In this paper it is argued that the corresponding rise of postmodernism and the triumph of neo-liberalism are not only not accidental, the triumph of neo-liberalism has been facilitated by postmodernism. Postmodernism has been primarily directed not against mainstream modernism, the modernism of Hobbes, Smith, Darwin and social Darwinism, but against the radical modernist quest for justice and emancipation with its roots in German thought. The Social Democratic State, the principles of which were articulated by Hegel, is construed as a (...) partial triumph of this radical modernism, realizing a higher level of reciprocal recognition and overcoming much of the brutality of the Liberal State. Postmodernism is shown to be a manifestation of the decadence of the Social Democratic State, characterized by the disintegration of cognitive and ethical developments which have been the condition for people to form communities based on reciprocal recognition. In this regard it parallels the decadence which took place in ancient Rome, for similar reasons: both the Roman Empire and the Social Democratic State reduced people to passive recipients of the benefits of their societies. The implications of this are twofold. If Social Democracy is to be revived, it will require a struggle for ‘strong’ democracy; that is, for a major role for participatory democracy. On the other hand if people opt for the creation of confederations of genuinely democratic communities to replace the State, this will not be achieved by postmodern decadence but through the developments of cognitive forms and communities through which the recognition of people as free agents is instititionalized. (shrink)

he relationship between decadence and aesthetics is an intimate and complex one. Both the stock figure of the aesthete and the aestheticism of ‘art for art’s sake’ are classic decadent tropes with obvious sources in figures such as Théophile Gautier, Walter Pater, Joris-Karl Huysmans. Yet the links between aesthetics and decadence are more conflicted than might first appear: historically, aesthetics has served both as a site for the theorisation of decadence and as the basis of an attempt (...) to stem it. The purpose of this chapter is to examine these intricate ties. (shrink)

Decadence in philosophy means evaluating truth claims exclusively in terms of provocation, in terms of how vigorously they generate subsequent thought. The best truth/book/essay/video doesn’t settle questions, but produces still more thought, writing, production. -/- Decadence privileges the history of thinking over the history of truth. Thought’s history runs from base servility (the best thinking eliminates the need for itself by culminating in universal truth, Platonism), to dialectical servility (the ceaseless interplay of interpretation as a verb, and as (...) a noun, Nietzscheanism), to decadence, where thought overthrows truth’s independent value and incorporates assertions into its own expression and acceleration. -/- Decadence is defined as truth serving thought, and practiced when the only reason we have truths is to generate more thinking. While the definition structures well historically, the claim in Decadence of the French Nietzsche is not that there are serial epochs – Platonism followed by Nietzscheanism followed by Decadence – but that an esoteric vein of decadence runs through philosophy’s history. (shrink)

Decadence in philosophy is defined in the relation between thinking and truth, and explored as a conflict between Richard Rorty and Gilles Deleuze.

In 1984 scientists in the former Soviet Union called for an ecological civilization. This idea was taken up in 1987 in China by Ye Qianji. Subsequently the notion of ecological civilization was promoted by the deputy director of China’s State Environmental Protection Administration (SEPA), Pan Yue, incorporated into the Central Commission Report to the Communist Party’s 17th Convention in November, 2007, and embraced as one of the key elements in its political guidelines. Characterized as the successor to agricultural and industrial (...) civilization, it is now being promoted as a goal for the whole of humanity in order to avert a global ecological disaster. The success or failure of this project to create an ecological civilization could determine whether humanity survives. But what does it mean to create an ecological civilization? What does ‘civilization’ mean, and then what would it mean to create an ‘ecological’ civilization? This essay seeks to answer this question. (shrink)

Andrew Huddleston’s book sets out a vision of Nietzsche as a philosopher of culture. His approach sheds light on some familiar problems and opens up a new way of thinking about cultural criticism. Nietzsche’s concern, he argues, lies with both the instrumental and final value of both individuals and whole cultures. In terms of the Anglophone secondary literature, this places Huddleston between Leiter, who tends to suggest that individuals are all that matters, and Young, who tends to suggest that communities (...) are all that matters. A repeated claim is that Nietzsche evaluates cultures in a manner that is analogous to the evaluation of art, and much of the book involves exploring the subtleties of what that analogy... (shrink)

Decadence in philosophy is the reversal between thinking and truth: philosophical truths valued only insofar as they provoke more philosophical thought.

contents -/- 1. can sexual decadence lead to extinction? 2. sex plugs a man into a feminine system 3. stopping hard, for a girl 4. Venus in Furs 5. a Hero saves Helen from blame - so condescends .

The relation between thinking and truth in philosophy is explored in terms of this question: which one serves the other? The essay argues that a conception of philosophy as truth serving thought can be perceived in the work of French Nietzschean philosophers.

Nietzsche's writing style is designed to elicit affective responses in his readers. Humour is one of the most common means by which he attempts to engage his readers' affects. In this article, I explain how and why Nietzsche uses humour to achieve his philosophical ends. The article has three parts. In part 1, I reject interpretations of Nietzsche's humour on which he engages in self‐parody in order to mitigate the charge of decadence or dogmatism by undermining his own philosophical (...) authority. In part 2, I look at how Nietzsche uses humour and laughter as a critical tool in his polemic against traditional morality. I argue that one important way in which Nietzsche uses humour is as a vehicle for enhancing the effectiveness of his ad hominem arguments. In part 3, I show how Nietzsche exploits humour's social dimension in order to find and cultivate what he sees as the right kinds of readers for his works. (shrink)

Nietzsche’s late writings present a value opposition of health and decadence based in his conception of organic life. While this appears to be a moral ideal that risks the naturalistic fallacy of directly deriving norms from facts, it instead describes a meta-ethical ideal: the necessary conditions for any kind of moral agency. Nietzsche’s ideal of health not only evades but also dissolves the naturalistic fallacy by suggesting that the specific content of morality is irrelevant. If health is measured by (...) power over one’s drives rather than the environment, then the source of moral conflict—organic life’s essential tendency toward domination—is surmounted by successful integration of any moral norms, regardless of content. Nietzsche’s concept of health draws on his characterization of organic life as essentially ‘exploitation’: growth through domination of the environment (BGE 259, GM II: 12). In animals, power coincides with happiness, while health and decadence track the correspondence between instinct and happiness (TI II: 11). This simple picture is complicated by the Genealogy, where Nietzsche depicts human nature as an animal illness caused by civilization’s disruption of the natural correspondence of instinct and happiness. Civilization shapes this ‘sick animal’ into the distinctly human ‘sovereign individual’ (GM III: 13, II: 2), restoring the harmony of instinct and happiness in an internal hierarchy of drives. So, sovereign individuality is a distinctly human model of health. Although life is exploitation, human health does not coincide with greater environmental power, but rather an internal qualitative expansion of power: greater variety and tension among drives, greater ‘wholeness in diversity’ in the ‘social structure’ of the self (BGE 212, 12). Nonetheless, health is not a moral criterion, but instead the precondition of moral agency. The subordination of drives to a commanding hierarchy grounds the ability to uphold any moral principles at all, to make and keep promises to oneself and others. Moral agency coincides, in turn, with overcoming the source of moral conflict in organic life’s drive for growth. The unification of opposing drives provides pleasure in power over oneself rather than one’s environment, the ‘happiness of high tension’ among drives (BGE 260), and in environmental resistance, a need for ‘equal opponents’ (TI IX: 38, EH 1: 7). Consequently, Nietzsche’s meta-ethical ideal supports a moral pluralism that supports any moral content. Moral conflicts arise precisely to the degree individuals are incapable of achieving moral agency, but they dissolve as moral agency of any kind is more widely achieved. (shrink)

The article is focused on the phenomenon of the early Ukrainian decadent cinema, in particular, in relation to filmings of Volodymyr Vynnychenko’s dramaturgy. One of the brightest examples of ‘film decadence’ in Vynnychenko’s oevre is “The Lie” directed by Vyacheslav Vyskovs’ky in 1918, discovered recently in the film archives. This film displays the principles of ‘ethical symbolism’, ‘dark’ expressionist aesthetics and remains the unique masterpiece of specifically Ukranian film decadence.

The paper discusses problems related to historical change in the field of technology applied to the preservation and communication of knowledge. Debates of the years 1990s about the possible decadence of (printed) books in favour of other technologies, are evaluated with the help of a historical analogy. The art of memory was a widespread non-material technique for managing information in a world of prevalent oral communication, which was set aside by the new technologies of printed communication. In the first (...) part, the Author discusses the final phase in the history of the art of memory, sketching Lambert Schenckel’s biography as a good example of utmost individual success in the teaching of the art. Schenckel’s time sees the maximum demand for teaching in the art of memory; nevertheless those are the years when the printed book has already completely won its battle. The second part regards the possibility of a survival of the book as a technological model (i.e. as a model to build applications in new technologies for knowledge communication), notwithstanding the technologies involved in its production, just as the art of memory has been recently used as a model for constructing hypermedia, and just as the book itself survived technological revolutions in past ages. The issue is discussed carefully avoiding to engage in prophecy. (shrink)

It has been said that we can't look the other in the eye in guilt. We don't have to be accused by another to feel we have failed her or him. The other need not be disappointed in us, nor even be aware of our failure at all. Guilt as self-blame would be the realization of our failure to behave in the way we expected of ourself, the hurt and disappointment we feel when we are not quite what we thought (...) we were. It would originate in a being-other-than what we expected, the sense of missed opportunity, of a mourning of a better fork in the road not taken. Guilt would register a sense of seeming self-regression or decadence in the momentum of one's experience. What, preliminarily, might we comment concerning the structure we've just sketched of a `twinge' of guilt, the feeling of ìetting oneself down? Let us at first locate the peculiar edge of guilt, as we have described it above, as its`I ought to have, should have, could have' way of thinking, our awareness that we failed to do what we were capable of, what we assumed we would. The proximity between that which one expected of oneself and one's apparent failure to live up to that standard would mark guilt as a gnawing, teasing puzzlement or surprise. Our falling away from another we care for could then be spoken of as an alienation of oneself from oneself. When we feel we have failed another, we mourn our mysterious dislocation from a competence or value which we associated ourselves with. It follows from this that any thinking of guilt as a `should have, could have' blamefulness deals in a notion of dislocation and distance, of a mysterious discrepancy within intended meaning, separating who we were from who we are in its teasing gnawing abyss. Guilt and sadness would seem to represent a plunge into the darkness of separation. As we have seen, for Derrida there would be guilt as an always implied within-trace effect determined by the origin of every event as other than itself in the instant of being itself. This within-trace sense of mourning would be an irreducible quasi-transcendental condition of experience. One disturbs and disappoints oneself in a certain sense at every moment. Then there would also be for Derrida the possibility of guilt, sadness and mourning as a momentum of between-trace relation marking our stumbling into experience marked by a sparse density of change. (shrink)

Since Popper and Lakatos, the demarcation line between science and non-science has been considered to be one of the fundamental issues of the philosophy of science. According to Lakatos, pseudoscience is a non-science, which appears as science, using a public authority of science. Since then, mountains of texts have been published on how non-sciences, such as astrology, are not sciences. But the enemy is not on the other side of the border. The enemy is in our midst. The science has (...) been institutionalized. The best way to do the pseudoscience is to fuss inside the big enterprise that has been recognized as a science. (shrink)

Статтю присвячено реконструкції узагальненої моделі твору декадентського кінематографа як стилізованого кінематографа moderne, що є яскравим прикладом застосування філософської інтерпретації до кінематографа і феномену кінореальності. Ця модель має такі рівні: морфологічний, стилістичний, інтертекстуальний, ритмічний, аудіальний, тактильний, монтажний, специфічно-антропологічний і специфічно-наративний.

The paper investigates the relationship between political oratory and literature in Romania during the second part of the 19th century. Extending the theories of Jacques Rancière, Fredric Jameson, Slavoj Žižec, and Leonidas Donskis, I analyze the relationship between politics and literature by comparing a set of illustrative speeches delivered by Take Ionescu and P. P. Carp, who distinguished themselves as brilliant political orators and also as personalities who gave up literature in order to assume a political career. My main goal (...) is to determine how much of one’s appetite for aesthetic autonomy turns into mere appetite for political autonomy, and thus for dissent and dissidence. Both examples chosen for illustration brought me to the conclusion that prior literary habits and practices into a politician’s public career can determine his/her ways of legitimizing party-switches or volatile doctrinarian attitudes. (shrink)