Press, 1983, £15.00. The Cosmic Christ in Origen and Teilhard de Chardin: A comparative Study. By James A. Lyons and edited by Maurice Wiles. Pp.xii, 236, Oxford University Press, 1982, £13.50. Grounded in Love: Sacramental Theology in an Ecumenical Perspective. By Frans Josef van Beeck. Pp.x, 151, Washington, University Press of America, 1982, $19.50, $9.25. Justification: The Author's First Book reissued with a New Introductory Chapter and the Original Response of Karl Barth. By Hans Küng. Pp.xlvi, 332, London, Burns and Oates, 1982, no price given. Reality and Evangelical Theology. By T.F. Torrance. Pp.174, Philadelphia, Westminster Press, 1982, $8.95. The Quest for the Historical Israel: Reconstructing Israel's Early History. By George W. Ramsey. Pp.xiv, 193, London, SCM Press, 1982, £5.50. Cantico del Cantici: Interpretatio Ludica. By Enrica Salvaneschi. Pp.140. Genoa, II Melangolo, 1982, 15, 000 Lire. Love Lyrics from the Bible: A Translation and Literary Study of the Song of Songs. By Marcia Falk. Pp.142, Sheffield, Almond Press, 1982, £14.95, £5.95. Old Testament Wisdom: An Introduction. By James L. Crenshaw. Pp.286, London, SCM Press, 1982, £5.95. The Sciences and Theology. Edited by A.R. Peacocke. Pp.xviii, 309, Stocksfield, Oriel Press, 1982, £14.00. Vision and Character: A Christian Educator's Alternative to Kohlberg. By C.R. Dykstra. Pp.viii, 160, Leominster, Fowler Wright Books, 1981, £4.45. Aristotle's Eudemian Ethics, Books I, II & III. Translated with a commentary by Michael Woods. Pp.xii, 234, Oxford, Clarendon Press: Oxford University Press, 1982, £11.50. Kant's Theory of Mind: An Analysis of the Paralogisms of Pure Reason. By Karl Ameriks. Pp.ix, 314, Oxford, Clarendon Press, 1982, £15.00. Heidegger's‘Being and Time’and the Possibility of Political Philosophy. By Mark Blitz. Pp.260, Ithaca, Cornell University Press, 1981, £13.75. Symbol as Sense: New Approaches to the Analysis of Meaning. Edited by Mary Le Cron Foster and Stanley H. Brandes. Pp.xvi, 416, New York, Academic Press, 1980, £19.60. The God Within. By Harry R. Klocker. Pp.x, 147, Washington, University Press of America, 1982, $19.00, $9.25. The Philosophical Frontiers of Christian Theology: Essays Presented to D.M. MacKinnon. Edited by Brian Hebblethwaite and Stewart Sutherland. Pp.ix, 252, Cambridge University Press, 1982, £17.50. Jews, Pagans and Christians in Conflict. By David Rokeah. Pp.232, Jerusalem, The Magnes Press, The Hebrew University, Leiden; E.J. Brill, 1982, 94 gld. Religion, Law, and the Growth of Constitutional Thought 1150–1650. By Brian Tierney. Pp.xi, 114, Cambridge University Press, 1982, £12.50. St John of the Cross: The Life and Thought of a Christian Mystic. By Alain Cugno. Pp.vi, 153, London, Burns & Oates, 1982, £6.95. Meister Eckhart: The Essential Sermons, Commentaries, Treatises and Defense. Translated by Edmund Colledge and Bernard McGinn. Pp.xviii, 360, London, SPCK, 1981, £8.50. Francisco de Osuna: the Third Spiritual Alphabet. Translated by May E. Giles. Pp.xvi, 624, London, SPCK, 1981, £12.50. Rome and the Anglicans. Edited with a Postscript by Wolfgang Haase. Pp.301, Berlin, Walter de Gruyter, 1982, 138 DM. The Westminster Confession in the Church today: Papers Prepared for the Church of Scotland Panel on Doctrine. Edited by Alasdair I.C. Heron. Pp.vii, 154, Edinburgh, Saint Andrew Press, 1982, £4.00. Essaying Montaigne: A Study of the Renaissance Institution of Writing and Reading. By John O'Neill, Pp.ix, 244, London, Routledge and Kegan Paul, 1982, £12.50. Rousseau after 200 years: Proceedings of the Cambridge Bicentennial Colloquium. Edited by R.A. Leigh. Pp.xv, 299, Cambridge University Press, 1982, £30.00 An American Experience of God: The Spirituality of Isaac Hecker. By John Farina. Pp.xii, 217, New York, Paulist Press, 1981, $11.95. Hecker Studies: Essays on the Thought of Isaac Hecker. Edited by John Farina. Pp.vii, 243, New York, Paulist Press, 1983, $6.95. (shrink)

The author traces the thought of George Santayana, Brad S. Gregory, Pierre Manent, and Rémi Brague, who addressed the transformation of the West into its modern present. They all show that by being cut off from its cultural and political inheritance in modern times, Western Civilization presently finds itself in a burning need of recovering its identity. To save its identity, the West is to challenge the errors of modernity. We used to have the example of Winston Churchill and (...) Charles de Gaulle in the darkest hours of World War II, and the remarkable example of John Paul II who through his leadership of the Solidarity movement inspired hope not only in his own people but also for others in the Soviet bloc at the time. “The cultural task awaiting Europe,” to use a phrase of Rémi Brague, challenging though it may be, may in time find its voice in another Churchill or John Paul II. At present, with no remedy in sight, all we can do is to hope. (shrink)

Books reviewed:Victor H. Matthews, Bernard M. Levinson and Tikva Frymer‐Kensky, Gender and Law in the Hebrew Bible and the Ancient Near EastNeil Asher Silberman and David B. Small, The Archaeology of Israel: Constructing the Past, Interpreting the PresentErich S. Gruen, Heritage and Hellenism: The Reinvention of Jewish TraditionBrenda Deen Schildgen, Power and Prejudice: The Reception of the Gospel of MarkDavid C. Sim, The Gospel of Matthew and Christian Judaism: The History and Social Setting of the Matthean CommunityAllan D. Fitzgerald, Augustine (...) Through the Ages: An EncyclopediaLionel R. Wickham, Hilary of Poitiers: Conflicts of Conscience and Law in the Fourth‐Century ChurchAidan Nichols, The Word Has Been Abroad: A Guide Through Balthasar's AestheticsAidan Nichols, No Bloodless Myth: A Guide Through Balthasar's DramaticsPaul Avis, God and the Creative Imagination: Metaphor, Symbol and Myth in Religion and TheologyGarrett Green, Imagining God: Theology and the Religious ImaginationL. William Countryman, The Poetic Imagination: An Anglican Spiritual TraditionRaphael Gallagher and Seán Cannon, Seán O'Riordan, A Theologian of Development: Selected EssaysJames Alison, The Joy of Being Wrong: Original Sin Through Easter EyesPeter Byrne, The Moral Interpretation of ReligionBrian Davies, Philosophy of Religion: A Guide to the SubjectGrace M. Jantzen, Becoming Divine: Towards a Feminist Philosophy of ReligionKeith E. Yandell, Philosophy of Religion: A Contemporary IntroductionLouis Dupré, Religious Mystery and Rational Reflection: Excursions in the Phenomenology and Philosophy of ReligionMichael E. Allsopp, Ethics and the Catechism of the Catholic ChurchCharles E. Curran, The Catholic Moral Tradition Today: A SynthesisBernard Hoose, Christian Ethics: An IntroductionPaul Goodliff, Care in a Confused Climate: Pastoral Care and Postmodern CultureSouzy Dracopoulou, Ethics and Values in Health Care ManagementMichael Parker, Ethics and Community in the Health Care ProfessionsHans Küng and Walter Jens, A Dignified Dying: A Plea for Personal ResponsibilityRobin Gill, Euthanasia and the ChurchesGerald Dworkin, R. G. Frey and Sissela Bok, Euthanasia and Physician‐Assisted SuicideCaroline Dunn, Ethical Issues in Mental IllnessDavid Smith, Life and Morality: Contemporary Medico‐Moral IssuesGilbert C. Meilaender, Body, Soul and BioethicsDavid E. Cooper and Joy A. Palmer, Spirit of the EnvironmentJ. Milburn Thompson, Justice and Peace: A Christian PrimerMaura M. Ryan and Todd David Whitmore, The Challenge of Global Stewardship: Roman Catholic ResponsesCelia Deane‐Drummond, Theology and Biotechnology: Implications for a New ScienceJohn O'Neill, The Market: Ethics, Knowledge and PoliticsErika Rummel, The Humanist–Scholastic Debate in the Renaissance and the ReformationInger Ekrem, Minna Skafte Jensen and Egil Kraggerud, Reformation and Latin Literature in Northern EuropeM. C. Questier, Newsletters from the Archpresbyterate of George BirkheadJeffrey von Arx, Varieties of UltramontanismFrank J. Coppa, Controversial Concordats: The Vatican's Relations with Napoleon, Mussolini and HitlerA. J. Hoover, God, Britain and Hitler in World War II: The View of the British Clergy, 1939–;1945Pierre Blet, Pius XII and the Second World War according to the Archives of the VaticanPeter Harrison, The Bible, Protestantism and the Rise of Natural ScienceMichael P. Hornsby‐Smith, Catholics in England, 1950–2000: Historical and Sociological PerspectivesCarol K. Coburn and Martha Smith, Spirited Lives: How Nuns Shaped Catholic Culture and American Life, 1836–1920Robert E. Burns, Being Catholic, Being American: The Notre Dame Story, 1842–1934Paul C. Gutjahr, An American Bible: A History of the Good Book in the United States, 1777–1880Harriet A. Harris, Fundamentalism and EvangelicalsJeffrey Richards, Scott Wilson and Linda Woodhead,Diana: The Making of a Media Saint. (shrink)

Ulrich von Wilamowitz-Moellendorff wrote surprisingly often to British colleagues. Usually it was a matter of a letter or two. The prolonged exchange with Gilbert Murray is the exception. More typical is the brief but important one with Sir James George Frazer. Extant evidence attests that he corresponded with some forty Englishmen and Scots. I omit Anglo-Irish: J.B. Bury, J.P. Mahaffy, L.C. Purser and the papyrologist, J.G. Smily. The evidence is incomplete because most letters after the letter N were stolen (...) and burned in the Berlin winter 1945-6. A first catalogue of his British correspondents is assembled. Because of the remoteness of much published biographical material, I include references to the important published sources and occasionally publish a document which otherwise would be forgotten. For the first time Wilamowitz's influence on the English scholars of his time is precisely documented. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.2 (2000) 189-202 [Access article in PDF] Spinoza in Denmark and the Fall of Struensee, 1770-1772 John Christian Laursen * Baruch (Benedict) de Spinoza was the arch-heretic of the late seventeenth and eighteenth centuries. He was denounced in half a dozen languages from the time he began to publish until at least the 1780s, when Lessing's allegiance to Spinoza became the heart of (...) a literary scandal. 1 In time-honored fashion, some of these denunciations led to the burning of books and the imprisonment or banning of authors. The most spectacular case, however, led to the trial of a prime minister, the cutting off of his right hand and of his head, and the drawing and quartering of his body in full public ceremony. The year was 1772, the prime minister was Johann Friedrich Struensee, and the country was Denmark.Late eighteenth-century Denmark was not known for barbarities of the type represented by Struensee's execution. Previously disgraced prime ministers had merely been imprisoned, and other political enemies of the ruling powers had [End Page 189] merely been exiled. 2 Why such harshness with Struensee? What was at stake in the fall of Struensee?The answers to these questions are complex, but an important element of those answers lies in Struensee's public image, which made it seem both necessary and justifiable to treat him with such harshness. In turn, public opinion about Struensee was closely tied to the reputation of Spinoza. This essay will show that charges of Spinozism were part of the campaign that poisoned public opinion against Struensee. This was an unusually clear case of a theological and philosophical debate having direct political effects.Before getting to the role of Spinozism and anti-Spinozism in eighteenth-century Denmark, let us fill in important points of the story. The charge against Struensee was lèse majesté, for plotting the death of the King and for usurping power in violation of the constitution. Behind these charges was a further element which encouraged outrage: sleeping with Queen Caroline Matilda. That much was true, as both the Queen, a sister of George III of England, and Struensee admitted, each in order to save the other. The King knew about it all along but did not care. He did not care because he had become a libertine, going out to whorehouses most nights with rowdy friends, and he figured that what was good for the gander was good for the goose. He was also schizophrenic and easily manipulable by those around him, so that Struensee and the Queen encountered no disapproval from him until he fell under other people's influence. After Struensee and the Queen were taken into custody, the King was forced to divorce the Queen and she was sent to live in a Hannoverian castle in Celle because her brother did not want the embarrassment of having her back in England. She died there a few years later. 3It is an irony that we owe our knowledge of the state of public opinion in Denmark in this period to Struensee. Until shortly before the fatal events mentioned above, the Danish press had been subject to censorship that might have prevented the expression of many of the subsequent attacks on Struensee. But in September 1770 Struensee persuaded the king to declare freedom of the press in all his realms (consisting of the kingdoms of Denmark and Norway, the Duchies of Slesvig and Holsten [Schleswig and Holstein in German], Greenland, Iceland, the Faroes, and colonies in India, Africa, and the Caribbean). 4 It is not widely [End Page 190] known that Denmark was the first country to declare unlimited freedom of the press as official public policy. For much of the century England and the Netherlands had effective freedom of the press, but it had never been declared official policy. The next to do so was rebellious Virginia, in the Virginia Declaration of Rights (1776), followed by other colonies and then the Bill of Rights of the new... (shrink)

This article tackles one of the most burning issues discussed by adherents of the dynamically developing movement in ethics which bears on political and legal philosophy, that is value-pluralism. In particular, the article is devoted to an investigation into the highly controversial issue of the relationship between pluralism and liberalism, based upon the three crucial, divergent approaches represented by Isaiah Berlin and his two main opponents, John Gray and George Crowder. The analysis leads to the conclusion that the two (...) concepts in question are neither mutually exclusive nor logically connected, but actually overlapping, which signifies the existence of a loose, de facto connection between them. Such a final thesis proves to be consistent with the position of Isaiah Berlin, and contrary to the final statements endorsed by his critics, John Gray and George Crowder. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ephraim Chambers’s Cyclopædia (1728) and the Tradition of CommonplacesRichard YeoIn the fifth volume (1755) of the Encyclopédie in his entry on “En-cyclopædia,” Denis Diderot forecast a time in which the sheer number of books would require a division of intellectual labor. Some people, he said, will not do much rea ding but rather “devote themselves to investigation which will be new, or which they will believe to be new.” (...) The majority, unable to produce anything of their own, “will be busy night and day leafing through these books, taking out of them the fragments they consider worthy of being collected and preserved.” 1 Although Diderot set this prospect in the future, he believed the signs were already visible and offered his encyclo-pædia as a response. Part of this image, however—the selection of passages from a range of authors—was already a familiar one. Re commended by the Ancients, it was widely practised during the Renaissance by the educated elite who kept commonplace books for recording quotations on various themes from Classical authors. Even the epigram from Horace on the title page of the Encyclop édie suggests this lineage: “What grace may be added to commonplace matters by the power of order and connection.” 2In the classical period, the Latin term, locus communis, referred to a general argument capable of being used in different situations. In his Institutiones Oratoriae Quintilian discussed the notion of copia verborum in connection with the ability of a good orator to produce copious illustrations [End Page 157] and embellishments from particular ideas. Renaissance writers thought this facility was enhanced by a record of similar ideas in the same place in a notebook. This practice had been followed in the medieval period, but it became more systematically taugh t as part of rhetoric from the sixteenth century. Commenting on this, R. R. Bolgar wrote:The whole purpose of the Humanists in transmogrifying Greek and Latin literature into a series of notes was to produce a body of material which could be easily retained and repeated. They made titanic efforts to remember the contents of the note-books the y compiled. 3Quintilian’s work, and more immediately, that of the German humanist, Rudolph Agricola, influenced Erasmus in his De Copia, first published in 1512 as De Duplici Copia Verborum ac Rerum Commentarii Duo. This offered advice on how to collect words and passages under various topoi or loci (places) as a means of storing extracts from books that could later be brought together and embellished in either writing or conversation. The set of ideas or themes grouped under one “Head” wer e known as “common-places,” and the notebooks kept for this purpose were commonplace books. 4 These were also called “copie” books in the sense of collections enabling copia, or free flow of material for oratory. Versions of this practice continued into the nineteenth century: figures such as John Milton, George Berkeley, Robert Southey, R obert Burns, and David Thoreau kept commonplace books, some of which were subsequently published. Some of these included less than elevated content: Kenneth Lockridge has uncovered a string of misogynist remarks and anecdotes in the commonplace book of Th omas Jefferson. 5In the only major study of the commonplace tradition, Sister Joan Marie Lechner analyzed its status in Renaissance rhetorical training from the sixteenth to the early seventeenth century, identifying some confusion and [End Page 158] tensions, partly as result of dissatisfaction with the “doctrine of places” taught by classical writers, and also because “commonplace” had come to refer both to a “locus or seat of arguments” and a “speech-within-a-speech.” 6 Her work shows that commonplace books were kept as aids to recall reading and as storehouses (thesauri) of topics and phrases suitable for speeches and conversation, as recommended by Erasmus and other writers. However, Lechner noted a new need pa rtly satisfied by the commonplace collections, which was that they accommodated Renaissance passions for “accumulating universal knowledge.” Thus, in her words:The commonplace book with its encyclopaedic array of topics or places was thought of as a compend of knowledge displayed in a systematic pattern... (shrink)