This study aims at showing how at the basis of Nikolai Berdyaev’s criticism of capitalism and Marxism lays the concept of Imago Dei. The Russian religious philosopher puts forward the Imago Dei as fundamental to the Christian understanding of human dignity. Berdyaev believes that in both capitalism and Marxism an objectification of the person takes place, and therefore a denial of basic human dignity. Berdyaev’s criticism of capitalism refers to its internal principles, partly building on Marx’s early criticism of capitalism. (...) Although he shared some of the same concerns with Marx and other Marxist theorists, ultimately his was a critique from a Christian perspective that was deeply humanistic, whereas Marxism in its Hegelian orientation had failed in achieving what Berdyaev understands as true humanism. Having confronted and engaged both systems of thought during his own life, Berdyaev’s insights are most interesting, and I argue in this paper that they are also relevant for our own reflections on these subjects today. (shrink)

This article discusses aesthetic counter-politics in the early 20th century through an examination of the idea of tragedy in culture and metaphysics.

I reconstruct Lukács’s immanent critique of German Idealism, found within his essay ‘Reification and the Consciousness of the Proletariat’, in order to foreground his philosophical reflection on the concepts of mediation, logic, genesis and praxis. I situate this reflection within his philosophy of praxis as a whole before highlighting the dialectical development of these terms within it. They are posited initially as abstract, methodological demands and are subsequently concretised and enriched, via Lukács’s critical evaluation of the antinomies he discovers in (...) Kant, Fichte, Schelling and Hegel. My reconstruction is both exegetical and critical. I demonstrate that Lukács’s concept of praxis is explicitly intended to both bear the weight of Hegel’s Absolute and overcome it. On this basis, I propose a novel immanent critique of Lukács’s philosophy of praxis, suggesting that while Lukács wishes his concept of praxis to express a living, present and ontologically novel truth, his insight is won – in the fashion of Hegelian philosophy – after the historical event upon which it is built, as a philosophical reflection. Lukács’s self-contradiction is that while he regards his philosophy of praxis as having overcome speculative, Hegelian philosophy, in fact, the position he generates remains firmly but unconsciously within it. Consequently, Lukács’s philosophy of praxis possesses a theological dimension and must be regarded as an example of the kind of ‘conceptual mythology’ he sought to overcome. (shrink)

Is the essay literature or philosophy? A form of art or a form of knowledge? The contemporary essay is torn between its belletrist ancestry and its claim to philosophical legitimacy. The Spanish philosopher Eduardo Nicol captured the genre's uncertain status when he dubbed it “almost literature and almost philosophy” (Nicol 1961:207). The problem is hardly a new one. It goes back to what Plato called the “ancient quarrel” between poetry and philosophy, and more recently to the German Romantic theorist, Friedrich (...) Schlegel, who called for a mode of criticism which would be at once philosophical and poetic. But today, when the status of critical discourse is up for grabs, reflecting the crisis of knowledge in the universities, the question of the essay takes on a new urgency. Now the predominant form of writing in the human sciences, it cannot avoid the challenge to define itself according to the prevailing standards of scientific knowledge and method. (shrink)

A critical phenomenology is paired with qualitative data in order to understand the character of subjective experiences of uncanniness through the encounter with art. We are confronted by art as the beings we have been, without recourse to the use of art as a way in which our beings might concretely improve themselves, either through rewriting themselves as part of the larger world or by giving ourselves a dedicated auto-history. It is this feeling of insubstantiality, borne on the currents which (...) move us away from all solid projects or monuments, that disconcerts us the most. The experience of this non-presence in art uncovers the absence of presence in being and world. We have been absented from ourselves in some ethically culpable manner, and to be fully present as beings who live on in the face of death, is to take into an interiority of being the Nothing which stands as our alterity. (shrink)

This paper attempts to explore a pedagogical form of writing in which students are allowed to have more room to converse with themselves, such that their own being is reflected in their work. The attempt is made as a response to the poverty of educationally orientated assessment methods for students' academic performance in the predominant evidence-based assessment culture of schooling today. Taking Lukács' Soul and Form as a good source for this exploration, especially his commitment to essay form as a (...) first-person, soul-searching journey to the truth, the paper tries to reconstruct the way he conceptually connects philosophical practice, our life-form and the essay form of writing. It attempts to provide insight into the ways in which a certain form of philosophical writing can in itself be an educational practice that provides students with a unique way of addressing their life-problems. (shrink)

Most scholarly fields, at least in the humanities, have been asking the same questions about the politics of encounter for hundreds of years: Should we try to find a way to encounter an other without appropriating it, without imposing ourselves on it? Is encountering-without-appropriating even possible? These questions are profuse and taken up with intense interest in scholarship about the personal essay, specifically, which has often been credited as a philosophical form. Within debates about the ethics of the personal essay, (...) the most significant concern is about the traditionally accepted relationship of the writer-represented-on-the-page. For example, the notable rhetoric and composition scholar, David Bartholomae, argues that students of what he calls '"creative nonfiction" or "literary nonfiction"' (1995, p. 68) write '... as though they [are] not the products of their time, politics and culture, as though they could be free, elegant, smart, independent, the owners of all that they saw' (p. 70). In other words, the personal essay, as a subgenre of creative or literary nonfiction, allows for the perpetuation of the fallacy that a writer can be 'free' of social influences, 'independent' of a society and of its politics, and 'owners' of their own perspectives and experiences—of those the writer expresses on the page, specifically. Consequently, if the writer is not conscious and critical of the social influences acting on him/her, if s/he believes the text to be the singular and uninfluenced production of his/her own self, then the topic taken up in the essay is tyrannized by the self-centered (and dangerously un-critically-conscious) perspective of the writer. However, the personal essay also has its strengths as a philosophical form: in its privileging of skepticism; in its attention to complexity and complication; and even in its existence-as-evidence of some quality of its writer. Too, very often essays pay homage to works of other essayists, as in the case of Gass's 'Emerson and the Essay', instead of mowing down other works in order to establish its own reign. Despite these ethically responsible characteristics, though, I show, using Gass's essay about Emerson's work, that the personal essay continues to be devalued because of its reliance on and celebration of its transparent relationship to its author. In general, essayists don't complain in their work about the belief in this transparent relationship; they advocate it. Thus, my purpose is not to suggest that there is no relationship between the essayist and the essay. Rather, I will, in the latter half of the article, turn to the work of philosopher Emmanuel Levinas, which describes and enacts an approach to an other (writer/text) that does not hinge on the assumption that writer and text are in a transparent relationship to each other. I hope that in presenting this possibility for re-thinking the essay (and its relationship to its writer), writers, scholars, and teachers of the essay—and even its opposition—will give it new attention and explore further the possibilities that it may provide for engagement, for encounter. (shrink)

This article considers the war against terror in relation to classical tragedy. It uses Heidegger's analysis of Sophocles's play Antigone to argue that human beings are essentially `homeless' and yet our destiny lies in the continual attempt to overcome this homelessness by establishing foundational principles that might bring our journeying to an end. The tragedy of this situation is that the search for foundations and a search for a home invariably bring differing worlds in conflict with each other as their (...) paths to truth collide. Lucien Goldmann's analysis of the tragedy of refusal is also considered in relation to a non-foundational politics that may permit us not only to endure, but actually to affirm our homelessness as an attempt to resist the terror and anabolic militarism that marks the current age. (shrink)