The aim of this article is to examine both the work of Judith Butler on gender performativity and examples of how Butler's writings have been appropriated by certain other writers. I explore three areas in particular: the relation between performance and performativity in the work of Butler and her `adherents'; the developmental changes in Butler's argument between Gender Trouble and Bodies That Matter; and the question of the effectiveness of the politics of parody. I argue that it is the ambiguities (...) in Butler's own several accounts of the distinction between performance and performativity that fuel the readings of the politics of performance as the province of the autonomous subject - a perspective at variance with Butler's own. In addition, I explore the deficiencies in Butler's account of politics, especially her denial of the significance of the context on the efficacy of political interventions. (shrink)

Despite the efforts of Bosanquet, Muirhead, Basch, and many others, it is still frequently stated or implied, in both popular and scholarly literature, that Hegel constructed his philosophy of the State with an eye to pleasing the reactionary and conservative rulers of Prussia in his day, and condoned, supported, and, through his teaching, became partly responsible for some of the most criticized features in “Prussianism” and even of present-day National-Socialism.5 Ijn this article I propose to give reasons for denying that (...) Hegel the man is justly accused of servility to the Prussian Government, and that there is any warrant in the text of his Philosophie des Rechts for the charge that Hegel the philosopher was an exponent of “Prussianism” and “ frightfulness.”. (shrink)

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The Characters Deliberative Judgment of Activism Deliberative Procedures are Exclusive Formal Inclusion is not Enough Constrained Alternatives Hegemonic Discourse Notes.

The time is long gone when literary men were happy to treat literature, and tragic poetry in particular, as something which exists serenely outside time, high up in the empyrean of unchanging validity and absolute values. Nowadays it is conventional, and seems natural, to insist that literature is produced within a particular society and a particular social setting: even its most gorgeous blooms have their roots in the soil of history. Its understanding requires us to understand the society which appreciated (...) it, and for which it came into existence. In the particular case of the tragic poetry of Athens, the most influential body of recent criticism focuses on the relation of the drama to the realities of political and social life. (shrink)

It is now generally agreed that in Aristotle's Poetics, ch. 13 means ‘mistake of fact’. The moralizing interpretation favoured by our Victorian forebears and their continental counterparts was one of the many misunderstandings fostered by their moralistic society, and in our own enlightened erais revealed as an aberration. In challenging this orthodoxy I am not moved by any particular enthusiasm for Victoriana, nor do I want to revive the view that means simply ‘moral flaw’ or ‘morally wrong action’. I shall (...) try to show that the word has a range of applications, from ‘ignorance of fact’ at one end to ‘moral defect’, ‘moral error’, at the other, and that the modern orthodoxy, though not as clearly wrong as the moralizing interpretation it displaced, restricts Aristotle's meaning in a way he did not intend, and does lessthan justice to his analysis of classical drama. (shrink)

A fashionable approach to the interpretation of Athenian drama concentrates on its context in performance at Athenian festivals, and sees both the festivals and the plays as products of the Athenian democracy. In this paper it is argued that, whereas the institutional setting inevitably took a particular form in democratic Athens, that was an Athenian version of institutions found more generally in the Greek world, and even in the Athenian version many features do not seem distinctively democratic. Similarly in the (...) interpretation of particular plays themes have often been said to be democratic which are better seen as concerns of polis-dwelling Greeks in general, and the notion that plays questioned Athens' democratic values because the democratic ethos of Athens consciously encouraged the questioning of Athens' democratic values is far from certain. (shrink)

MANY, PERHAPS MOST OF US, tend to connect art with the past. Faced with the art of our own time we become unsure: everything important seems to have been done, the vocabulary of art exhausted, and attempts to develop new vocabularies more interesting than convincing. Ours tends to be an autumnal view of art. The association of art and museum has come to replace such older associations as art and church, or art and palace. As we know it, the museum (...) is a comparatively recent institution, emerging only in the first half of the nineteenth century, thus lagging somewhat behind such related phenomena, as e.g., archeology, art-history, and neo-gothic architecture, all expressions of a museal [[sic]] attitude extending far beyond art to religion and even to nature. Consider the significance of setting aside a certain part of nature as a national monument. Monuments serve to commemorate, most often the dead. What do such natural monuments commemorate? Perhaps nature herself? But does nature need commemorating? Does it, too, lie behind us? Will future generations know nature only in the form of natural monuments? We do indeed live in an age which increasingly forces us to question whether nature still has a place in the modern world, whether it is not rather a relic from the past. By trying to preserve nature in specially created parks or monuments we show that this loss, although perhaps inevitable, is nevertheless felt to be serious. (shrink)

ZA PELCZYNSKI The ideas of Hegel, as of any other political philosopher, can be discussed in a variety of ways. One can approach the ideas genetically, ...

MAN IS ALIENATED AND IN NEED OF RECONCILIATION. This idea is as old as human thought and appears in countless forms in the myths and religions that have come down to us. In these we learn how the cosmos—whether by necessity or chance—lost its original self-identity, experienced a division within itself, and passed this division down into the natural and human worlds. Man is alienated because the cosmos is alienated, and he will not be made whole until the One is (...) restored to itself. Whether the cosmos is fated to be reconciled, whether man must assist in bringing this about—on these matters opinions differ; but there is agreement across many traditions that man is estranged from his true being and must await a time when his wholeness will be restored. (shrink)

FROM ITS INCEPTION PRAGMATISM HAS DISPLAYED an ambivalent relation to Hegelianism. John Dewey conceived his experimentalism as a more modest alternative to Hegel's system of absolute idealism, which he deemed "too grand for present tastes." At the same time, pragmatists from James and Dewey to Quine and Rorty have all assimilated important Hegelian motifs. These include most importantly a deep suspicion of modern representationalist epistemology, in both its rationalist and empiricist versions; a conception of intelligence as a form of practice, (...) best conceived in terms of making, doing, and acting; and a commitment to a nonreductionist, holistic appreciation of our beliefs about the world. To this list Rorty adds an appreciation of Hegel's conception of the philosophical enterprise as Nachdenken, as a kind of edifying recollective summary. (shrink)