This is my first book from Partridge International In Association with Penguin Random House in 2018. I wanted to enrich self through my creativity on selected topics as far as a Google Scholar.

Nietzsche and Shaw are famous and infamous: famous for their innovative and influential forms of writing, but infamous for their apparent support of totalitarianism and Nazism. However, while it has long been shown that Nietzsche’s provocative language about “breeding” and “masters and slaves” was intended to enhance culture through competition, it is still an open question how and when Shaw supported biological eugenics. Via Nietzsche’s “philosophical breeding,” this article presents a new reading of Shaw’s Man and Superman: on the one (...) hand, it contrasts Nietzsche’s philosophical Übermensch with Shaw’s eugenic Superman; and on the other hand, it connects Nietzsche’s agonistic enhancement of culture with Shaw’s philosophical reflections in “Don Juan in Hell.” In contrast to Tanner’s support of eugenic breeding in his Revolutionist’s Handbook, Shaw’s Don Juan remarkably resembles Nietzsche’s notion of “philosophical breeding” toward a more competent, truthful, and autonomous orientation that is needed in increasingly complex global politics. (shrink)

Maupassant’s short horror story Horla (1887) contains a treatment of anxiety that can be analyzed in the context of Existentialist philosophy: Kierkegaard, Heidegger, Levinas or Cioran all observed the anticipatory trait of this affect. From a psychological point of view, anxiety leads to neurosis and/or psychosis, to the splitting of the principle of identity. This inner duality is famously expressed in the short story’s scene of the “empty mirror”, where the main character fails to see his own reflection. The (...) descent into madness of Horla’s diarist makes us think that he experiences the possession of the monster in terms of radical alterity, something that Cioran has called the not-man. I argue that through the lenses of this category of (psychological and theological) inhumanity we can understand Horla as a Nietzschean evolutionary tale that cautions against the end of mankind as we know it. (shrink)

Psychoanalysis, particularly as articulated by figures like Freud and Lacan, highlights the inherent division within the human subject—a schism between the conscious and unconscious mind. It could be said that this suggests that such an internal division becomes amplified in the context of generative art, where technology and algorithms are used to generate artistic expressions that are meant to emerge from the depths of the unconscious. Here, we encounter the tension between the conscious artist and the generative process itself, which (...) may yield unexpected, even uncontrollable results. -/- This paper, therefore, seeks to address this division within the modern subject and its relationship to technology, wherein the division within the living body is revealed through the presence of prosthetic elements, which mirrors the division brought about by the incorporation of language as a signifier. I argue that the amplification of this internal schism does not necessarily lead to a more fractured subject. Instead, generative art, bolstered by advancements in AI and machine learning, offers a unique opportunity for individuals to externalize and explore their minds in novel ways. -/- By examining contemporary works such as Hal Foster’s Prosthetic Gods, which stands as a pivotal exploration of the convergence between modernist art and psychoanalytic theory and Isabel Millar’s Psychoanalysis of Artificial Intelligence, this paper elucidates the profound implications of Freud’s vision of modern -/- subjectivity as Prothesengott (Prosthetic God) and address the questions concerning this technological imbrication of the human mind and body through the Lacanian framework. Although for Freud, Man does not become a real God, rather, the potential to transcend one’s limitations ascribes us to God-like qualities by seeking to generate new forms of life that go beyond merely reproducing nature — a transcention of the natural. Millar emphasizes that Freud observes that this is evidenced by the fact that these additional organs remain distinct from the organism and can never assimilate into it. One continually falls short of realizing the fantasy he envisions, opting instead to use his supplementary artificial organs to endlessly revolve around the objects of the drive. -/- This evolving relationship that the drive has with its technological objects, resounds in Lacan’s conception of “lathouse” which allows extimate objects to convert interiority (unconscious) into exteriority (conscious) and exteriority into interiority. The thesis of this paper seeks to employ this underutilized concept to understand the nature of human subjectivity and its bodily and structural relationship to generative art. Therefore, this paper emphasizes what really happens when we enter into this relationship with the lathouse, whereby this artificial object has effects in the "real of jouissance", where these Lathouses create a network, namely the Alethosphere. My goal is to argue that generative art as a technological development, can be seen as an extension to the development of the drive. Conclusively, I make the claim for generative art's potential to externalize the human creative drive by emphasizing the interplay between randomness and structure, and how it offers a means to surpass our inherent limitations by presenting an avenue for self-expression that transcends traditional modes of art. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

This essay explores and exposes Thomas Aquinas' notions of prudence and providence and interprets these notions in a bid to establish a relationship between human prudence and divine providence. At face value, it would seem that these two concepts are widely divergent and almost mutually exclusive. Nonetheless, the essay uses the phenomenological tool of analysis of relevant works of literature — the Summa Theologiae and the Summa Contra Gentiles — and argues that the ideas of human prudence and divine (...) providence have more in common than what they have apart. Accordingly, the essay avers that man's exercise of prudence is a participation in the works of divine providence or God's providential governance of the world. Likewise, the essay claims that human prudence is a response and compliance to the order initiated and willed by God's benevolent act of knowledge. These conclusions are arrived at through the knotting of prudence and providence as predicated by God. Thus, if prudence in God implies his providence and human prudence implies God's prudence (although an imperfect implication), it follows that human prudence implies divine providence. It is in this way that the essay proposes and concludes that man's exercise of prudence is a participation in divine providence. The paper adapts a theological method. (shrink)

This dissertation describes and assesses post-1961 Soviet discussions of the nature of the person. It focuses on post-1961 literature because the volume of Soviet material on the nature of the person increases dramatically following the 22d Congress of the Communist Party of the Soviet Union . At that congress the CPSU declared that the USSR had become a socialist nation and that the country would now build a communist society. According to the CPSU, building communism required educating persons capable (...) of living in communist society. ;Unlike many Western theories on the nature of the person, Soviet theories do not proceed from the proposition that a person's consciousness or self-consciousness differentiates him from all other kinds of entity. They proceed rather from the proposition that a person is different from all other kinds of entity because he is social. Soviets attempt to describe what makes persons social. ;Soviets have argued among themselves concerning a number of issues regarding the nature of persons. During the early 1960s some argued that no general theory of the person was possible and that theories must center on persons of particular classes and historical eras. In the late 1960s Soviets came to believe that a general theory of the person is possible. ;General theories of the person presented by Soviets sometimes distinguish between persons, humans and individuals. This distinction is most clear when these are conceived as properly social, bio-social, and properly biological entities, respectively. There is no general agreement concerning this distinction, however, and this lack of agreement has carried over into discussions of the essence of Man. This essence is said to consist in social relations. ;Soviets have attempted to account for a person's social nature by concentrating on his ethical behavior, his social roles and his activity. None of these accounts succeeds in describing what makes persons social. ;Since social relations are considered the essence of Man, Soviets attempt to characterize them. The best attempt to do this describes social relations as relations between conscious entities. This attempt fails because it is inconsistent with Marxist dogma that consciousness is a consequence--not a cause--of Man's social nature. It also fails because it does not exclude some apparently non-social relations. ;Research for this dissertation was conducted at the libraries of Duke University, the University of North Carolina at Chapel Hill, Moscow State University and Leningrad State University, and at the Library of Congress and the Lenin Library. (shrink)

Hume built his philosophical system with the ambition to become a Newton of human nature. His science of man is the fulfillment of this project. Hume was inspired by the Newtonian experimental empirical method excluding hypotheses, and he applied this method to moral sciences; he took those to be the basis of all other knowledge. The observation of human cognitive faculties, however, brought him to sceptical conclusions concerning the rational justification of empirical sciences. His original ambitions are thus undermined and (...) his scepticism leads to the loss of legitimacy of natural science. The core of Hume's science of man is twofold - it consists in the analysis of mind and of human social behaviour. Hume contributed to the development of psychology and helped to form social sciences as a specific research area. Following his empirical method based on observation, his science of man has rather a documentary role than any normative features. (shrink)

This essay takes up the significance of Wittgenstein's philosophy for our understanding of literature (and vice versa) through a comparative reading of the stakes and aims of Kafka's and Wittgenstein's respective circa 1922 puzzle texts “Von den Gleichnissen” (“On Parables”) and the Tractatus Logico-Philosophicus. The essay builds upon the so-called resolute program of Wittgenstein interpretation developed by Cora Diamond, James Conant, and others, bringing its insights to bear on Kafka's perplexing work. The essay explores the ethical weight of these (...) two writers' investment in the philosophical depth of riddles, irony, and parabolic and nonsensical expression as unorthodox modes of indirect instruction about ordinary language and world, the yearning for transcendence, and the failure to achieve it. Both demanding works deal with the ethical difference between “getting” the philosophical import of a story or joke and not getting it in the context of an examination of the relationship (or lack thereof) between the activities and difficulties of everyday life, on the one hand, and those of literary expression and/or spiritual or philosophical teaching, on the other. Both strive to open readers to experience — as revealed through everyday language — by leading us beyond the dichotomy of facticity and transcendence, away from the urge to transcend the limits of language, and toward a recognition of the possibility of seeing our ordinary dealing with things as presenting a face of significance that is at once linguistically meaningful and ethically valuable. The central aim of this discussion of Wittgenstein's Tractatus and “Lecture on Ethics” alongside Kafka's parable is to examine the ways in which Wittgenstein's philosophical outlook, writing, and method (shaped by his general attraction to the Book and book writing as well as by his reading of certain works of literature) are deeply relevant to literary studies, and particularly to our understanding of literary modernism. (shrink)

Frangeskou’s point of departure in his juxtaposition of Levinas and Kant is the problem of transcenden- tal schematism but not the tension between autonomy and heteronomy as it is common for most of the published literature. Thus, the middle ground between Levinas and Kant is occupied by Heidegger, but also by Franz Rosenzweig with his “biblical” version of ecstatic temporality. Levinassian diachrony is described by Frangeskou as a new form of ecstatic temporality, different from the interpretations given by Heidegger (...) and Rosenzweig. It is analogous to transcendental schematism of reason. We briefly com- pare Frangeskou’s interpretation with Marc Richir’s notion of transcendental schematism which also goes back to Levinassian diachronic temporality. Richir’s schematism functions as a medium joining together heterogenous elements such as the layer of “phenomenological”, i.e., the unstable and flick- ering sense, and the layer of “symbolic”, i.e., the organised and stabilised sense. In a similar way, for Frangeskou, diachronic temporality provides a synthesis (though, not a synchronisation) of God, the world and a man. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

In the Odyssey, there is a description of Odysseus being recognized by his age-old and decrepit dog Argos, whom he had reared and trained himself before his departure for Troy. This so-called Argos episode (Od. 17.290–327) is still famous today. It has been continuously treated by generations of scholars from antiquity to our time and served as an inspiration to both the visual arts and literature. The present article deals with the function and intended effects of the Argos scene. (...) After a brief synopsis of the position of this scene within the Odyssey as well as of its content and structure, the author discusses the role of dogs in the Iliad and the Odyssey. The focus of this article lies on the interpretations of the Argos scene, suggested by scholars so far, and on their review by means of a close reading to check their plausibility. (shrink)

The Idea of Man' presents a new ontology, or idea of human being, by developing the logic that naturally flows from that which is original, necessary, inherent and essential to this being - upright posture. The verticality of man, simply and mutely constituted by his innate 'uprightness', is taken as the ontological key to understanding the idea of man, the world of language and the very possibility of Being itself. In this, the book conceives in unison both an Ontological Anthropology (...) and an Anthropological Ontology. (shrink)

Stoic philosophers had to face the accusation of incoherence, self-contradiction and Paradoxes since ancient times. Plutarch in his Moralia writes against them; Cicero devotes a separate work on stoic paradoxes. Even in contemporary Literature there are still discussions on the possibility of such an incoherence and existence of paradoxes in the stoic theory. At first glance, stoic Cosmology gives the impression to both accept a kind of Determinism, and at the same time it undoubtedly argues for the moral agent’s (...) freedom of the Will. In pre-stoic or even other contemporary to Stoicism Philosophical Traditions, the definitions that these two terms/concepts are given, fairly accuse as incoherent any Theory that does not set them as “contraries”. Under these types of accusations, the stoic Cosmology and Theory of the Freedom of the Will is often to be included. This phenomenal self-contradiction inside the Principles of Stoicism becomes even more obvious in Epictetus, a philosopher of the Late Stoa. He is interested in practical ethics, thus the phenomenal contradiction gets more lucid. This would have augmented the criticism of the Stoic philosophy for incoherence, if Epictetus had not made his main philosophical aim/target : the clarification of how an agent’s Will can be Free inside a Universe ruled by Fate/Destiny ; namely, a Universe merely Determined by Nature’s/God’s Will. Epictetus’ originality appears in the way he interrelates the concept of Freedom of the Will with the concept of Destiny and Determinism, in order to accomplish their simultaneous co-existence. This approach guards him against being easily accused for incoherence and self-contradiction. Through the unique way he understands and defines the Moral Agency, which is the agent’s internal state/condition/disposition, he steers towards an integrated, accomplished, strong and coherent line of argument. This sturdy declaration is able to support the weight of the Consent to a Free Will, and thus a certain kind Freedom of the moral agent. The excellence of this line of argument is that it can bear also the burden of the Consent to the phenomenally contrary concept of Determinism and Destiny. The elements used to the construction of this argument, which is stretched throughout the whole epictetean corpus can be summarised to a few key concepts, which are: the things which are in our power and the things which are not in our power, the concept of Freedom. These concepts work towards his philosophical targeting, because of the special definition he gives them. Axiomatically Epictetus states that in order for man to be free, it is necessary to be liberated from what the body forces him to do. Desires, passions and beliefs are considered as elements which are external to the moral agent. The moral agent “shrinks” into the Will. Thus man has the capability to free himself from anything external to his Will and therefore to harmonise his own Will to the Will of Nature/God; namely, to will what Nature/God wills and thus never conflict to the external facts. Consequently, Epictetus’ solution, is to include in the category of τά οὐκ ἐφ' ἡμῖν anything that he defines as external to the prohairesis: the desires, beliefs, passions and in general anything the body entails, the external facts. Thus the prohairesis, remains unhindered and it is completely depended on man’s power ; as characteristically Epictetus writes, “not even Zeus himself can overpower” the prohairesis. -/- Dissertation for the MSc Ancient Philosophy (2008-2009) at The University of Edinburgh, supervised by Inna Kupreeva. (shrink)

As the title, The Entangled State of God and Humanity suggests, this lecture dispenses with the pre-Copernican, patriarchal, anthropomorphic image of God while presenting a case for a third millennium theology illuminated by insights from archetypal depth psychology, quantum physics, neuroscience and evolutionary biology. It attempts to smash the conceptual barriers between science and religion and in so doing, it may contribute to a Copernican revolution which reconciles both perspectives which have been apparently irreconcilable opposites since the sixteenth century. The (...) published work of C.G. Jung, Wolfgang Pauli, David Bohm and Teilhard de Chardin outline a process whereby matter evolves in increasing complexity from sub-atomic particles to the human brain and the emergence of a reflective consciousness leading to a noosphere evolving towards an Omega point. The noosphere is the envelope of consciousness and meaning superimposed upon the biosphere a concept central to the evolutionary thought of visionary Jesuit palaeontologist Pierre Teilhard de Chardin (The Phenomenon of Man). -/- His central ideas, like those of Jung with his archetypes, in particular that of the Self, provide intimations of a numinous principle implicit in cosmology and the discovery that in and through humanity, evolution becomes not only conscious of itself but also directed and purposive. Although in Jung’s conception it was a “late-born offspring of the unconscious soul”, consciousness has become the mirror which the universe has evolved to reflect upon itself and in which its very existence is revealed. Without consciousness, the universe would not know itself. The implication for process theology is that God and humanity are in an entangled state so that the evolution of God cannot be separated from that of humankind. -/- A process (Incarnational) theology inseminated by the theory of evolution is one in which humankind completes the individuation of God towards the wholeness represented for instance in cosmic mandala symbols (Jung, Collected Works, vol. 11). Jung believed that God needs humankind to become conscious, whole and complete, a thesis explored in my book The Individuation of God: Integrating Science and Religion (Wilmette, IL: Chiron Publications 2012). This process theology like that implicit in the work of Teilhard de Chardin, is panentheistic so that God is immanent in nature though not identical with it (Atmanspacher: 2014: 284). (shrink)

Among the works of the ancient Greek satirist Lucian of Samosata, well-known for his scathing and obscene irony, there is the novel True History. In this work Lucian, being in an intense satirical mood, intended to undermine the values of the classical world. Through a continuous parade of wonderful events, beings and situations as a substitute for the realistic approach to reality, he parodies the scientific knowledge, creating a literary model for the subsequent writers. Without doubt, nowadays, Lucian’s large influence (...) on the history of literature has been highlighted. What is missing is pointing out the specific characteristics that would lead to the placement of True History at the starting point of Science Fiction. We are going to highlight two of these features: first, the operation of “cognitive estrangement”, which aims at providing the reader with the perception of the difference between the convention and the truth, and second, the use of strange innovations (“novum”) that verify the value of Lucian’s work by connecting it to historicity. (shrink)

Sophocles’ Oedipus the King is an extended meditation on the limits of human intelligence, or more precisely, on how a man renowned for the power of his intellect could fail to know the most important truths. One could argue, however, that Sophocles intended for his audiences to take away a second, narrower lesson: namely that divinely inspired seers such as Tiresias have a surer claim on truth than do those who, like Oedipus, seek to gain knowledge through their own efforts. (...) Thus, the Oedipus can be seen as a defense of prophecy and a reaction against the complex of scientific and philosophical ideas known as “the 5th-century Enlightenment.” I offer some support for this reading of the Oedipus. I also argue that part of the cultural background of the Oedipus consisted of ideas about knowledge introduced into Greek thought by the outspoken critic of Greek popular religion, Xenophanes of Colophon. (shrink)

Desmond and Moore point out that the key to understanding Darwin’s The Descent of Man is his abolitionist motivation and his advocacy that races constitute subspecies. Roberta Millstein raises some doubts about the importance of this motivation. She points out that the inclusion of the extensive section devoted to non-human animals is not justified by Darwin’s treatment of humans per se, because his explanation of the origin of races is peculiar. In this sense, she argues that Darwin’s specific explanation of (...) the origin of races does not confirm the central importance that Desmond and Moore give to Darwin’s abolitionism. In this paper I have two different aims. On the one hand, to show that the human case actually is based on the treatment of nonhuman animals, and consequently, Darwin’s argument is not as poor as Millstein believes. My second goal, taking Millstein’s challenge seriously, is to show that Darwin’s explanation of the origin of races does confirm the Desmond and Moore thesis in a deeper sense than the one they propose themselves. For the anti-slavery motivation could not only explain the fact that Darwin sees all humans as forming the same species, but the specific explanation he gives for the origin of races. (shrink)

In the words of Charles Peirce from 1901, “man is but a degenerate monkey, with a paranoic talent for self-satisfaction, no matter what scrapes he may get himself into, calling them ‘civilization…’” Peirce’s concept of degenerate monkey draws attention both to our neotenous or prolonged newborn-like nature as “degenerate” in the mathematical sense of a genetic falling away from more mature genomes of other primates, and also to our monkeying around with the long evolutionary narrative of foraging, through the advent (...) of agriculture, settlement, and civilization. -/- Homo sapiens, man the knower, is the way we humans like to distinguish ourselves from the rest of nature. But if we consider ourselves as degenerate monkeys, perhaps homo errans, man the blunderer, would have been a better term, calling attention to our softened instinctive intelligence, in contrast to the “unerring instincts of other races,” as Peirce put it. -/- I take Peirce’s term “degenerate monkey” as not limited to moderns, but applicable to homo sapiens sapiens, anatomically modern humans, generally. Considering humans as degenerate monkeys is a key to understanding human development, in my view, precisely because we need to attune ourselves to the instinctive intelligence of the environment, drawing its intelligence into our dematured, blundering selves through abductive inference, and therein finding our maturity. Without that attunement to the Others, monkey goes mad, monkeying in its mirror of itself, fatally fixated, like Narcissus, and with similar results: planet of the degenerate monkeys, monkeying to mayhem. -/- As Cornelius, the ape archaeologist and historian in The Planet of the Apes stated it, reading from the sacred scrolls: “Beware the beast Man, for he is the Devil's pawn. Alone among God's primates, he kills for sport or lust or greed. Yea, he will murder his brother to possess his brother's land. Let him not breed in great numbers, for he will make a desert of his home and yours. Shun him; drive him back into his jungle lair, for he is the harbinger of death.” Or as Ralph Waldo Emerson put it: “The end of the human race will be that it will eventually die of civilization.” . (shrink)

According to Kant, the opacity of human motivation takes two distinct forms – a psychological form: man ‘can never, even by the most strenuous self-examination, get entirely behind [his] covert incentives’ – and a social form: ‘everyone in our race finds it advisable to be on his guard, and not to reveal himself completely’. In other words, first, men's ‘interior’ cannot be entirely revealed to themselves and, second, they tend not to reveal their ‘interior’ to others. A number of Kant (...) scholars have acknowledged the importance of the first form of opacity in Kant's thought and have attempted to draw out from it implications for moral deliberation and ethics in general. The aim of this paper is to examine the second, social form of opacity and draw out its anthropological implications, an issue that has been overlooked in the literature. To do so, I focus on Kant's contrast between men and beings that I would like to call ‘sincere aliens’. These sincere aliens are beings who have the opposite features of man's opacity, namely beings who cannot but reveal their ‘interior’ both to others and to themselves. (shrink)

In A Case for Irony, Jonathan Lear aims to advance “a distinguished philosophical tradition that conceives of humanity as a task” by returning this tradition to the ironic figure at its origin — Socrates. But he is hampered by his reliance on well-worn philosophical examples. I suggest that Elena Ferrante’s The Lost Daughter illustrates the mode of ironic experience that interests Lear, and helps us to think through his relation to Christine Korsgaard, arguably the greatest contemporary proponent of the philosophical (...) tradition at issue. Lear needs a central idea from Korsgaard’s model of practical thinking in order to characterise the phenomenology of ironic experience, but he also needs to jettison her idea that reasons for action come from an agent’s “practical identities” if he wants to follow through on his claim that irony is a form of radical and committed reflection. (shrink)

This thesis focuses on a philosophical analysis of literature. The central question is: when making moral choices in a forced labor camp, what options remain? Hannah Arendt has written about the forced labor, concentration and extermination camps as the central institutions of totalitarianism, where the project of complete destruction of unwanted human beings is carried out; the end result is the removal of spontaneity and uniqueness in people. We join Arendt’s insights with those of Richard Rorty who employed the (...) concept of unmaking a person’s world in his discussion of Orwell’s 1984. A synthesis of their ideas highlights the importance of language and the freedom of narrativity for countering the elimination of spontaneity (Rorty emphasized the importance of redescription). Chapter 3 uses this synthesis for analyzing the Gulag stories of an Estonian writer, Jaan Kross. Our reading of the stories “Vürst” and “Halleluuja” outlines the concept of playfulness which employs independent redescription of the characters themselves and the situation, and upholds the inmates’ freedom of narrativity and spontaneity. This playfulness emerges in theatricality, bravura, distance from the situation and its script (the distance-keeping has a notable parallel to Rorty’s concept of irony), enacting the unexpected, and playing with risks and possibilities. (shrink)

Oscar Wilde's The Critic as Artist is shown to foreshadow some key concepts of poststructuralist interpretive theory - such as the necessary interplay of blindness and insight in criticism (Lacan, Paul de Man), or the retroactive effect of interpretation in the construction of the work. More specifically, Wilde's reading of the riddle of the Sphinx in a passage of this work both theorizes and dramatizes the paradoxical relationship between blindness and insight, in the shape of an ironic prophecy which can (...) be read as Wilde's announcement of his own tragic downfall - in which there is an element of compulsive acting out that has been noted by a number of previous critics. That is, Wilde's Sphinx is used as the vehicle of a riddle about Wilde himself, and is an emblem of his own ambivalent attitude toward the public revelation of his homosexuality. (Note: Downloadable file is in Spanish). (shrink)

Anger is arguably one of the most important emotions in a human being’s life. An array of contemporary studies show that, far from being detrimental, anger can foster one’s self-esteem, improve their social interactions, and even benefit physical and mental health. In his Treatise of Human Nature, David Hume explicitly recognized the importance of anger. And yet, few topics have been so neglected in the Hume scholarship as his account of this passion. The following chapter aims to fill the gap (...) in the literature by showing that Hume’s analysis of anger is worth studying and strictly connected to some of the most intriguing problems in his philosophy. (shrink)

Was Swift correct that “reasoning will never make a man correct an ill opinion, which by reasoning he never acquired” (Letter to a Young Gentleman)? If so, what recourse is there to change attitudes especially among those who continue to fervently believe unjustified claims and act upon them in a way that affects other people? I will answer the first question with a qualified yes, and the second I will follow Swift’s implicit proposal to rely upon humor, satire, playful ridicule, (...) and especially irony to unsettle the certainties of those who have not appealed to reason or epistemic justification to maintain their cherished opinions. In the bulk of the chapter, I will then assess what sort of irony Swift employs: is his irony primarily a trope in the service of a particular idea? Or is he truly Socratic in his irony, the sort Kierkegaard admired that transcends the mere rhetorical device and can be viewed as a stance on life in general? The answer to the latter question, in typical Aristotelian fashion, will be yes and no. My account of Socratic Irony will be informed primarily by the works of Alexander Nehemas, Jorge Portilla, and Jonathan Lear’s interpretation of Kierkegaard on Socrates’ irony. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

A tongue-in-cheek send-up of certain aspects of existentialism written by a well-known logician and philosopher who had a serious affair with existentialism in his youth. It was never submitted for publication and is finally being made available here posthumously with the permission of Helen Eberle. To the best of my recollection it was written some time in the mid/late 1980s. -- Gary H. Merrill.

Although the works of the authors of the Golden Age of Latin Literature play an important formative role for Early Modern philosophers, their influence in Early Modern thought is, nowadays, rarely studied. Trying to bring this topic to light once again and following the seminal works of Kajanto (1979), Proietti (1985) and Akkerman (1985), I will target Spinoza’s Latin sources in order to analyze their place in his philosophy. On those grounds, I will offer an overview of the problems (...) of the reception of classical literature in Early Modernity and then dwell on the particular case of Ovid and Spinoza. The present paper will argue that although Spinoza’s references to Ovid fill a rhetorical purpose as suggested by the existing literature, these mentions have a prior philosophical motivation. That is, the references in the Ethics are not merely illustrative; instead, they indicate that Spinoza acknowledges Ovid’s beliefs about human experiences and deliberately elaborates on Ovid’s view to construct and defend his own theses. To this end, the paper will analyze some citations mapped by Proietti (1985) and add a new one in an attempt to enlarge the list of places and topics that merit further investigation. To conclude, I will point out how the references to Ovid are part of Spinoza’s own defense of the powers of imagination. (shrink)

P.F. Strawson’s compatibilism has had considerable influence. However, as Watson has argued in “Responsibility and the Limits of Evil”, his view appears to have a disturbing consequence: extreme evil exempts an agent from moral responsibility. This is a reductio of the view. Moreover, in some cases our emotional reaction to an evildoer’s history clashes with our emotional expressions of blame. Anyone’s actions can be explained by his or her history, however, and thereby can conflict with our present blame. Additionally, we (...) too might have been evil if our history had been like the unlucky evildoer’s. Thus, our emotional responses to the evildoer compromise our standing to blame them. Since Strawson’s view demarcates moral responsibility by moral emotional responses, his view appears to be self-defeating. In this paper, I defend the Strawsonian view from the reductio and self-defeat problems. I argue that two emotions, disgust and elevation, can be moral reactive attitudes in Strawson’s sense. First, moral disgust expresses neither blame nor exemption from responsibility. Instead, moral disgust presupposes blameworthiness but is instead a distinct response to the extreme wrongdoer. Secondly, moral disgust involves self-directed attitudes that explain away our apparent lack of standing to blame the evil agent. The structure of disgust as a reactive attitude is mirrored along the positive dimension by the emotion that Haidt has called “elevation”, a feeling of moral inspiration. I conclude by defending my view from objections about the moral appropriateness of disgust. (shrink)

According to the Doctrine of Doing and Allowing, the distinction between doing and allowing harm is morally significant. Doing harm is harder to justify than merely allowing harm. This paper is the first of a two paper critical overview of the literature on the Doctrine of Doing and Allowing. In this paper, I consider the analysis of the distinction between doing and allowing harm. I explore some of the most prominent attempts to analyse this distinction:. Philippa Foot’s sequence account, (...) Warren Quinn’s action/ inaction account, and counterfactual test accounts put forward by Shelly Kagan and Jonathan Bennett. I also discuss Jeff McMahan’s account of the removal of barriers to harm. I argue that analysis of the distinction has often been made more difficult by two mistaken assumption: (1) the assumption that when an agent does or allows harm his behaviour makes the difference to whether or not the harm occurs (2) the assumption that the distinction between doing and allowing and the distinction between action and inaction are interchangeable. I suggest that Foot’s account is the most promising account of the doing/allowing distinction, but that it requires further development. (shrink)

This article raises the critical issue as to why there has been assumed to be a boundary to legal knowledge. In response to such an issue I focus upon the works of Jacques Derrida who, amongst other things, was concerned with the boundary of the disciplines of Literature, Philosophy and Law. The article argues that the boundary delimits the law as if the inside of a boundary to territorial-like legal space in legal consciousness. Such a space is not possible (...) without the boundary. Derrida’s most insightful essay in this regard is his study of Franz Kafka’s untitled parable in The Trial. The parable represents a man who waits for an invitation to enter the Law until he nears his end. Derrida responds to the parable in his essay, “Before the Law.” This article uses the parable and Derrida’s response to it as a starting-off point for a reconsideration of the boundary of legal knowledge. In this context, Derrida asks this question: “why is Kafka’s parable categorized as Literature or Law?” Such an issue depends upon the boundary of a discipline, according to Derrida. And that focus, in turn, asks whether the boundary pre-exists any text which is represented as “Literature” or “Law” or “Philosophy.” This article claims, however, that Derrida’s theory presupposes that law, as a discipline, encloses a territorial-like space in legal consciousness. Each discipline possesses such a space. So too does the state and the university. Inside this bounded space, officials of the Law are free to consciously deliberate, reflect, and render decisions about the context of the Law. Analytically and phenomenologically before the boundary is taken for granted in an academic discipline, however, there is an unbounded non-law. The aporia of Derrida’s theory of the boundary of the Law is that the official or expert knower of the official language inside the boundary cannot assume the imagined boundary of legal knowledge without implicitly claiming to know the exteriority to the boundary. And yet, officials and expert knowers cannot know such an exterior extra-legality because, by virtue of the boundary as encircling a territorial-like space, knowledge is considered legal only when it exists inside the boundary. “The Law” is the consequence of the imagination of the expert knowers of the language as well as of the non-expert who believes in the bounded territorial-like space. (shrink)

Syed Abdul Malik (1919-2000) was an uncrowned emperor of Assamese literature. He started his literary career in the early forties and enriched Assamese literature with short stories, novels, poetry and other writings spanning over five decades. In terms of statistics of fictional work, Syed Abdul Malik was unrivalled. No other writer has contributed so extensively towards the growth of Assamese literature as he did. Malik’s contribution to Assamese literature, particularly in the sphere of novel and short (...) story, is indeed noteworthy. He is a distinguished writer among the fiction writes of the pre as well as post world war period who have successfully depicted the problems of man and the society. (shrink)

In this paper I will argue that Spinoza's metaphysics reflects the Kabbalist metaphysical system. In much of the contemporary literature, the influence of early modern thinkers such as Descartes has been aggrandized to the detriment of other influences on his thought, such as the Kabbalistic tradition. I will argue that there is strong historical evidence to suggest that Spinoza was exposed to and engaged in Kabbalah, such as his references to Kabbalah in his works and letters, the books he (...) owned and the opinions of his contemporaries. Secondly, I shall argue that Spinoza's metaphysical system mirrors Kabbalistic metaphysics. Although some concepts are substituted and alternate methodologies adopted, I advocate that the mechanics of the two systems are strikingly similar. I posit that Spinoza sublates the Kabbalist system into an atemporal form. Finally, I argue that reading Spinoza through the lens of Kabbalah can elucidate some of the obscurities in his work and can solve problems that seem to arise when determining the relationship between God and attributes and can explain seemingly anachronistic metaphysical concepts which scholars have located in Spinoza’s oeuvre. (shrink)

The linguistic turn is a central aspect of Richard Rorty’s philosophy, informing his early critiques of foundationalism in Philosophy and the Mirror of Nature and subsequent critiques of authoritarianism in Contingency, Irony, and Solidarity. It is argued that we should interpret the linguistic turn as a methodological suggestion for how philosophy can take a non-foundational perspective on normativity. It is then argued that although Rorty did not succeed in explicating normativity without foundations (or authority without authoritarianism), we should take (...) seriously the ambition motivating his project. But taking that ambition seriously may require reconsidering the linguistic turn. (shrink)

This article aims to understand the views of three prominent figures in existential literature and philosophy: Albert Camus, Søren Kierkegaard, and Fyodor Dostoevsky. The analysis focuses on exploring and explaining fundamental concepts of their philosophies, such as morality, the meaning of life, and the relationship with the divine, in order to establish a dialogue among these three authors. The underlying thread connecting these thinkers is the Socratic figure of speech, irony. Through the examination of contradictions and ironic elements present (...) in their works, the article highlights the significance of irony as a central core in their ideas, encompassing both academic discourse and the realms of literature and symbolism. The comparative method employed goes beyond contrasts, also emphasizing points of contact between the ideas expressed through the stages of existence and the personalities of the protagonists in their novels. The initial sections for each author introduce the basic concepts for general understanding. Subsequently, the main ideas are explored through analysis of their masterpieces, leading to a comparative dialogue among them. Contrasts involve the perspectives embodied by characters like Alyosha Karamazov, Meursault, and Zosima, showcasing the authors' opinions, reflecting the zeitgeist, and highlighting their divergences, ultimately providing a comprehensive view of how they influenced and criticized each other within the philosophical tradition. (shrink)

Rabindranath Tagore (1861–1941), one of the greatest contemporary Indian thinkers, discussed the problem of religion and faith on the ground of global pluralism and religious diversity. He presented his views in numerous poetical works (including Gitanjali, a collection of Song offerings translated into English, for which he was awarded with the Noble Prize in literature in 1913), but he also delivered many speeches, mostly addressed to the Western audience (e.g. The religion of Man). In his writing, Tagore often uses (...) the terms “religion” and dharma interchangeably. This article focuses on both key terms and on the question whether they may be seen as equivalent according to him. Does he really equalize both terms? or, How was his understanding of “religion” and dharma influenced by his cultural background? The article opens with the analyse of the dictionary definitions of both key terms. Next, at the basis of dictionary explanation the main question is raised: whether “religion” and dharma could be treated as equivalents in their whole range of meanings or should their understanding be limited to a chosen definition or definitions? In the following section, Tagore’s concept of the so called “Man the Eternal” and “Divinity in Man” is briefly described. Final comments include some remarks on both terms explained in the light of Tagore’s view on comparative methodology. He claims that “religion” and dharma are close in meaning, since they both stand for the rational description of the individual experience of divinity. Therefore, they may ultimately lead to the common end, regardless their different cultural roots and various circumstances in which both concepts developed. Tagore argues for freedom as the preliminary condition for understanding of the phenomenon of transcendence of human nature towards the experience of divinity. He understands freedom as perfect harmony realized in this world but not merely through our response to it in knowing but in being. Only when such an approach is accepted the experience of “Man the Eternal” can be achieved. In this respect all human beings may meet, regardless they come from Western or Eastern culture. Such an exposition of the core of religious experience allows us to use the terms of “religion” and dharma interchangeably, and thus contribute to the comparative methodology in religious studies. (shrink)

Where Gillo Dorfles sees an ‘aesthetic quotient’ able to promote a right relationship between man and nature, and nature and artefact, the concept of objectualization accounts for the ambivalent consequences of man’s appropriation of nature, occurring in the shaping of reality. This concept appears in the arts but also in the production of ordinary man-made objects. The latter recalibrates our own understanding of art and nature. Starting from a definition of objectualization, the hypothesis of an equation between ar- tificiality and (...) aesthetics will be found. Taking into account Dorfles’s claim about redeeming the unnatural as nature in its being the product of man’s creativity, we will assess his works focusing on the case of the artefact and graphic-musical object. Dorfles’s theory will be applied without following the different levels of analysis entirely: phenomenological, since the relationship between men, objects and machine is intentional; functional, as art depends on the role, determining a significance inside social condition, but on a symbolic or formal level, insofar as determining a stable presence of the significance at the level of the aspect, the shape becoming a mirror of men. In the end our own aesthetic constitution will be found together with the recalibration of the relationship with nature and the world through an idea of form combining artificialness and naturalness. (shrink)

Values are an important part of human existence, his society and human relations. All social, economic, political, and religious problems are in one sense is reflection of this special abstraction of human knowledge. We are living in a globalized village and thinking much about values rather than practice of it. If we define religion and spirituality we can say that religion is a set of beliefs and rituals that claim to get a person in a right relationship with God, and (...) spirituality is a focus on spiritual things and the spiritual world instead of physical/earthly things. If we think rationally we can find the major evils related to religion exiting in present society are due to lack of proper understanding of religion and spirituality. If we really know our own religions and values associated with it, we can create a beautiful world, full or love and respect for each and every human being. The proper knowledge and practice of any religion’s values can make an integrated man. In the book, The Buddha and His Dhamma, Dr. Ambedkar elucidated the significance and importance of Dhamma in human life. The Dhamma maintained purity of life, which meant abstains from lustful, evil practices. The Dhamma is a perfection of life and giving up craving. Dhamma’s righteousness means right relation of man to man in all sphere of life. The basic idea underlying religion is to create an atmosphere for the spiritual development of the individual. He said that Knowing the proper ways and means is more important than knowing the ideal. The major objective of this paper is to the study the religious philosophy of Dr. B.R. Ambedkar and to study how he established that religious and spiritual values enables religious people in particular and humanity at large to solve contemporary problems. (shrink)

In many of his writings and lectures Ortega y Gasset criticized Darwinism on numbers of issues. In this paper I aim to reexamine his critique and to prove that in 1916 the harsh critique was designed to hide the similarity between his ideas and Darwin's idea of Natural Selection. The origins of Ortega's idea on the vocation of man can be traced in his dialogue with Darwin in the year 1916. In the historiography his Philosophy of Life is conceived as (...) a metaphysics that stands beyond biological and any other natural explanation. My contention on the other hand is that Ortega's concept of the vocation of man is an elaboration of Darwin's Natural Selection. I will try to show that in 1916 Ortega conceived the human character and the vocation of man as a product of Natural Selection. Instead of following Ortega's critiques on Darwin and his effort to show that there is no connection between his Philosophy of Life and Darwinism the article proposes to reconsider Ortega's thought as a constant dialogue with Darwin's theory of Natural Selection. The Change in Ortega's conception of Darwin's evolution came rather late in his thought and in the first section we will see how Ortega described technology in a manner that allows the human subject to change the environment in his favor. (shrink)

Religious experience is one of the fundamental problems of the philosophy of religion. Although it has entered the literature as a proof of God; discussions focus on its nature. The basic approaches to the nature of religious experience are: religious experience as a feeling, religious experience as a perception, religious experience as a comment. The main reason that makes the nature of religious experience controversial is that it consists of two concepts that have a wide range of meaning, such (...) as religion and experience. The meanings that individuals and traditions attach to these two concepts determine the understanding of religious experience. The beginning of religious experience as a term corresponds to the periods of Protestantism. With the emphasis of Enlightenment on the mind, the meanings attributed to religious experience have been reduced and narrowed. In the literature, religious experience is unclear, cannot be transferred to others, instant and extraordinary experiences. The preliminary acceptance of this article is that the meanings attributed to the term religious experience are narrowed and it is wrong to use the term in the same sense for different traditions. This article assumes that the reader knows the current discussion of the problem. Rather than reacting to the concerns of current debate, it takes a more proactive and pre-opener approach. Rather than reacting to the concerns of the current debate, it takes a more proactive approach to the subject. This paper will present a different reading of religious experience than the literature as a problem of the Philosophy of Religion. In this context, the concept of God, universe and human being in al-Ghazali will be firstly revealed as the ontological background of religious experience; then a description of the concept of religious experience will be proposed on this ontological basis. If you mean an experience related to religion, which is within religious boundaries with religious experience; Islam for a Muslim, that all experiences that cater to all aspects of human existence and religious boundaries cannot be the person to enter into any human experience that is experienced throughout the religious life. Certainly, here we can talk about the experiences that religion has ordered and forbidden, or in other words, experiences that religion regards as positive or negative. If an experience related to God is meant for religious experience, here are two cases: when the truth comes to the essence and attributes of God, the human experience does not reach there and in this sense, a religious experience is not possible. If the acts of God are mentioned; all the experiences that people live in are religious in this sense, because everything outside of their own is a deed of God, and whatever happens in the world of being, takes place within God's deeds. Here, too, whether or not people are aware of it, can be mentioned in other words, from conscious and unconscious religious experiences, which is the deciding factor. Faith, then, can be regarded as the first step of the conscious religious experience. If you are referring to experiences that seem to be unusual for those who are religious and have no religious experience, it is an extraordinary experience to go on a journey itself, compared to not going on a journey. That is to say, the faith itself, which is to ascend to a journey to perfection, is an extraordinary experience compared to those who are not on this path, that is, those who do not have it. For instance for children, the experiences of the elders are extraordinary, and therefore being ordinary and extraordinary is a relative concept. It is necessary to acknowledge the differences in conscious religious experiences mentioned above in the meaning of intense and deep living in themselves. There is a deeper and more intense experience that expresses progress in a journey that leads to God in the sense of the strengthening of faith. This is the kind of experience that most people have not experienced in this sense that the task of the person who is experienced in his own journey is not to stick to them and continue on their way. So living out of order for a Muslim is seen as a barrier that must be encountered and which should not be lingered on, while experiencing something extraordinary has a distinctive place for religious experience in current debates. The issue is not that they cannot be explained but they are not deliberately explained due to the fear of misunderstanding. This can be regarded as a method of education that older adults use to train minors. As a result, if we would define a religious experience according to al-Ghazali, we can say that religion is a journey made towards God, and religious experience is the experience of traveling to God. Traveling to him means to get close to Him, but this approach is not in spatial means but in perfection means. So, religious experience is the journey to perfection of the man himself. Man's perfection is to have the attributes of God who have absolute perfection. These attributes are present in man's own essence. What a person must do, is to place an effort to make these virtual adjectives real. This journey is basically an existential necessity as it provides the happiness that is essential to human existence. In this journey, which can be understood as becoming a human being who was born as a human being. It should also be added that it is not possible to be absolutely perfect and to reach the reality of God himself in this endless journey of perfection. Therefore, the absolute perfection belongs to God, and it is necessary to understand the concept of perfect human being as a person who has traveled in the journey to perfection. (shrink)

The pivotal point in the Austrian literature on homogeneity, choice and indifference was constituted by Nozick’s On Austrian Methodology. Nozick provoked a long debate on the above notions within Austrianism. The aim of this paper is to elaborate such an account of homogeneity that would take the sting out of Nozick’s challenge and allow for non-trivial formulation of the law of diminishing marginal utility. Hence, we shall first take a closer look at the debate on indifference within the Austrian (...) camp, while defending and building upon the Hoppean account vis-à-vis Block’s criticism. Our justification of the Hoppean position shall consist in showing that his account of the correct description of an action is not an ad hoc move aimed at solving just one problem of indifference but is highly intuitive and widely applicable. We conclude by restating the above-mentioned law, thus demonstrating that the Nozickian objection can be successfully replied. (shrink)

The affection of the Prophet by the ummah (belivers) contributed to keep his words on the agenda so that various formations had emerged. these formations displayed themselves especially in the field of literature. Specifically, variety in the forty hadith literature can be example of this. New‘î who was the literary man and professor of Ottoman’s in the 16. Century and produced the Works of İslamic Science and literature. In this study, the work of New‘î which is about (...) the forty hadith written in poetic has diffused and it is tried to give information about the index of that work. Also, translations and the classic sources of the hadith which given in the work are shown in tabuler form. In addition to this, the author and his Works have tried to explain with some previously unknown topics. Lastly, it has been tried to correct misplaced issues. (shrink)

During the Renaissance, psychology was enriched and refined by the recovery of ancient texts. The study of the soul became critical for the understanding of man and supportive to other fields of philosophy. Utopian texts refer to the soul and its significance for human nature. Almost all the writers of utopian texts focus their attention on the question of the immortality of the soul. In this position, they rely heavily on the happiness of their state, since, without faith in the (...) immortality of the soul, the citizens will be led to wrongdoing and illegality. It is interesting enough that these writers do not attempt to prove the immortality of the soul through rational argumentation. Their main concern is the imposition of this doctrine in order to strengthen the state. (shrink)

How does it feel to be a worm? No doubt, it feels Kafkaesque. The metamorphosis (1915) is a story of an ordinary man, Gregor Samsa, who wakes up one morning as an ungeheures Ungeziefer or ‘giant vermin’. Is this only a bodily change, or has his mind been transformed as well? And how do the people around him cope with this transformation? In this paper, I am going to examine these issues by using tools from Franz Brentano’s (1838–1917) and Anton (...) Marty’s (1847–1914) philosophy of mind and language. Rumour has it that Kafka’s stories were not only products of his own troubled soul, but were also profoundly influenced by the work of these two philosophers. In my paper, I will cover the following issues: the influence of Franz Brentano on Anton Marty and a fortiori on Franz Kafka (1883–1924), who was Marty’s student in Prague (and in this way, saying something about the School of Brentano); Brentano’s and Marty’s theory of correct and incorrect emotions, and its traces in Kafka’s The metamorphosis; Marty’s philosophy of language and communication as reflected in Kafka’s writings; and Brentano’s reism in comparison to Kafka’s nominalism, on the basis of Roberto Calasso’s interpretation of Kafka. (shrink)

This paper argues for a re-evaluation of the relationship between Berkeley and his predecessor, the neo-Aristotelian thinker John Sergeant. In the literature to date, the relationship between these two thinkers has received attention for two reasons. First, because some commentators have attempted to establish a causal connection between them – specifically, by focusing on the fact that both thinkers develop a theory of ‘notions’. Second, because both Berkeley and Sergeant develop ‘anti-representationalist’ arguments against Locke’s epistemology. The first issue has (...) received much greater attention, particularly from commentators seeking an explanation for Berkeley’s use of the term ‘notion’. Only one scholar, G. A. Johnston (in 1923), has considered Berkeley and Sergeant’s anti-representationalism in any depth. In this paper, I argue that the weight given to the causal connection between Berkeley and Sergeant’s ‘notions’ is misplaced since the evidence in favour of this connection is weaker than is usually acknowledged. Instead, I build on Johnston’s analysis of the conceptual connection between Berkeley and Sergeant’s anti-representationalism. I first corroborate Johnston’s claim that there are striking similarities between their criticisms of Locke before going beyond that analysis by identifying two important similarities between their anti-representationalist arguments. (shrink)

In the context of feminist and postmodern thought, traditional conceptions of masculinity and what it means to be a “Real Man” have been critiqued. In Genevieve Lloyd's The Man of Reason, this critique takes the form of exposing the effect that the distinctive masculinity of the “man of reason” has had on the history of philosophy. One major feature of the masculine-feminine dichotomy will emerge as a key notion for understanding the rest of the paper: the dichotomy of reason-feeling, a (...) parallel and a foundational aspect to the dichotomy of masculinity and femininity. In exploring the history of symbolic conceptions of masculinity in ancient Greece, the Renaissance, and the present, one finds that the oppression of women is integrally linked to the traditional tie between masculinity and reason. There have been many efforts in recent feminist philosophy to rewrite or redefine “Woman” in such a way as to alleviate the oppression of women. I argue that the effectiveness of rewriting Woman for this purpose is problematic, primarily because any rewriting of this type must occur in the current historical context of hierarchical dualisms, like Man-Woman, masculine-feminine, male-female. These binary oppositions arguably find their roots in Pythagorean philosophy and can be traced through the Renaissance to our current historical context. It is these dualisms that have traditionally valued the masculine side of the Man-Woman dichotomy more than the feminine. Further, it will be argued that the hierarchical dualism of Man and Woman is so pervasive that if we rewrite or redefine the inferior, deprivileged side of that dualism, we cannot correct its devalued status. Instead, we redefine that which is undervalued but retain its devalued status. This particular aspect of attempts to critique hierarchical dualisms like reason and feeling has been reflected in the writings of many feminists, male and female. This paper will show that in cases where women attempt to redefine the dichotomy by revaluing the traditionally feminine (like feelings and emotions) over the traditionally masculine (like reason) their work is often mistakenly criticized for being purely political; conversely, when men attempt to redefine the same dichotomy in an attempt to allow men to “get back in touch with their feelings,” to be nurturers, their work is described in terms of providing a better epistemology. The current literature on masculinity explores alternatives to rewriting or redefining Woman that try to avoid the problem of status remaining with redefinition. This alternative is rewriting or redefining Man. Through redefining Man, one may be able to reconceptualize the privileged side of the hierarchical dualism in such a way that it is no longer privileged. Deprivileging, as well as redefining Man, is argued by theorists of masculinity to be possible because while the devalued status of the inferior side of a hierarchical dualism tends to keep the same status when redefined, it may be possible to redefine the privileged side of the dualism in such a way that it loses its privileged status. Unfortunately, many of these attempts to rewrite or redefine masculinity have detrimental faults of their own. Finally, this paper will discuss more promising possibilities for new definitions of Man, as well as a vision for better interaction between the work of women and men in general. (shrink)

This chapter will evaluate humor used with the specific intent to reveal glaring epistemic errors that lead to injustice; flaws in reasoning so transparent that straightforward logic, argument, and evidence seem ineffectual against them, and in some cases, just silly to think such tools would be needed. Laughter seems to be one of the only sane responses. In particular, I will assess how humor can combat conspiracy theories, propaganda, lies, and bullshit. The last one I view in Harry Frankfurt's sense (...) of a complete lack of concern for truth or reality, which I think sums up former President Donald Trump's epic lack of curiosity which has a trickle-down effect on his ardent followers. The sort of conspiracy theories I will focus on are an intermingling of propaganda, well defined and analyzed by Jason Stanley in his work How Propaganda Works, and the "new conspiracism", outlined by Muirhead and Rosenblum in A Lot of People are Saying: The New Conspiracism and The Assault on Democracy. There are perils with this potency of pugilistic comedy. It is easy to punch up, humorously fume at the foibles and fantastical blunders of a world leader who seriously considers ingesting bleach to combat the plague, who also, without irony, regales us of his capacious mnemonic prowess in recalling the following words on a cognitive test: "Person. Woman. Man. Camera. TV." The self-proclaimed "stable genius" aced it. But when Trumpism and QAnon e.g., spreads among many who are impoverished and disempowered, the very people to whom Trump and others in his powerful orbit have incessantly lied, it becomes less clear how to wield truth-and justice-seeking wit. Are consciousness-raising comedians seeking to uncover and undermine obvious and dangerous falsehoods punching in the morally correct direction, and how can we tell? (shrink)

Whether Albert Camus’s “existentialist” thought expresses an “ethics” is a subject of disagreement among commentators. Yet, there can be no reading of Camus’s philosophical and literary works without recognizing that he was engaged in the post-WW2 period with two basic questions: How must we think? What must we do? If his thought presents us with an ethics, even if not systematic, it seems to be present in his ideas of “remaking” both man and world that are central to his The (...) Myth of Sisyphus and The Rebel. Curiously, however, this apparent recommendation is ambiguous for the fact that while Camus proposes as much he does so “comme si,” i.e., form a perspective of “as if.” A clarification of this qualification is presented here in the light of the fact that Camus rejects any nihilist project that countenances either suicide or murder. Thereby one may argue that Camus indeed has an ethics that remains pertinent to today. (shrink)

This article examines Machiavelli’s image of humanity. It argues against the prevailing views that characterize it either as pessimistic or optimistic and defends the thesis that the Florentine has a realist image of humanity. Machiavelli is a psychological egoist who conceives of man as a being whose actions are motivated by his drives, appetites, and passions, which lead him often to immoral behavior. Man’s main drives are “ambition” (ambizione) and “avarice” (avarizia). This article also investigates Machiavelli’s concept of nature and (...) shows that, for him, the constancy of human nature is the central premise that makes the scientific analysis of politics possible. Despite the fact that human drives and capabilities are the same at all times, good laws, military training, and religion allow man to be changed and educated toward “virtue” (virtù). To make such changes in man, however, presupposes a good legal and political order. Machiavelli justifies the state because of its capacity to reshape human nature and to improve man. The state is not only a coercive power but a moral institution. This leads to the conclusion that Machiavelli does not separate politics from morality as most scholars claim. (shrink)

The painful and tragic experience of the African- Americans in the United States of America led them to struggle for and establish an identity of their own. The survey of the history of the African- American people in different geographical spaces such as the African homeland, the middle passage, the American South and then the industrialized North, presents a picture where identity has been the foremost casualty in a history of displacement and migration, embittered by a conflict with the majority (...) voice, engaged in a struggle for survival against unexpected suffering. The tragedy was that the African- American’s quest for identity began over the things for which he himself was not responsible- his black colour, his race, his ancestors, and his physic. All this led the black men to turn himself into an object. It is under such circumstances that an unending and always expanding quest for identity began. Both the African- American men and women were the victims but there is a marked difference in their approach. While the men had to fight only in terms of race and class, the women were additionally burdened with the issues of gender as they saw that it is not only the white man but also the black man who often ill-treated them or misrepresented them in the literature. (shrink)