Castration is analyzed as a recurring theme in French medieval literature and as an imaginary motif, according to the Lacanian perspective, and analyzed literally in the following texts: the "Lais" by Marie de France, according to a naturalistic perspective (Guigemar, Bisclavret, Chaitivel); "Perceval ou li conte du Graal" by Chrétien de Troyes (the episode of the fisher King: reverse specular of Perceval), several pièce by Raimbaut d'Aurenga: troubadour in whose work the theme of castration is widespread, both in his (...) poetry and in his conception of love; Pietro Abelardo (and Eloisa): "Historia calamitatum" and in the Epistolario: the stitlization of a real datum. (shrink)

I argue for a perfectionist reading of Mill’s account of the good life, by using the failures of development recorded in his Autobiography as a way to understand his official account of happiness in Utilitarianism. This work offers both a new perspective on Mill’s thought, and a distinctive account of the role of aesthetic and emotional capacities in the most choiceworthy human life. I consider the philosophical purposes of autobiography, Mill’s disagreements with Bentham, and the nature of competent judges and (...) the pleasure they take in higher culture. I conclude that Millian perfectionism is an attractive and underappreciated option for contemporary value theory. (shrink)

My intention in this paper is to respond to Jean-Luc Nancy’s claim that poetry, along with philosophy, is essentially incapable of what Nancy describes as "thinking love." To do so, I will first try to come to an understanding of Nancy’s thinking regarding love and then of poetry as presented in his essay "Shattered Love." Having thus prepared the way, I will then respond, via Pablo Neruda’s poem "Oda al Limón," to Nancy’s understanding of poetry vis-à-vis "Shattered (...) Love." This response, in acting out Nancy’s thinking regarding love, will suggest a greater plurality within poetry than Nancy acknowledged. (shrink)

The articles presents my journey with "Live Poetry" a participatory poetry methods created by Luis Enrique Amaya in Perù. This journey is marked by three encounters I had, that convinced me of the depth of the beauty and healing this journey can bring. The first occurs in Cali, Colombia, in a vast set of working-class neighbourhoods called Distrito de Agua Blanca. This area is dominated by drug trafficking and invisible borders between rival gangs. Teenagers experience a daily life of violence (...) and neglect. In this neighbourhood, I meet Luis Enrique Amaya, poet and social activist from Lima, Peru. Today, Luis will lead a poetry workshop with teenagers in the neighbourhood. It is based on a community poetry method he created years before with his collaborators. The workshop today will have two phases. In the first phase, the poet interviews a passer-by, a member of the community, and asks them to talk about someone important to her or him (a family member, a friend, a lover). In the second phase, the poet asks the interviewee to wait for few minutes. Then the poet sits alone for about ten minutes and composes a poem dedicated to the person chosen by the interviewee. When he has finished, the poet gives the poem to the interviewee as a gift saying: “After listening to you, I composed this poem and I give it to you as a gift. But beware: it is not for you. It is to invite you give it as a gift to the person you told me about”. (shrink)

In the tenth book of the Republic, Plato famously writes: "There is an ancient quarrel between poetry and philosophy." In this essay I reflect upon this "quarrel" through an analysis of a passage from Dante's Inferno. I conclude by suggesting that, when employed well, poetry and philosophy complement each other in helping us reflect upon the deep issues of life. (This paper was originally presented at the 19th Annual Conference of Association for Core Texts and Courses) .

Can poetry be Diasporic? Can poetry free itself from the shackles of conformism? Can it be independent and divergent, and not seek a home? Is it capable of mustering its inner strengths and living without being enlisted by a collective that accords it power? This article argues that poetry is essentially dialectic. It has little vitality without the presence of the Other, without interaction with him. However, it also contains independent, personal elements and reaches its peak through the individual’s anti-conformist (...) activity and expression. Poetry, like language, enables us to view ourselves from outside, thereby fulfilling an important role, similar to language itself, and it is created by the individual’s alienation even from himself. Poetry may provide one of the most creative potential tools of Diasporic philosophy, love and creativity being its cornerstones, but it can also be a destructive factor seeking to imprison the creative soul within a home with the solid walls of a rigid community. (shrink)

This dissertation addresses the ontological significance of poetry in the thought of Martin Heidegger. It gives an account of both his earlier and later thinking. The central argument of the dissertation is that poetry, as conceptualised by Heidegger, is beneficial and necessary for the living of an authentic life. The poetry of T. S Eliot features as a sustaining voice throughout the dissertation to validate Heidegger's ideas and also to demonstrate some interesting similarities in their ideas. Chapter one demonstrates how (...) effectively certain concepts from Heidegger's 'Being and Time' can be applied in an analysis of T.S. Eliots celebrated poem 'The Love Song of J. Alfred Prufrock'. The reading involves concepts such as angst, authenticity, inauthenticity, the they and idle talk as they appear in 'Being and Time' and then relates these to aspects of T.S Eliot's poem. Chapter two is an exegesis of Heideggers essay 'The Origin of the Work of Art' in order to understand the meaning of poetry as he describes it. The essay centres on the interpretation of a painting by Vincent van Gogh, and what the experience of the painting reveals to someone authentically engaging with the artwork. Heidegger attempts to establish what the essence of a thing is (the artwork as thing), for the 'origin' of the artwork resides in its 'thingliness'. He creates an important distinction between equipment and the artwork, as well as earth and the world in order to justify the unique, originary position that the artwork occupies. This leads Heidegger to create a new understanding of poetry (which is expanded to encompass all art forms) and to emphasise the importance of the human agent in both the creation and preservation of the artwork. Chapter three is an exploration of language in both the Heidegger of 'Being and Time' and the later Heidegger's thought. The aim is to explore the ontological effect that Heidegger's conception of language has for our existence. He places language within a primordial role arguing that it is not us who speak language, but language that speaks us. This conception has important consequences for our relationship with Being, and the way in which we understand our existence. The final chapter unifies the various themes of the dissertation into a cohesive argument. The chapter begins with a discussion on the meaning of our existence following the later Heidegger. This is nothing less than the guardianship of Being which can only be understood in its relation to our dwelling within the fourfold. In conclusion it is through the measure of the language of poetry that we can realise the possibility of authentic dwelling. (shrink)

Despite its superficial similarities with Rousseau's _Confessions_, Constant's _Adolphe_ functions in fact as a devastating critique from within of the entire autobiographical project. Proceeding from the threefold assumption that the soul is irremediably divided, self-opaque, and untranslatable into language, it interrogates the very feasibility of autobiography, implicitly presenting its protagonist's maxims (which only appear to be the fruits of experience altruistically shared) and his claim never to have loved (which only appears to be brutally honest, but is a curious act (...) of self-slander) as desperate attempts to produce the illusion of unity. Behind everything stands the spectre of the French Revolution, its excess of liberty engendering relentless, paralyzing doubt – a thoroughly modern species of self-division from which it is difficult, if not impossible, to recover. (shrink)

Evânia Reich presents the argument that the veil laws in France—the banning of the full-face coverings in public and the banning of the headscarf in public schools—are consistent with the emancipatory project of French Laïcité. According to this argument, the veils that Muslim women wear are symbols of their oppression, whereas French education seeks to liberate each individual and Laïcité serves as a bulwark against the creeping oppressive influence of religion. Unveiling Muslim women, then, is an act of (...) emancipation. In this essay, I argue that the view of French secularism as an emancipatory project to free women of the oppressive mechanism of the veil is an example of what Marilyn Frye calls the “arrogant eye.” In this essay, I offer an alternative approach on the veil following Frye’s notion of the “loving eye.”. (shrink)

Simone Weil (1909-1943) is a French philosopher who is also a prominent figure in the tradition of Christian mysticism. In her early philosophical writings and lectures, she describes her understanding of the aim of philosophy as “the Search for the Good”. Very much influenced by Plato, Descartes and Kant, Weil states that God as the absolute Good is beyond known truths and can only be reached through Love. This treatment of love as a destructive power whereby the (...) Self effaces itself in order to get closer to God, echoes a somewhat mystical scheme. Weil believes that the only way to reach such knowledge and therefore God, which in her view is the sole purpose of life and should also be the purpose of philosophy. This dissertation focuses on the grounds that bring her to such conclusions as well as providing an analysis of whether Weil’s philosophical approach as an alternative to metaphysical and ethical problems in philosophy is able to stand firm on its own. (shrink)

Aristotle’s Poetics defends the value of tragic poetry, presumably to counter Plato’s critique in the Republic. Can this defense resonate with something larger and rather surprising, that Aristotle’s overall philosophy displays a tragic character? I define the tragic as pertaining to indigenous and inescapable limits on life, knowledge, control, achievement, and agency. I explore how such limits figure in Aristotle’s physics, metaphysics, and biological works. Accordingly I want to disturb the common account of Aristotle’s thought as a neat system of (...) ontological order and metaphysical closure—not to exclude such elements but to place them within a world-view that includes certain limits at the edges of being. (shrink)

Asaf Halet Çelebi, who is a poet interested in Eastern religions. This is due to reach the family atmosphere, the love to know different languages and mysticism. What makes him different aspects of Turkish literature, the history of religions is the masterful use of motifs in his poems. Religions, mythology, mysticism and music information about the poet, his poetry reflects this versatility. Sound in poetry, harmony, knowledge, symbols, and images of compliance on this issue reveals the talent of the (...) poet. He uses motifs in poetry from Ancient Egypt, Buddhism, Judaism, Christianity and Islam traditions. This is particularly highlighted in poems motifs identified with religious traditions. In this context, the Tafnit, Bodhisattva, Sidharta, Mâra, Torah, Abraham, Solomon, the Church of Christ, the Trinity concepts are the motives of the history of religions of the poet's poems aesthetic and depth to you to use. Çelebi focuses more on Buddhism. For this reason, he wrote a work called According to Pali texts Budha Gotama. Here he focuses on the Buddha's life story and some Buddhist texts. This study entrated on the religious motifs of a poet who is a historian of religions. In this context, priority has been given to the poetry found associated with religious motifs. In this article, it is tried to explain what these motifs in his poems mean in terms of the history of religions. -/- . (shrink)

This chapter analyzes traditional archetypes of divan literature—‘āşık (lover), ma‘şūk (beloved), and rakīb (opponent)—to show the presence of a dialectical discourse in classical Ottoman divan love poems. In both style and content divan poems display a comprehensive understanding of the postclassical Islamic philosophical conception of dialectic and argumentation theory, known as ādāb al-baḥth wa al-munāẓara. The focus on Ottoman love poetry and argumentation theory in this paper aims to demonstrate how the love poetry that developed in Ottoman (...) culture is more dialectical in form and content than Ottoman literary studies have recognized. (shrink)

The topic of disinterested love became fashionable in 1697 due to the famous amour pur dispute between Fénelon (1651-1715) and Bossuet (1627-1704). It soon attracted the attention of Electress Sophie of Hanover (1630-1714) and she asked for an opinion about the dispute from her trusted friend and correspondent, the Hanoverian councilor Gottfried Wilhelm Leibniz (1646-1716). This gave Leibniz an opportunity to present his views on the matter, which he had developed earlier in his career (for example, in Elementa juris (...) naturalis of 1671 and Codex iuris gentium of 1693). In his 1697 letter to Sophie he did not explicitly take sides in the dispute, but formulated his own views on the topic in a theological manner, aiming to provide an account of disinterested love which would surpass the doctrines of both French theologians. In addition to presenting Leibniz’ early views on disinterested love and examining this alternative formulation of his views on love, I will show that after the letter Leibniz gave this alternative perspective up and returned to his earlier, more philosophical views on the topic, which suggests that he regarded them to be superior to the theological version, where the virtue of charity was related to the virtue of hope. (shrink)

Many strategies for incorporating poetry into non-poetry classes, especially outside of English and associated disciplines, appear to make poetry subservient and secondary in relation to the prose content of the course. The poet under consideration becomes a kind of involuntary servant to one or more prose authors, forced to “speak only when spoken to,” and effectively prevented from challenging the ideas of the course’s prose writers, and thereby the instructor. Fortunately, this is not the only strategy for incorporating poetry into (...) prose-dominated courses. In this chapter, I will suggest an alternate approach which recognizes and facilitates the agency of poets and poetry per se, which I term “empowering poetic defiance.” In brief, this approach consists of the following four steps: (1) challenge one’s own poetic self-loathing (2) position the course’s poetry’s content to challenge the course’s non-poetic contents (3) position the course’s poetry’s forms to challenge your class’s non-poetic forms (4) comport oneself as interlocutor toward the poets featured in the course as the intellectual equals of oneself and the course’s prose writers. My first section will elaborate on these four steps, and my second section will flesh out the method further with a new reading of one of the most powerfully defiant poets in the Western canon, the nineteenth-century French Symbolist poet Charles Baudelaire, in dialogue with one of the most formidable challengers to the power of poetry, the eighteenth-century Prussian philosopher Immanuel Kant. (shrink)

This dissertation in classics might be of interest for gender studies as well since it is a sustained demonstration how one social and literary sterotype (the elegiac lover -- der elegisch Liebende) is systematically transformed into another (the artist of love -- der Liebeskünstler) as part of generic transformation (turning Latin love elegy into didactic poetry). The counterpart of these stereotypes is the "harsh lady" (dura domina), who is domesticated in the third book of the Ars amatoria. The (...) copyright for the book belongs to the author, who has uploaded it to the site. Please feel free to use it for non-profit purposes. (shrink)

Poetry is a literary work of two different worlds, the ideal world and the factual world. This research describes the ideal world and the factual world, gap/opposition or equivalent. The method is descriptive qualitative. The research results showed an equivalent and opposition in the poetry of Surat Cinta (love letter) by WS Rendra. The equivalent is seen in the aspects of romance leading to: (1) passion, (2) love, (3) remembered and thought in the heart, (4) restless, (5) worried, (...) and (6) sad. Whereas, the opposition is seen in the aspect of expression in the form of: (1) thoughts with feelings, (2) men with women, (3) love with grief, and (4) sweetly with bitterly. The equivalent and opposition in the poetry of Surat Cinta by WS Rendra as a whole build the integrity of meaning in poetry. (shrink)

In his 1968 poetry collection „Fadensonnen“, Paul Celan offers a hermetic blend of existentialism and mysticism, which is unusual in two respects. Firstly, the European philosophy of existence, especially with its proponents Jean-Paul Sartre, Albert Camus and Martin Heidegger, had gone to great lengths to criticize and delegitimize the Abrahametic religions, for the concept of god seemed to be an obstacle to humanity in pursuit of its own humanization. Secondly, in the aftermath of the holocaust, the idea of man wanting (...) to merge with a god that had not prevented this cruelty from happening had lost much of its plausibility. Despite these two objections, Celan's poems address the struggle of togetherness in a world that negates the mere possibility of otherness, trying to salvage the unique identity and dignity of the other. With this in mind, the modus operandi of his poems is that of a butcher: Whatever has previously been alive – before the Shoah – now has to be stripped bare of its layers of individual and collective history, has to become less than body and flesh. In this way, the poems' inherent pain and misery transform the reader into a nobody, for only a nobody has got the prerequisites to encounter other people unbiasedly in their unique wholeness. Within this space of encounter, only the reminiscence of body and sexuality exists, commemorating the other, so that radical corporeality seems to be the prerequisite for togetherness. In this ahistorical sphere there is no room for a god that permitted the holocaust, redefining mysticism as the connection between men instead of one between man and god. Celan's poems act as a catalyst, for they exclude god from the spheres of man, making poetry a memorial site to the dead and the ones living in pain. This way, the poems are trying to save Eros (in the sense of creaturely love) from being mutilated by the crimes of European history while at the same time aiming at rehabilitating mankind in a post-holocaust world. (shrink)

This collection of poetry named The Book of Lips, which is in Persian and some in Arabic, is a small subset of the complete set of my quatrain poems and it includes poetry about the lips and kiss of the loved one. In the future, I will publish my complete set of quatrain poems in a separate book or within my collection of all poems. One can have two different perspectives toward this collection. The first perspective is the mystical point (...) of view which considers the loved one, the lips, and the kiss as God, metaphor for His grace, and moving toward Him, respectively. The second point of view is a romantic one in which the loved one, the lips, and the kiss are a beautiful girl, her lips, and kissing her, respectively. Furthermore, one can read this collection of poetry having both perspectives in mind. (shrink)

Sikhism is the world's fifth-largest religion. It was founded during the late 15th century in the Punjab region of the Indian subcontinent. Its adherents are known as Sikhs. Currently, there are about 30 million Sikhs worldwide. Most of them live in the Indian state of Punjab. As per Sikh tradition, Sikhism was established by Guru Nanak (1469–1539) and subsequently led by a succession of nine other Gurus. Before his death, the tenth Sikh Guru, Guru Gobind Singh (1666–1708), bestowed the status (...) of Guru to the sacred scripture of Sikhs, Adi Granth, which is presently known as Sri Guru Granth Sahib (SGGS) [1]. The Adi Granth was first compiled by Guru Arjan Dev, the fifth Sikh Guru, in 1604. Its second and final version has been the handiwork of Guru Gobind Singh, who added the hymns of his father, Guru Teg Bahadur, the ninth Sikh Guru [2], at Damdama Sahib, Talwandi Sabo, Punjab, in 1705. The holy Sikh scripture, SGGS, contains 1430 pages of text in poetry form. In addition to the hymns of the six Sikh Gurus and four Sikhs, it includes hymns composed by fifteen saints (Bhagats) and eleven poet laureates (Bhats) of the Guru's court. Muslims and Hindus, Brahmins, and "untouchables" all come together in one congregation to create a universal scripture. It is a compendium of mystic, metaphysical and religious poetry written or recited between the 12th and 17th centuries in the Indian sub-continent [3]. Sri Guru Granth Sahib, through its comprehensive worldview, offers a perfect set of values and an applicable code of conduct. Its cardinal message addresses the welfare of all humans irrespective of their caste, colour, creed, culture, and religion. SGGS emphasizes love, respect, empathy, and acceptance of others' existence. It prohibits us from infringing on the freedom and rights of others. The life and works of the Sikh Gurus exemplify the practicability of these ideas. Their inter-faith dialogues highlighted that human unity and oneness could be achieved through tolerance, communication, and respect for others [4]. Besides a matchless elaboration of spirituality, Sri Guru Granth Sahib enshrines a powerful expression of the message of revolutionary ideals of social welfare, human rights, multicultural distinctness, and religious freedom. In the present era, when the threats and fear of interfaith conflicts, military aggression, terrorism, etc., have overpowered human sentiments, the teachings of Sri Guru Granth Sahib are even more relevant to resolving all these problems. (shrink)

In the thesis a description of the other person as a phenomenon of icon in thinking of a contemporary French philosopher Jean-Luc Marion is researched. A question is raised how the icon (as Marion describes it) can be recognized in the face of the other. A notion of “iconic visibility” is accepted and employed to study how phenomenal “structure” of the first icon – Christ – repeats itself in the face of the other. Main features allowing to interpret the (...) face as the icon from the phenomenological and not theological point of view are displayed. “Subject” capable of recognizing the icon is researched in detail. It is argumented why the gifted should not be considered to be a passive object-like givee and why the other is not the only active subject-like pole of the phenomenon. Features of Marion’s conception of the icon which determine the initial lack of evidence of the phenomenon are disclosed. It is shown that the difficulty of recognition of the icon is inherent to the description of the phenomenon. The role of the phenomenon of love for the appearing of the icon is highlighted and Marion’s conception of love is discussed. A possibility to demonstrate the icon as a final and inevitable interpretation of the face of the other was not found. It is reasoned that the possibility of such demonstration is prohibited in the very definition of the phenomenon. In spite of that it was shown how such a phenomenon may appear, therefore, lack of proof does not deny the possibility of appearing. (shrink)

Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample (...) evidence that the vast majority of cultures throughout history, have not regarded their painting, sculpture, poetry, and music as ‘art’. -/- Today, of course, we willingly regard many works from non-European and early cultures as art and welcome them into art museums, but this is a recent development, barely more than a century old. This paper examines certain major issues arising from this situation, including: when and why the idea of art arose; the radical change in the word’s meaning that occurred after Manet; how this change led to the inclusion of many non-European and ancient works in our modern world of art; and the inadequate responses to these developments by modern philosophers of art and art historians. (shrink)

This book tells the story of modern ethics, namely the story of a discourse that, after the Renaissance, went through a methodological revolution giving birth to Grotius’s and Pufendorf’s new science of natural law, leaving room for two centuries of explorations of the possible developments and implications of this new paradigm, up to the crisis of the Eighties of the eighteenth century, a crisis that carried a kind of mitosis, the act of birth of both basic paradigms of the two (...) following centuries: Kantian ethics and utilitarianism. The new science of natural law carried a fresh start for ethics, resulting from a mixture of the Old and the New. It was, as suggested by Schneewind, an attempt at rescuing the content of Scholastic and Stoic doctrines on a new methodological basis. The former was the claim of existence of objective and universal moral laws; the latter was the self-aware attempt at justifying a minimal kernel of such laws facing skeptical doubt. What Bentham and Kant did was precisely carrying this strategy further on, even if restructuring it each of them around one out of two alternative basic claims. The nineteenth- and twentieth-century critics of the Enlightenment attacked both not on their alleged failure in carrying out their own projects, but precisely on having adopted Grotius’s and Pufendorf’s project. What counter-enlightenment has been unable to spell out is which alternative project could be carried out facing the modern condition of pluralism, while on the contrary, if we takes a closer look at developments in twentieth-century ethics or at on-going discussions on practical issues, we might feel inclined to believe that Grotius’s and Pufendorf’s project is as up-to-date as ever. -/- Table of Contents -/- Preface I. Fathers of the Reformation and Schoolmen 1.1. Luther: passive justice and the good deeds; 1.2. Calvin: voluntarism and predestination; 1.3. Baroque Scholasticism; 1.4. Casuistry and Institutiones morales -/- II Neo-Platonists, neo-Stoics, neo-Sceptics 2.1. Aristotelian, neo-Platonic, neo-Epicurean and neo-Cynic Humanists; 2.2. Oeconomica and the art of living; 2.3. Neo-Stoics; 2.4. Neo-Sceptics; 2.5. Moralistic literature -/- III Neo-Augustinians 3.l. The Jansenists on natura lapsa, sufficient grace, pure love; 3.2. Nicole on the impossibility of self-knowledge; 3.3. Nicole on self-love and charity; 3.4. Nicole against civic virtue, for Christian civility; 3.5. Malebranche on general laws and necessary evil; 3.6. Malebranche on Neo-Augustinianism and Platonism. -/- IV Grotius, Pufendorf and the new moral science 4.1. Grotius against Aristotle and the sceptics; 4.2. Mersenne and Gassendi; 4.3. Descartes on ethics as the last branch of philosophy’s tree; 4.4. Hobbes on scepticism and the new moral science; 4.5. Spinoza on the new moral science as a descriptive science;4.6. Locke on voluntarism and probabilism; 4.7. Pufendorf on natural law as an exact science; 4.8. Pufendorf on physical and moral entities; 10. Pufendorf on self-preservation -/- V The empiricist version of the new moral science: from Cumberland to Paley 5.1. Cumberland against Hobbesian voluntarism; 5.2. Cumberland and theological consequentialism; 5.3. Cumberland on universal benevolence and self-love; 5.4. Shaftesbury on the moral sense; 5.5. Hutcheson on natural law and moral faculties; 5.6. Gay, Brown, Paley and theological consequentialism. -/- VI The rationalist version of the new moral science: from Cudworth to Price 6.1. The Cambridge Platonists; 6.2. Shaftesbury on the moral sense; 6.3. Butler and a third way between voluntarism and scepticism; 6.4. Price and the rational character of moral truths; -/- VII Leibniz’s compromise between the new moral science and Aristotelianism 1.Leibniz against voluntarism; 2.Leibniz against the division between the physical and the moral good; 3.Leibniz on la place d’autrui and theological consequentialism; 4.Thomasius, Wolff, Crusius -/- VIII French eighteenth-century philosophers without the new moral science 8.1. The genealogy of our ideas of virtue and vice; 8.2. Maupertuis and moral arithmetic 8.3. The philosophes and the harmony of interests; 8.4. Rousseau on corruption, self-love, and virtue; 8.5. Sade on the merits of vice -/- IX Experimental moral science: Hume and Adam Smith 9.1. Mandeville’s paradox; 9.2. Hutcheson on the law of nature and moral faculties; 9.3. Hume on experimental moral philosophy and the intermediate principles; 9.4. Hume’s Law; 9.5. Hume on the fellow-feeling; 9.6. Hume on natural and artificial virtues and disinterested pleasure for utility; 9.7. Adam Smith’s anti-realist metaethics; 9.8. Adam Smith on self-deception and the paradox of happiness; 9.9. Adam Smith on sympathy and the impartial spectator; 9.10. Adam Smith on the twofold criterion for moral judgement and its paradox; 9.11. Reid on the refutation of scepticism and the self-evidence of duty -/- X Kantian ethics 10.1. Kantian metaethics: moral epistemology; 10.2. Kantian metaethics: moral ontology; 10.3. Kantian metaethics: moral psychology; 10.4. Kantian normative ethics; 10.5. Kant on the impracticability of applied ethics; 10.6. Kantian moral anthropology; 10.7. Civilisation and moralisation; 10.8. Theology on a moral basis and the origins of evil; 10.9. Fichte and the transformation of theoretical philosophy into practical philosophy XI Bentham and utilitarianism 11.1. Bentham’s linguistic theory; 11.2. Bentham’s moral ontology, psychology, and theory of action; 11.3. The principle of greatest happiness; 11.4. The critique of religious ethics; 11.5. The new morality; 11.6. Interest and duty; 11.7. Virtues; 11.8. Private ethics and legislation -/- XII Followers of the Enlightenment: liberal Judaism and Liberal Theology 12.1. Mendelssohn; 12.2. Salomon Maimon; 12.3. Haskalā and liberal Judaism; 12.4. Liberal Theology. -/- XIII Counter-Enlighteners 13.1.Romanticism and the fulfilment of individuality as the Summum Bonum; 13.2. Hegel on history as the making of liberty; 13.3. Hegel on the unhappy consciousness and the beautiful soul; 13.4. Hegel on Morality and Sittlichkeit; 13.5. Marx on ideology, alienation, and praxis; 13.6. Schopenhauer on compassion; 13.7. Kierkegaard on faith beyond ethics. -/- XIV Followers of the Enlightenment: intuitionists and utilitarian 14.1 Whewell‘s criticism of utilitarianism; 14.2 Whewell on morality and the philosophy of morality; 14.3 Whewell on the Supreme Norm; 14.4 Whewell on the conflict between duties; 14.5 Mill and the proof of the principle of utility; 14.6 Mill’s eudemonistic utilitarianism; 14.7 Mill on rules -/- XV Followers of the Enlightenment: neo-Kantians and positivists 15.1. French spiritualism; 15.2. Neo-Kantians: the Marburg school; 15.3. Neo-Kantians: the Marburg school; 15.4. Comte’s positivism and the invention of altruism; 15.5. Social Darwinism; 15.6. Wundt and an ethic of humankind -/- XVI Post-enlighteners: Sidgwick 16.1. Criticism of intuitionism; 16.2. On ethical egoism; 16.3. Criticism of utilitarianism -/- XVII Post-enlighteners: Durkheim 17.1. Sociology as physics of customs; 17.2. Morality as physics of customs and as practical science; 17.3. On Kantian ethics and utilitarianism; 17.4. The variability of moralities;17.5. Social solidarity as end and justification of morality; 17.6. Secular morality as “sociodicy”; XVIII Post-enlighteners: Nietzsche 18.1. On the Dionysian; 18.2. On the deconstruction of the world of values 18.3 On the twofold genealogy of moralities; 18.4. On ascetics and nihilism; 18.5. Normative ethics of self-fulfilment -/- Bibliography / Index of names / Index of concepts -/- . (shrink)

Albert Camus, a French-Algerian writer and philosopher, is renowned for his unique contribution to the philosophical realm, particularly through his exploration of the Absurd. His philosophy is often associated with existentialism, despite his own rejection of the label. Camus’ works delve into the human condition and the search for meaning in a seemingly indifferent universe. The Absurd and the Search for Meaning At the heart of Camus’ philosophy is the concept of the Absurd, which arises from the conflict between (...) the human desire for significance, order, and clarity on one hand, and the silent, irrational, and indifferent world on the other1. This tension is a fundamental aspect of the human experience, as individuals continually seek purpose in life despite the universe’s lack of inherent meaning. Revolt as a Response to the Absurd Camus argues that the appropriate response to the Absurd is not suicide or despair, but rather revolt. This revolt is a persistent and courageous confrontation with the Absurd, and it involves a refusal to succumb to nihilism, a rejection of false hopes, and the continuous quest for meaning1. It is through this act of revolt that individuals affirm their own existence and derive a sense of personal freedom and identity. Camus’ Literary Expression of Philosophy Camus’ philosophical ideas are intricately woven into his literary works. Novels such as “The Stranger” (L’Étranger), “The Plague” (La Peste), and “The Fall” (La Chute) not only tell compelling stories but also serve as vehicles for his philosophical thought. In “The Myth of Sisyphus,” Camus uses the Greek mythological figure Sisyphus, condemned to eternally roll a boulder up a hill only for it to roll back down, as a metaphor for the human condition. Sisyphus, aware of his futile task, chooses to embrace his labor, thus embodying the spirit of revolt and finding happiness in the struggle itself. -/- . (shrink)

In the Symposium, Plato has Socrates claim that the priestess Diotima once claimed that Eros is a lover of wisdom or someone who is “in between wisdom and ignorance. In fact, you see, none of the gods loves wisdom or wants to become wise—for they are wise—and no one else who is wise loves wisdom.” Perhaps the best starting point for understanding the philosophy of Aristotle is that in principle, he rejects Diotima’s etymological wordplay that claims that philosophy implies an (...) absence of wisdom. At the heart of Aristotle’s philosophy is the claim not only that all humans desire to know, but also that human animals (and indeed some non-human animals) are capable of understanding the world and its contents in a broad array of epistemic capacities, including veridical perception, artisanal expertise, theoretical science, practical wisdom, and, indeed, even σοφία itself of the highest objects of cognition, namely the nature of the gods (Metaph. 1.1.980a22–981b7). My chapter explores the philosophy of Aristotle in five different parts. Part I examines the “organon” or linguistic and logical tool-kit that analyzes human reasoning from the most basic components of a proposition up through syllogistic presentation of the causes that explain what research has uncovered. Parts II and III of the chapter explore the main contours of Aristotle’s “theoretical sciences”—what today we call natural science, metaphysics, and theology. Part IV of the chapter examines what the Nicomachean Ethics calls “the philosophy of human things,” namely the study of ethics and politics. Finally, Part V looks at how Aristotle and his school systemized two different fields of human study, namely that of artistic mimesis or the art of poetry, and deliberative, judicial, and epidictic oratory or the art of rhetoric. (shrink)

The philosophical “problem of evil” goes back at least as far as Epicurus and has remained a powerful argument against the existence of God in contemporary philosophy. The argument is rooted in apparent contradictions between God’s divine attributes and various conditions of human existence. But these contradictions arise only given certain assumptions of what we should expect both God and the world to be like given God’s existence. In this paper, I argue that we can utilize the work of the (...) 20th century French philosopher Simone Weil to craft a coherent metaphysical picture of God, creation, and suffering which rejects these common assumptions. Further, I contend that this picture very plausibly follows from commonly-accepted tenets of traditional monotheism. Given this, I argue that this Weil-inspired framework provides serious reasons for reframing the problem of evil and its corresponding theodicies by presenting a radically different view of how God must relate to creation. Yet, this picture does not necessarily vindicate the theist. I argue that this picture may leave us with a new question about creation in the face of evil. Namely, is it possible to understand God’s initial creative act as Weil describes it—as an act of love? (shrink)

This thesis explores, thematically and chronologically, the substantial concordance between the work of Martin Heidegger and T.S. Eliot. The introduction traces Eliot's ideas of the 'objective correlative' and 'situatedness' to a familiarity with German Idealism. Heidegger shared this familiarity, suggesting a reason for the similarity of their thought. Chapter one explores the 'authenticity' developed in Being and Time, as well as associated themes like temporality, the 'they' (Das Man), inauthenticity, idle talk and angst, and applies them to interpreting Eliot's poem, (...) 'The Love Song of J. Alfred Prufrock'. Both texts depict a bleak Modernist view of the early twentieth-century Western human condition, characterized as a dispiriting nihilism and homelessness. Chapter two traces the chronological development of Ereignis in Heidegger's thinking, showing the term's two discernible but related meanings: first our nature as the 'site of the open' where Being can manifest, and second individual 'Events' of 'appropriation and revelation'. The world is always happening as 'event', but only through our appropriation by the Ereignis event can we become aware of this. Heidegger finds poetry, the essential example of language as the 'house of Being', to be the purest manifestation of Ereignis, taking as his examples Hölderlin and Rilke. A detailed analysis of Eliot's late work Four Quartets reveals how Ereignis, both as an ineluctable and an epiphanic condition of human existence, is central to his poetry, confirming, in Heidegger's words, 'what poets are for in a destitute time', namely to re-found and restore the wonder of the world and existence itself. This restoration results from what Eliot calls 'raid[s] on the inarticulate', the poet's continual striving to enact that openness to Being through which human language and the human world continually come to be. The final chapter shows how both Eliot and Heidegger value a genuine relationship with place as enabling human flourishing. Both distrust technological materialism, which destroys our sense of the world as dwelling place, and both are essentially committed to a genuinely authentic life, not the angstful authenticity of Being and Time, but a richer belonging which affirms our relationship with the earth, each other and our gods. (shrink)

Creating and caring for a garden is a long-term project whose success requires commitment and devotion and love and proper performance of a range of activities that involve virtues and sensibilities like attentiveness, carefulness, humility, imaginativeness, and sensitivity to the natures and needs of plants and animals. In this chapter, I elaborate this conception of gardens and explore its relationship to artistic activities, like composing poetry or performing music. My focus are Confucianism and Daosim and their accounts of the (...) relationships between cultured practices, ethics and the arts, and garden-practices. (shrink)

[español] En primer lugar, el texto ofrece un acercamiento al papel que amor y nostalgia cumplen en la poesía de Emilio Prados, así como a su íntimo nexo con la muerte como aniquilación mística. Como herramienta interpetativa, recurriré a la razón poética de María Zambrano, autora profundamente emparentada, vital y teóricamente, con la poesía pradiana. Este enfoque permitirá una visión de conjunto sobre la obra del poeta español y en segundo lugar, trazar una comparativa con el saudosismo de Teixeira de (...) Pascoaes. Así, indicaré las numerosas coincidencias que existen entre ambos y me detendré en la cuestión de la muerte mística, ámbito más problemático, donde sin embargo, puede apreciarse una comunión de espíritu entre el español y el portugués. ****************** [english] Firstly, the text offers an approach to the function of love and nostalgia in the poetry of Emilio Prados, as much as its intimate connection with death as mystical annihilation. As interpretive tool, I will use the poetic reason of María Zambrano, an author deeply linked, vital and theoretically, with pradian poetry. This focus will provide an overall view of Prado's work and the possibility of a comparison with Teixeira de Pascoaes's saudosism. Thus, I will point same coincidences between them and I will consider the question of mystical death. This sphere, although it is problematic, can show some kind of community of spirit between both. (shrink)

I hold profound respect for all individuals, regardless of gender, race, sexual orientation, or any other characteristic, advocating strongly for equality and equity worldwide. Throughout my career as a scientist, I have demonstrated this respect, including for female students and colleagues, supporting them with recommendations and accolades. I have always cherished diversity in my academic and professional circles and I hugely value the contributions of women like Marie Curie and Maryam Mirzakhani, as well as authors such as Agatha Christie and (...) J.K. Rowling. In my personal life, I express my love and admiration for my girlfriend through poetry and gestures, while also honoring my parents, especially my mother, who instilled in me a deep respect for all individuals. Raised in a family that values and respects women, I have been positively impacted by my mother, a retired teacher, and my father, a novelist who often portrays the life of Turkmen women in his works. Overall, my commitment to respecting and valuing all individuals, regardless of their background or identity, remains unwavering. (shrink)

My contention is to adumbrate three general premises leading to religious tolerance. The first is that emphasis should be laid much more on ethics than on metaphysics. Religions greatly differ in supernatural beliefs but all advocate justice, love, truthfulness, self-control and other virtues. Second, the beliefs about God are not true in their exact meaning, but rather as remote analogies to scientific truth. Religion is more resemblant of poetry than science. Third, real tolerance consists in the readiness to assimilate (...) some of the values of other religions, since no one has expressed the transcendent in an exhausting and perfect way. Key Words: tolerance, ethics, objective knowledge, world religions, openness for the Other. (shrink)

This book begins with the question 'Who am I?' and immediately sets off in an astonishingly original direction. Why didn't anyone before Harding think of responding to this question like this? It's so obvious, once you see it. Harding presents a new vision of our place in the universe that uses the scientific method of looking to see what is true. It turns out that the truth about ourselves is not only true but also very good, and breathtakingly beautiful. We (...) live in a sacred, many-layered, living universe - or rather it lives in us. Though it was completed in 1950, this book is still ahead of its time. One day it will surely be widely recognised for its greatness: its all-encompassing vision, its originality and freshness, its depth of insight, its wide-ranging knowledge, the clarity and poetry of its language, its humanity. It is a world-view not dependent on local culture or religion, but on universally verifiable facts. It is also a world-view that respects our manifest differences whilst celebrating our underlying unity - the unity not just of oneself with other people but with all of life, indeed with the whole universe. Harding died in 2007 aged 97, leaving behind him an impressive body of work. He was a highly creative person who was passionate about - he was in love with - this living universe and the immortal treasure that abides at its centre - at our centre. "A work of the highest genius." C. S. Lewis. (shrink)

Luce Irigaray's work does not present an obvious resource for projects seeking to reclaim women in the history of philosophy. Indeed, many authors introduce their reclamation project with an argument against conceptions, attributed to Irigaray or “French feminists” more generally, that the feminine is the excluded other of discourse. These authors claim that if the feminine is the excluded other of discourse, then we must conclude that even if women have written philosophy they have not given voice to feminine (...) subjectivity; therefore, reclamation is a futile project. In this essay, I argue against such conclusions. Rather, I argue, Irigaray's work requires that philosophy be transformed through the reclamation of women's writing. She gives us a method of reclamation for the most difficult cases: those in which we have no record of women's writing. Irigaray offers this method through an engagement with the character of Diotima in Plato's Symposium. The method Irigaray demonstrates is reclamation as love. (shrink)

Zen and Japanese Culture is one of the twentieth century's leading works on Zen, and a valuable source for those wishing to understand its concepts in the context of Japanese life and art. In simple, often poetic, language, Daisetz Suzuki describes his conception of Zen and its historical evolution. He connects Zen to the philosophy of the samurai, and subtly portrays the relationship between Zen and swordsmanship, haiku, tea ceremonies, and the Japanese love of nature. Suzuki's contemplative work is (...) enhanced by anecdotes, poetry, and illustrations showing silk screens, calligraphy, and examples of architecture. Since its original publication in 1938, this important work has played a major role in shaping conceptions of Zen's influence on Japanese traditional arts. Richard Jaffe's introduction acquaints a new generation of readers with Suzuki's life and career in both Japan and America. Jaffe discusses how Zen and Japanese Culture was received upon its first publication and analyzes the book in light of contemporary criticism, especially by scholars of Japanese Buddhism. (shrink)

In this edition are presented the works by Alex Listengort, written in a period of time from autumn-2008 to may 2013. Here the reader may see a circulation of different topics, of questions and answers, embodied in Poems. These Pieces of Arts do Bless and Fill Up with a Special Energy that is familiar to every living creature, and that brings peace, eternity, divine presence and Miracle of life in all its forms. Searches for a meaning of life and its (...) integrating into the life itself, eternal existencional questions, for which the author dares to give an answer in his poems. Themes of love and beguines, motherland, nature, time and something they call the God: all that finds its reflections in authors’ poems, but the main here are the questions of enlightenment, spiritual awakening of a human being, gaining happiness, abundance and awareness: of everything, that each of us insists to find on the line, of everything, that, as author says, no one had ever really lost, and what Is just temporarily hidden under a tricky veil, that is a part of a global plan, that is a special condition of this Game. Today in our hands we all keep a totally blessed possibility to get the needed truth, to open a stream that does fill up and gives us new power to go further: with a good will, conscioused goal, bright mind and an awakened soul. Many people that have known Alex’s creativity do mark a special energy of his poems, that truly gifts them peacefulness, joy, bliss, energy and a new knowledge. The Author itself sincerely looks forward for his works to complete their mission by revealing in a right way to the people beautiful secrets of all the world around and will bring happiness, peace and awakening into this world. Besides this edition are published «Okean Bozhestvennosty» - a complete book with Alex Listengorts’ poems, notes and prosaic miniatures, and also – «A New Stage of Awakening», a book, where reader finds a new way of looking on humans spiritual awakening and on the esoteric knowledge that leads to such revelations. In prospect there Is a novel “The Return”. -/- DISCOVER A NEW (WELL FORGOTTEN) WORLD: A WORLD OF YOURSELF. AN ENERGY, LIVING IN EVERYTHING. A DIVINE CHARGE, OF WHICH YOU ARE AN ETERNAL GUIDE . (shrink)

The Schlegel’s aesthetic theory, which he named the “new mythology”, was most exhaustively formulated in “Talk on Mythology”. In the beginning of the paper, the author analyses complex relations between the social movement of the French Revolution and Schlegel’s aesthetic views. The relations evolve from philosophical and historical to mythological interpretation. The wrecking and innovative attitude of the Revolution time is of Dionysian nature. The Dionysian motive should find an aesthetic realization in the metaphoric and innovative language of poetry. (...) Whatever is magical, is for Schlegel most poetic. In the final part of the article, the author shows the conflict existing between the art and its theory exemplified with selected authors. (shrink)

Sikhism is the world's fifth-largest religion. It was founded during the late 15th century in the Punjab region of the Indian subcontinent. Its adherents are known as Sikhs. Currently, there are about 30 million Sikhs worldwide. Most of them live in the Indian state of Punjab. As per Sikh tradition, Sikhism was established by Guru Nanak (1469–1539) and subsequently led by a succession of nine other Gurus. Before his death, the tenth SikhGuru, Guru Gobind Singh (1666–1708), bestowed the status of (...) Guru to the sacred scripture of Sikhs, Adi Granth, which is presently known as Sri Guru Granth Sahib (SGGS) [1]. The Adi Granth was first compiled by Guru Arjan Dev, the fifth Sikh Guru, in 1604. Its second and final version has been the handiwork of Guru Gobind Singh, who added the hymns of his father, Guru Teg Bahadur, the ninth Sikh Guru [2], at Damdama Sahib, Talwandi Sabo, Punjab, in 1705. The holy Sikh scripture, SGGS, contains 1430 pages of text in poetry form. In addition to the hymns of the six Sikh Gurus and four Sikhs, it includes hymns composed by fifteen saints (Bhagats) and eleven poet laureates (Bhats) of the Guru's court. Muslims and Hindus, Brahmins, and "untouchables" all come together in one congregation to create a universal scripture. It is a compendium of mystic, metaphysical and religious poetry written or recited between the 12th and 17th centuries in the Indian sub-continent [3]. Sri Guru Granth Sahib, through its comprehensive worldview, offers a perfect set of values and an applicable code of conduct. Its cardinal message is addressed to the welfare of all humans irrespective of their caste, color, creed, culture, gender and religion. SGGS emphasizes love, respect, empathy, and acceptance of others' existence. It prohibits us from infringing on the freedom and rights of others. The life and works of the Sikh Gurus exemplify the practicability of these ideas. Their inter-faith dialogues highlighted that human unity and oneness could be achieved through tolerance, communication, and respect for others [4]. Besides a matchless elaboration of spirituality, Sri Guru Granth Sahib enshrines a powerful expression of the message of revolutionary ideals of social welfare, human rights, multicultural distinctness, and religious freedom. In the present era, when the threats and fear of interfaith conflicts, military aggression, terrorism etc., have overpowered human sentiments, the teachings of Sri Guru Granth Sahib are even more relevant to resolving all these problems. (shrink)

Sikhism is the world's fifth-largest religion. It was founded during the late 15th century in the Punjab region of the Indian subcontinent. Its adherents are known as Sikhs. Currently, there are about 30 million Sikhs worldwide. Most of them live in the Indian state of Punjab. As per Sikh tradition, Sikhism was established by Guru Nanak (1469–1539) and subsequently led by a succession of nine other Gurus. Before his death, the tenth Sikh Guru, Guru Gobind Singh (1666–1708), bestowed the status (...) of Guru to the sacred scripture of Sikhs, Adi Granth, which is presently known as Sri Guru Granth Sahib (SGGS) [1]. The Adi Granth was first compiled by Guru Arjan Dev, the fifth Sikh Guru, in 1604. Its second and final version has been the handiwork of Guru Gobind Singh, who added the hymns of his father, Guru Teg Bahadur, the ninth Sikh Guru [2], at Damdama Sahib, Talwandi Sabo, Punjab, in 1705. The holy Sikh scripture, SGGS, contains 1430 pages of text in poetry form. In addition to the hymns of the six Sikh Gurus and four Sikhs, it includes hymns composed by fifteen saints (Bhagats) and eleven poet laureates (Bhats) of the Guru's court. Muslims and Hindus, Brahmins, and "untouchables" all come together in one congregation to create a universal scripture. It is a compendium of mystic, metaphysical and religious poetry written or recited between the 12th and 17th centuries in the Indian sub-continent [3]. Sri Guru Granth Sahib, through its comprehensive worldview, offers a perfect set of values and an applicable code of conduct. Its cardinal message addresses the welfare of all humans irrespective of their caste, colour, creed, culture, and religion. SGGS emphasizes love, respect, empathy, and acceptance of others' existence. It prohibits us from infringing on the freedom and rights of others. The life and works of the Sikh Gurus exemplify the practicability of these ideas. Their inter-faith dialogues highlighted that human unity and oneness could be achieved through tolerance, communication, and respect for others [4]. Besides a matchless elaboration of spirituality, Sri Guru Granth Sahib enshrines a powerful expression of the message of revolutionary ideals of social welfare, human rights, multicultural distinctness, and religious freedom. In the present era, when the threats and fear of interfaith conflicts, military aggression, terrorism etc., have overpowered human sentiments, the teachings of Sri Guru Granth Sahib are even more relevant to resolve all these problems. (shrink)

A deeply personal reckoning with family, mental illness, and suicide, Dana Trusso captures the meaning of Nietzsche's armor fati--to love one's fate--through her surreal imagery and longing to heal intergenerational wounds. Lines are drawn from Lars von Trier's Melancholia, Sonic Youth's Experimental Jet Set, Trash and No Star, and lines she read from her aunt's journals as a child. -/- The photo is a sculpture of an earth goddess by Jean-Philippe Richard located in the botanical gardens of Èze, France. (...) Nearby is Le Chemin de Nietzsche, a steep hike from the seaside to mountainous ruins that is said to have inspired Thus Spoke Zarathustra. (shrink)

In the thick of the global plague, Richard, Justin and Valery agreed to hold a conversation on the topic of poetics, self-understanding, and health. An analysis and discussion of this trinity requires love of poetry and philosophy. Both supreme human practices take common root in mythology and religion, and also share a notorious categorical divide, that of reason against affect. Is this Platonic divide indeed categorical, given both practices rely on language and creativity to compose their meaning? Interestingly, the (...) practice of poetics does not have the reputation for boosting one's health, in the mainstream understanding of that concept. If anything, poetic practice gained notoriety for corrupting one's mind and, possibly, life. Like philosophy? We touched on these and other classical aporia, on the political struggles in American and Australian poetry. Here is a written record of this encounter, countries and miles apart, three persons simply getting to know one another. (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural (...) objects and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

Space is one of the most fundamental concepts over which scientific knowledge has been constructed. But it is also true that space concepts extrapolate by far the scientific domain, and permeate many other branches of human knowledge. Those are fascinating aspects that could di per se justify the compilation of a long bibliography. Another one is the passion for books. My interest in some physical, historical and philosophical problems concerning the concept of space in Physics, and its properties, can be (...) traced back to the early 1980. Since that time, I have being studying, with several collaborators, the influence of space dimensionality in different physical phenomena, like the Casimir Effect, neutron diffraction, Cosmic Microwave Background Radiation and the stability of Schrödinger’s and Dirac’s hydrogen atom in arbitrary number of dimensions, as well as epistemological aspects of the works of Kant, Ehrenfest an others on this particular subject. Meanwhile, I gave lectures about the History of the Concepts of Space in Physics at the Centro Brasileiro de Pesquisas Físicas (CBPF), at the Program of History of Sciences, Technics and Epistemology of the Federal University of Rio the Janeiro (UFRJ) and also at the Physics Institute of the State University of Rio de Janeiro (UERJ). As a consequence of both this interest and my love for books, I continuously bought books on space for my personal library which contains now quite one half of all the books quoted here. In 1996, Roberto Moreira and I published the Sources for the History of Space concepts in Physics: From 1845 to 1995 in the series Notas de Física of the CBPF (NF # 084/96), which is still available online. This was a first initiative to share our bibliography on space. At that time, it contained 1075 references, including 414 books entirely devoted to space, 380 articles in periodical journals and proceedings and 281 miscellaneous citations. After fifteen years, I decided to focus my attention here to collect what in my opinion are the 601 essential books which could be useful for anyone interested on learning about space. An important restriction is imposed here by language: only texts written in English, French, German, Italian, Spanish, Portuguese and Latin were considered. References are given in chronological order covering the period between 1739 and 2010. For each year, the books are listed in alphabetical order of authors’ name. An onomastic index is included at the end of the book. -/- Francisco Caruso Rio de Janeiro, October 2011 . (shrink)

Sikhism is the world's fifth-largest religion. It was founded during the late 15th century in the Punjab region of the Indian subcontinent. Its adherents are known as Sikhs. Currently, there are about 30 million Sikhs worldwide. Most of them live in the Indian state of Punjab. As per Sikh tradition, Sikhism was established by Guru Nanak (1469–1539) and subsequently led by a succession of nine other Gurus. Before his death, the tenth Sikh Guru, Guru Gobind Singh (1666–1708), bestowed the status (...) of Guru to the sacred scripture of Sikhs, Adi Granth, which is presently known as Sri Guru Granth Sahib (SGGS) [1]. The Adi Granth was first compiled by Guru Arjan Dev, the fifth Sikh Guru, in 1604. Its second and final version has been the handiwork of Guru Gobind Singh, who added the hymns of his father, Guru Teg Bahadur, the ninth Sikh Guru [2], at Damdama Sahib, Talwandi Sabo, Punjab, in 1705. The holy Sikh scripture, SGGS, contains 1430 pages of text in poetry form. In addition to the hymns of the six Sikh Gurus and four Sikhs, it includes hymns composed by fifteen saints (Bhagats) and eleven poet laureates (Bhats) of the Guru's court. Muslims and Hindus, Brahmins, and "untouchables" all come together in one congregation to create a universal scripture. It is a compendium of mystic, metaphysical and religious poetry written or recited between the 12th and 17th centuries in the Indian sub-continent [3]. Sri Guru Granth Sahib, through its comprehensive worldview, offers a perfect set of values and an applicable code of conduct. Its cardinal message is addressed to the welfare of all humans irrespective of their caste, color, creed, culture, and religion. SGGS emphasizes love, respect, empathy, and acceptance of others' existence. It prohibits us from infringing on the freedom and rights of others. The life and works of the Sikh Gurus exemplify the practicability of these ideas. Their inter-faith dialogues highlighted that human unity and oneness could be achieved through tolerance, communication, and respect for others [4]. Besides a matchless elaboration of spirituality, Sri Guru Granth Sahib enshrines a powerful expression of the message of revolutionary ideals of social welfare, human rights, multicultural distinctness, and religious freedom. In the present era, when the threats and fear of interfaith conflicts, military aggression, terrorism etc., have overpowered human sentiments, the teachings of Sri Guru Granth Sahib are even more relevant to resolving all these problems. (shrink)

Following the publication of his magnum opus L’être et l’événement (Being and Event) in 1988, Alain Badiou has been acclaimed as one of France’s greatest living philosophers. Since then, he has released a dozen books, including Manifesto for Philosophy, Conditions, Metapolitics and Logiques des mondes (Logics of Worlds), many of which are now available in English translation. Badiou writes on an extraordinary array of topics, and his work has already had an impact upon studies in the history of philosophy, the (...) history and philosophy of science, political philosophy, aesthetics, psychoanalysis, and ontology. This volume takes up the challenge of explicating, extending and, in many places, criticising Badiou’s stunningly original theses. Above all, the essays collected here put Badiou’s concepts to the test in a confrontation with the four great headings that he himself has identified as essential to our humanity: science, love, art and politics. Many of the contributors have already been recognised as outstanding translators of and commentators on Badiou’s work; they appear here with fresh voices also destined to make a mark. (shrink)

Ethics and responsibility would be a vexing or awesome topic that the contemporary citizen more likely wishes to avoid giving his or her views or opinions. That is perhaps because the society transforms rapidly and turns to become more diverse from the past decades. These concepts, on the other, comes not in the ancient or middle era classics, but from the near modern context in 18th England and French land. In dealing with the nature and relationship between the two (...) concepts, another notion of morality also comes into a comparative context. Morality, if often interchangeably used with the ethics, could be seen in some differences that ethics is a dimension one step removed from action. So we used to preach our dependents or subjects to conform their conduct to the kind of moral demand, "Exert your best to the interest of nations or society," "Practice a love and humiliation with brothers, sisters and neighbors," "Never be drunken while driving," "Do not commit an adultery or do not steal other’s property," and the likes. Law, then, would be a minimal of morality which prescribes a prohibited conduct and corresponding criminal sanctions proportionally with the gravity of culpability or social harms. Those concepts might share a common element in a great extent, but could be made distinguished in some of subtleties. (shrink)

In this chapter, I approach the subject of peace by way of Andrew Fiala’s pioneering, synthetic work on “practical pacifism.” One of Fiala’s articles on the subject of peace is entitled “Radical Forgiveness and Human Justice”—and if one were to replace “Radical Forgiveness” with “Peace,” this would be a fair title for my chapter. In fact, Fiala himself explicitly makes a connection in the article between radical forgiveness and peace. Also in support of my project, Fiala’s article names four of (...) the six historical figures who are central to my chapter, namely Marcus Aurelius, King, Arendt, and Nietzsche. Moreover, Fiala also insists there “forgiveness must be held in creative tension with justice,” and it is this very tension that forms the basis of my new conception of socially-just peace. To wit, I propose that socially-just peace is lovingly generous reimagining (peace) through intuitively self-overcoming tension (social justice). (shrink)

If we follow we will see that one third of Rabindranath's Poetry are indication of expand of literature of letters. Viewing the subject variant of multiple thinking of the literature of letters, it seems that Rabindra paragraph could not get full form if he did not present it to us. In his every letters we see subject variant. Religion, Society, city life, Independence of women, Education, thinking about nature, love; nothing left in his script. All letters written by him (...) in different time are contained in books named “Chinnopotro”, “Bhanusinger Potro”, Russiaer Chiti”. His first countable Book “Europe Probashis Potro”, describes the story of his England journey at teenage. In spite of these the number of letters which are written addressing to his wife, son, relative-friend, pal, colleague & co-operator, are not a lesser quantity; some of these are attached in the book “Chiti Patra”.Where we find Rabindranath as a human being. Answers toward questions of Hemantabala Devi (Beloved, personable, Hemantabala is daughter of zaminder Brojendrakishore Roychoudhury of Moimonsing District of Gouripur, & wife of zaminder Brojendrakanta of Rongpur Bhitorbongo. She left her family & had become Baishnav, and in alias name communicated with Rabindranath through writing letters, appreciated for “Sesher kabita” & thus starts corresponding by Rabindranath of miscellaneous religious & socialism questions, we find the thinking of Rabindranath about religion & society. Rabindranath thinks the dirt of body clean through taking bath, but the thinking about clean of mind through taking bath is nothing but foolishness. So, estimating any community as worthless is a sin. All people in spite of different cast & creed should understand that God is devoted always for every era, not let think them personal property which degrades God. If this thinking will not become clearly known to all, till then in ‟India" Gods are degraded, Human being are degraded; never this defame will go away. (shrink)

Marion explores the possibility of a God who would not be, who would not have a being. He sees God in agape, Christian charity, or love and obviates the need for imagining or positing the existence or being of God. Th e second edition and a translation of the original French, this book is a volume in the series Religion and Postmodernism brought out by the University of Chicago Press.

The present piece, first presented on 19 November 2016 at the Centre Léon Robin (CNRS-Univ. Paris-Sorbonne-ENS Ulm) as part of the“Présocratiques” Seminar, is an investigation of the relationship between Empedocles and Freud. The analysis is divided into three parts: the first section examines the nature of Freud’s engagement with Empedocles; next, consideration is given to the similarities between their doctrines, based on the extant fragments of the Empedoclean corpus; finally, I offer a series of observations about Empedocles’ poetic style, which (...) shares strong affinities with the spoken word in a manner typical of the oral tradition and is freighted with corporeal and emotional significance. It is here that we see the emergence of one of the key concepts of psychoanalysis: the relationship between logos and alogon, between that which can be rationally analysed and that which can be intuited but which eludes the domain of logos. (shrink)

Many contemporary theorists charge that naïve realists are incapable of accounting for illusions. Various sophisticated proposals have been ventured to meet this charge. Here, we take a different approach and dispute whether the naïve realist owes any distinctive account of illusion. To this end, we begin with a simple, naïve account of veridical perception. We then examine the case that this account cannot be extended to illusions. By reconstructing an explicit version of this argument, we show that it depends critically (...) on the contention that perceptual experience is diaphanous, or more minimally and precisely, that there can be no difference in phenomenal properties between two experiences without a difference in the scenes presented in those experiences. Finding no good reason to accept this claim, we develop and defend a simple, naïve account of both veridical perception and illusion, here dubbed Simple, Austere Naïve Realism. (shrink)