This paper explores the political thought of Andrew Michael Ramsay with particular reference to his highly acclaimed book called A New Cyropaedia, or the Travels of Cyrus (1727). Dedicated to Prince Charles Edward Stuart, the Young Pretender, to whom he was tutor, this work has been hitherto viewed as a Jacobite imitation of the Telemachus, Son of Ulysses(1699) of his eminent teacher archbishop Fénelon of Cambrai. By tracing the dual legacy of the first Persian Emperor Cyrus in Western thought, I (...) demonstrate that Ramsay was as much indebted to Jacques-Bénigne Bossuet's Discourse on Universal History (1681)as he was to Fénelon's political romance. Ramsay took advantage of Xenophon's silence about the eponymous hero's adolescent education in his Cyropaedia, or the Education of Cyrus (c.380B.C.), but he was equally inspired by the Book of Daniel, where the same Persian prince was eulogised as the liberator of the Jewish people from their captivity in Babylon. The main thrust of Ramsay's adaptation was not only to revamp the Humanist- cum-Christian theory and practice of virtuous kingship for a restored Jacobite regime, but on a more fundamental level, to tie in secular history with biblical history. In this respect, Ramsay's New Cyropaedia, or the Travels of Cyrus, was not just another Fénelonian political novel but more essentially a work of universal history. In addition to his Jacobite model of aristocratic constitutional monarchy, it was this Bossuetian motive for universal history, which was first propounded by the German reformer Philipp Melanchthon in his Chronicon Carionis (1532), that most decisively separated Ramsay from Henry St. John, Viscount Bolingbroke, author of another famous advice book for princes of the period, The Idea of a Patriot King (written in late 1738 for the education of Frederick Lewis, Prince of Wales, but officially published in 1749). (shrink)

La afinidad entre Hannah Arendt y Claude Lefort puede ser rastreada a través de diversos ejes: la cercanía y la distancia en la interpretación que ambos hacen del totalitarismo, la indagación en torno al problema de la igualdad en la modernidad, la interrogación sobre el estatuto de los derechos humanos o el intento renovado por ambos por pensar los acontecimientos sin barandillas. En este artículo me propongo abordar estos ejes de manera tangencial: rastreando la manera en la que Lefort lee (...) La condición humana, intentaré identificar las razones que lo llevan a considerar que —a pesar de entender que Arendt es, sino la mejor, una de las más afines compañeras en la empresa de “restaurar la filosofía política”— su obra ofrece a la vez un punto de partida y un límite para repensar lo político. (shrink)

Beginning from Klee’s statement on truth in self-portraiture that his faces are truer than real ones and Cézanne’s promise to tell us the truth in painting, we consider the origins of truth in art for the philosophy of Merleau-Ponty. We discover that truth in perception, in life, and incarnate existence, as in art, originates from bodily movement. Similar to Heidegger’s argument in “The Origin of the Work of Art,” a truth happens between the work and painter, between the work and (...) viewer, and is not limited to the domain of language, but words and symbols mix together with colors and forms, as in the paintings of Klee. Similar to Husserl’s argument in “The Origin of Geometry,” the originary sense of art, like geometry, is an interweaving of world, intersubjectivity, speech, and writing that achieves a more “militant” truth than mere logical propositions. Truth is marked by its endurance, mobility, agility, subtlety, and depth. These interweavings mean there is no single origin of truth in art and life but a plurality of origins in movement, pleasures, and desires for the becoming of creation. (shrink)

Over the past thirty years, the disappearance, if not the death, of the intellectual in France has been the focus of significant conversation and debate. Yet a good bit earlier, two writers who epitomized that very figure of the intellectual, Jean-Paul Sartre and Albert Camus, in works written after their bitter break, seemed to have already sensed this decline. The present essay explores what Camus's novel La Chute [The fall] and Sartre's autobiography Les Mots [The words] share thematically and, in (...) particular, how both works anticipate the fall of the French intellectual. (shrink)

G. F. Stout is famous as an early twentieth century proselyte for abstract particulars, or tropes as they are now often called. He advanced his version of trope theory to avoid the excesses of nominalism on the one hand and realism on the other. But his arguments for tropes have been widely misconceived as metaphysical, e.g. by Armstrong. In this paper, I argue that Stout’s fundamental arguments for tropes were ideological and epistemological rather than metaphysical. He moulded his scheme to (...) fit what is actually given to us in perception, arguing that our epistemic practices would break down in an environment where only universals were given to us. (shrink)

Beyond vague references to his ‘Eastern’ or ‘Oriental’ influences, there exists almost no work on the impact made by Buddhist traditions on the work of Georges Bataille. This study takes a first step towards understanding this impact. It embarks upon a reading of 'La Pratique de la joie devant la mort' as a record of Bataille’s meditation practice infused with Tibetan and Japanese Zen Buddhist concepts and practices as he understood them, through the prism of European interactions therewith. The study (...) traces the evolution of what are here termed the ‘imagined Buddhisms’ emerging from such interactions, from early Euro-Buddhist encounters during the Christian missions, through the 19th-century birth of ‘Buddhist Studies’ and the related influence of Schopenhauer and Nietzsche, to an interwar avant-garde preoccupied with the rejection of the European values held to have caused WWI. Foremost of the avant-garde factions considered here is the secret society Acéphale, founded by Bataille with the stated aims of creating a new religion and waging war on ‘tout ce qui est reconnu aujourd’hui’. In the course of this investigation, a pattern of Buddhist traditions weaponised in support of European projects is established; one in which they are imagined and re-imagined alternately as equivalent and antagonist to the work of Bataille, his peers and their antecedents. 'La Pratique de la joie devant la mort' emerges in the light of Bataille’s ‘imagined Buddhism’ as a practical version of an inverted Nietzschean sovereignty, incorporating elements of the concepts and practices of Tibetan and Japanese Zen Buddhism as he understood them. In the former case, these include his method of dramatisation and the idea of Tibetan meditation as what he terms a means of ‘put[ting one] to sleep’. Such an ‘put[ting] to sleep’ is argued to be akin to the what Bataille elsewhere calls the ‘narcotic’ of the profane world and to which he offers his own practice as a solution. In the case of Japanese Zen, the process Bataille would come to call the 'opération souveraine' is shown to be present in 'La Pratique de la joie devant la mort' and to bear resemblance to the process of achieving the form of Zen enlightenment called satori. A momentary flash of insight, satori is also shown to be comparable to the breakthrough of sacred from profane. (shrink)