Madness and Modernism is undoubtedly one of the most profound and perspicacious treatments of an illness that is utterly baffling to most laypersons and academics alike. Sass artfully brings together two obscure, complex, and unnerving realms -- the schizophrenic and the modern and postmodern aesthetic -- into mutual enlightenment. The comparisons between schizophrenic symptoms such as loss of ego boundaries, perspectival switching, and world catastrophe with modern literature and art is so adroit that it is almost eerie. The reader finds (...) herself peering into a borderline incomprehensible realm with increasing levels of clarity, by which she gains insight into the utterly chaotic, confused, and bizarre. The lucidity Sass brings to the obscure and confused is a reflection of the many contradictions he introduces to his readers as being entirely paradigmatic of both madness and modernism: that of desiring human contact but also shunning it entirely, of being both afflicted by disease but also exercising a sort of agency, and indeed, an ideal intellectual freedom within the confines of such an affliction, of moving both towards an objectifying materiality of the external world and a total subjectivization of perception, of the tendency towards the hyperabstract and the utterly concrete (between being too "far away" or "too close," respectively). Sass is able to make sense of a world in which these contradictions exist side by side simultaneously, and the disconcerting confusion this causes is palpable to the reader. Sass demonstrates not only his penetrating intellect, but also his unwavering patience and empathy, both in the treatment of the subject matter and the treatment of the subjects suffering from this extraordinary illness. The book is required reading for anyone interested in phenomenological psychiatry, or even psychiatry more generally. (shrink)

I argue that the reception of Hegel in the sub-field of history and philosophy of science has been in part impeded by a misunderstanding of his mature metaphilosophical views. I take Alan Richardson’s influential account of the rise of scientific philosophy as an illustration of such misunderstanding, I argue that the mature Hegel’s metaphilosophical views place him much closer to the philosophers who are commonly taken as paradigms of scientific philosophy than it is commonly thought. Hegel is commonly presented (...) as someone who conceived of philosophy as a science that relied on the solitary genius of the individual thinker, and as a science whose propositions could not and should not be made accessible to “the common people”. Against this view, I argue that Hegel in fact thought that philosophy was a thoroughly anti-individualistic activity, and that he emphasized the importance of the intersubjective accessibility of philosophical discourse. I argue that when we carefully reconstruct Hegel’s reasons for his break with Schelling, and if we pay close attention to his explicit metaphilosophical pronouncements, we can see that he in fact adhered to what I call a “proto-modernist” conception of philosophy as a science. I conclude by pointing out how the mischaracterization of Hegel has served to obscure the existence of a strand of scientific philosophy that emerged by way of an immanent critique of Hegel, namely Marxist philosophy. (shrink)

From the publisher: -/- This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today. -/- In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that (...) exclude the world outside. But through careful attention to early twentieth-century connoisseurship, aesthetics, art education, design, and art in colonial Nigeria and India, Rose builds an expanded account of form based on its engagement with the social world. Art and Form thus opens discussions on a range of urgent topics in art writing, from its history and the constructions of high and low culture to the idea of global modernism. Rose demonstrates the true breadth of formalism and shows how it lends a new richness to thought about art and visual culture in the early to mid-twentieth century. -/- “This book is a gem. It gives the most comprehensive and accessible account of the importance of form in the last hundred years of writing about art. It should be compulsory reading not just for art historians, but also for aestheticians and anyone interested in visual culture.” —Bence Nanay, author of Aesthetics as Philosophy of Perception -/- “This is an exceptionally wide-ranging and successful study of a central topic in the history of modernism. Rose moves with enviable facility between archival research and historical concerns and a crisply incisive discussion of the status and integrity of the key ideas. The final section, which extends the story outward into new areas, will be an invaluable spur to future research.” —David Peters Corbett, author of The World in Paint: Modern Art and Visuality in England, 1848–1914 -/- “It’s time we had a sophisticated account of form in the modern visual arts to replace the crude caricatures that have dominated the literature on so-called modernist formalism. Sam Rose supplies this with precision (in his careful readings of modernist texts that have too often been oversimplified) and imagination (in relating them to wider, sometimes surprising, contexts). Demolishing the notion that formalism must be escapist, he provides a cogent explanation for how the study of the Old Masters could go hand in hand with the theorization of a modern art. This lucidly written book not only challenges preconceptions about formalism but shows why we cannot ignore the question of form in discussions of the visual arts up to and including the present day.” —Elizabeth Prettejohn, author of Art for Art’s Sake: Aestheticism in Victorian Painting -/- “A brilliant and timely account of aesthetic form and formalism. Debates about form are fundamental to modernism, and indeed to the story of the arts in the twentieth and twenty-first centuries, yet until now we have been lacking a sustained investigation of how this came to be. Art and Form is a great work of art history, and it will also prove indispensable to literary scholars, philosophers, and cultural critics.” —Rebecca Beasley, author of Ezra Pound and the Visual Culture of Modernism. (shrink)

In its etymology and in popular discourse, the term ‘avant-garde’ is commonly associated with a future temporality, while in art-historical discourse, it represents a tradition of modernist innovation, periodised as ‘historical avant-garde’ and ‘neo-avant-garde’. Since this historical periodisation was first established in the 1950s, the avant-garde’s futurity has been repeatedly disputed, bringing the very notion of an avant-garde into question. This thesis takes as its starting point the predicament of ‘an avant-garde after the avant-garde’ as a means to investigate (...) the philosophico-political implications of a historical temporality marked by ‘afterness’. Writing in critical dialogue with scholarship that has articulated the avant-garde as a notion of historical time, the thesis modifies the parameters of this scholarship by foregrounding the category of historicism, and by reformulating the avant-garde as a notion that both resists and inhabits historical periodisation. As a study at the disciplinary intersection of comparative literature and critical theory, 'Ahead of its Time' proceeds via close readings of selected theories of the avant-garde (German literary scholar Peter Bürger’s foundational Theory of the Avant-Garde in the 1970s; British art theorist John Roberts’ formulation of a ‘suspensive avant-garde’ in the twenty-first century; and the intellectual debates of the Italian circle Neoavanguardia in the 1960s), while also mobilising the critical resources available in the thought of Walter Benjamin. Through a non-linear, comparativist critical analysis that discusses these theories in, and as, a Benjaminian constellation, the thesis proposes the avant-garde as a relational, indexical category that is constitutively split between historical continuity and historical rupture. In this manner, 'Ahead of its Time' revisits the broader question of mediation between universality and particularity, and by recasting it in temporal terms, it advocates a chronopolitics of singularity, whereby the avant-garde’s split between continuity and rupture also reveals the ethically-necessary relationship between self-determination and contingency. (shrink)

In this radical critique of contemporary social theory, Eugene Halton argues that both modernism and postmodernism are damaged philosophies whose acceptance of the myths of the mind/body dichotomy make them incapable of solving our social dilemmas. Claiming that human beings should be understood as far more than simply a form of knowledge, social construction, or contingent difference, Halton argues that contemporary thought has lost touch with the spontaneous passions—or enchantment—of life. Exploring neglected works in twentieth century social thought (...) and philosophy—particularly the writings of Lewis Mumford and Charles Peirce—as well as the work of contemporary writers such as Vaclav Havel, Maya Angelou, Milan Kundera, Doris Lessing, and Victor Turner, Halton argues that reason is dependent upon nonrational forces—including sentiment, instinct, conjecture, imagination, and experience. We must, he argues, frame our questions in a way which encompasses both enchantment and critical reason, and he offers an outline here for doing so. A passionate plea for a fundamental reexamination of the entrenched assumptions of the modern era, this book deals with issues of vital concern to modern societies and should be read by scholars across disciplines. Robert Bellah: "This is an original, incisive, and badly needed book. In prose as vigorous as his argument, Halton addresses issues urgent in many disciplines, as well as in our common culture." "Halton takes the 'ghost in the machine' as a dominant defining metaphor for modern thought and life, and criticizes it with gusto, wit, wide reading, and philosophical acumen."—Robert J. Mulvaney, _Review of Metaphysics_. (shrink)

Mohammad Arkoun (1928-2010) Muslim intellectual, offered "Islamic Criticism" projects, "Applied Islamology" and finally the "Critical Rational Future" project "Negar" with the aim of reviewing and transforming the understanding of the religious text and offering solutions to overcome the decline of Islamic civilization. His main scheme is the critique of Islamic reason, but the methodology is Applied Islamology. Arkoun projects are one of the first projects in the Islamic-Arab world, which have read the religious text based on new Western approaches. Research (...) Methods and Questions: This study uses a descriptive-analytical approach to examine the impact and application of Western approaches in religious texts reading in the thought of Mohammad Arkoun. The questions considered in this research are: What are the most important practical approaches of Arkoun in religious texts reading? What is Arkoun 's aim using different Western approaches to read religious texts? What are Arkoun 's approaches in the Applied Islamology project? The aims of this research is to study the Western approaches considered by Arkoun in the field of religious texts reading and to examine the impact and application of Western approaches in the Applied Islamology project of Arkoun. Findings: Arkoun projects in particular Applied Islamology include a set of approaches such as structuralism, genealogy, poststructuralism, hermeneutics, etc. His ultimate aim in applying various Western approaches is to provide an active and capable methodology for critical of religious texts reading, definite break from dogmatic and Orientalist perspectives and also to replace these studies with studies based on positivist methods and traditional philology. Among all practical approaches of Arkoun in the field of reading religious texts, there are three approaches that have many manifestations in his thoughts and projects: First, the linguistic-semiotic approach to the study of the foundational age, second, Foucault's paleontological approach to read contemporary Islamic-Arab modern thought and third, Historical-Sociological Analysis for the study of Islam as a social phenomenon and the Events of the history of Islam after the Prophet (PBUH). (shrink)

One of the challenges faced by philosophers throughout history of philosophical thoughts, has always been and is to find an adequate answer to the question of quiddity and existence of time and space. Thus, the present study aims to elaborate on the question of space and time in Mulla Sadra’s philosophy and its relationship with outcomes of modern physics. The study also intends to conduct an analytical comparison between these two views and clarify newer aspects of this complicated and vague (...) question. According to principles of his thought system in his ontology and particularly his theory of substantial motion, Mulla Sadra’s view toward time has a closer concordance with findings of modern physicists like Albert Einstein. One of the most noticeable achievements of the present paper, considering ontological view of Mulla Sadra toward time, is to reach a comprehensive and vast view of the question of space and time covering space-time approach of theory of relativity and having the common issue of time in mind, develops an image of unity and connectivity of the world of nature with the four dimensions. The present study uses a documentary analysis research and uses library resources. The prominent works of Mulla Sadra and Einstein’ works on the Theory of Relativity were the main sources for this study. It is hoped that this view not only reveals further philosophical aspects of the issue of time but also help uncover newer approaches for physicists. (shrink)

The relation between science and religion has been one of the most important disturbance of scientists in recent centuries. Expressing thus issue was started in west countries since renaissance seriously and it expanded to all countries even Islamic countries. Mesbah as a philosopher and an Islamic scientist chooses completion idea which is based on his basis; e.g. philosophical foundations with reasonable relativity, paradigm acceptance which means thought basis, experience acceptance which means revelation and inspiration by innocent, monopoly on legitimacy (...) acceptance with salvations pluralism and behavioral pluralism, general rules of conversation acceptance agreement and required backgrounds and transcendent wisdom. Also, Ian Barbour as a philosopher and a western physicist chooses compilation idea which is based on his basis; e.g. science and religion methodology parallelisms, critical realism, paradigm acceptance which means mindset, religious experience, religious pluralism, philosophic hermeneutic and scanning philosophy. Mesbah leads to separate levels of knowledge in case of its value recognizing and to accept that knowledge is multilevel and is necessary to face systematically in phenomena analysis, but Barbour works on relativity. (shrink)

Seeking for Happiness in Islamic Philosophy and its goal, it can be seen a literal and unanimous answer in philosopher words which reflects combination of worldly(secular) and otherworldly(sacred) happiness that it can prepare temporal and eschatological happiness. But in a deeper investigation we can ask: what is the main purpose? mortal or final dimension of happiness? As a result of the text, it seems that from Al- Kendi to Al- Rāzī the otherworldly happiness is considered as a result of worldly (...) happiness. After Al- Farabi to Al- Tusi the flow of thinking tends to combine worldly and otherworldly happiness. After Al- Tusi and under the influence of him in Nasirian Ethics (Akhlaq-i Nasiri), the changed version of philosophical Islamic Ethics supports eschatological happiness and supposes the worldly happiness as a primary and elementary level which must be considered as healing of mortal life. Matching with this view, it seems that worldly happiness is Abolished, because it changes the balance between and worldly and otherworldly happiness, and also it week the social development instead of increasing individual happiness. (shrink)

In 1948 a legendary debate occurred at the Oxford Socratic Club between C. S. Lewis and Elizabeth Anscombe. In this meeting, Lewis shows that atheistic naturalism is refute in meaning the strict materialism. Anscombe makes three basic criticisms against Lewis' argument:1. Lack of distinction between irrational and non-rrational causes of belief,2. The threat of skepticism,3. Lack of distinction between types of “full” explanations. Lewis and Anscombe's views can be considered in several ways: 1. Despite Anscombe's correct critique, the lack of (...) distinction between irrational and non-rational causes does not solve the problem of naturalism which is an inference belief of other beliefs. 2. Anscombe considers that “if naturalism is correct, there is no valid human argument”, is a skeptical threat to knowledge, while this objection does not problem on Lewis' argument. 3. Contrary to Anscombe's claim, the ommisive approach to other explanations is not a consequence of Lewis's Argument, but the main idea of naturalism itself. 4. Lewis's incorrect analysis of mental states is accidental because he considers the origin of these states to be non-physical. 5. Lewis did not explain well what he meant by “did not explain well what he meant by "the impossibility of evolutionary processes in creating creatures with perception and understanding of creatures without understanding”. By an analytical, comparative and critical insightcan eliminate, correct and reconstruct the weaknesses of Anscombe and Lewis' views. (shrink)

In developing a theory of truth, as the main condition of knowledge, four issues are usually examined: definition or analysis of truth, truth bearer, truth-maker, and relation (in correspondence and coherence theories). A proper theory of truth is the one that affords the explanation of the truth of all types of propositions, and, at the same time, resists the liar paradox. The aim of this inquiry is to analyze Nasīr al-Dīn al-Tūsī’s theory of truth one who is involved both in (...) the liar paradox and in the explanation of the truth of the verity propositions and propositions that are made of intelligibles that have no instance in external world. This inquiry shows, with an analytical approach mostly systematic analysis, that he regards, against the difficulty of the lair paradox, propositions that are other than what they are about as the bearers of truth. Further, it shows that he, against the other difficulty, has two attitudes: first, he desists from the correspondence theory of truth and defines it as “ascription of an ideational thing to what, with its characteristic, is proper for it”; second, he considers the agent intellect to be the truth-maker. Although he regards the correspondence relation as an intentional relation, he does not discuss it much. One explanation could be that the issue of the correspondence relation does not play a serious part in the aforementioned difficulties. (shrink)

The internalism/externalism controversy has various expanding features in contemporary epistemology. In this article we try to show capabilities of philosophy of Sadra for interfering in this debate. The main goal is to rely on principles of Sadra and defend a kind of internalism that consider cognitive access to factors needed for a belief to be epistemically justified as a pivotal condition. It will be proved that for defense of any knowledge, we should accept immediate and direct knowledge to states of (...) mind and this knowledge is superior from threefold propositional knowledge and merely with reliance on division knowledge to present knowledge and propositional knowledge internalism is defensible. Indeed, some ambiguities in internalism/ externalism controversy is due to inattention properties of present knowledge and its separation from propositional knowledge. After that as respects to those properties and also reliance on division knowledge to simple and compound we answer three main difficulties internalism face and display solution for internalist´s contra examples. (shrink)

The most central issue in Imam Khomeini's mysticism is the velayat. The quality of this relationship is one of the important issues of mystical analysis of scholars and its re-reading and explanation can be examined in the context of an important research issue. The present article, with the aim of examining and explaining this relationship and alignment, has tried to examine the texts and knowledge in this field by descriptive-analytical method. Findings of the research indicate that among the mystics who (...) have discussed the velayat, Imam Khomeini (RA) has been very successful in explaining the relationship between mystical velayat with the belief in monotheism, prophethood and Imamate. In fact, Imam Khomeini's mystical worldview provides a mystical explanation of faith in seemingly theological categories that is worth pondering. (shrink)

In the naturalism and evolutionism context, the ultimate objective and function of cognitive faculties is adaptation, survival and reproduction. Our cognitive faculties are not developed to generate true beliefs, therefore, but to have adapt behavior. Alvin Planatinga is not at ease with naturalism idea. To him, the problem with naturalism is the non-existence of proper understanding on the manner by which the belief and behavior are interrelated, thus, he concludes that the reliability of cognitive faculties are founded on low naturalistic (...) evolutionism; because any alleged argument against these faculties, first, requires reliable perceptual faculties and next, if we realize lack of reliability in these faculties we developed self-defeating belief, consequently, in both the cases naturalism face criticism. Plantiga’s criticism on naturalism view as to reliability of cognitive faculties has made some philosophers encounter problems like: 1) high probability of interrelating casual belief and behavior, 2) argument based on personal incredulity, 3) lack of distinction between reflective and non-reflective knowledge, 4) finding independent evidence for reliability as to escape self-defeating, 5) the external status of mental states and 6) the problem of circle. To the authors here, except the problem of circle, Plantiga has been able to find proper answer for the rest of five problems. The objective here is to analyze, complete, expand and criticize Plantiga’s notion in rejecting the atheistic naturalism through the ability to secure cognitive faculties to unveil consistency of the new scientific findings with religious beliefs. (shrink)

After Al-Tusi and his effective work- which is called Nasirian Ethics- Islamic Philosophical Ethics emerges a fixed perspective that tips the balance (scale) in favor of otherworldly Eudemonia and considers worldly Eudemonia as rental land which can be abandoned. Ibn Khaldun tries to present a communicative theory; but his work has limited under the main discourse of Islamic Ethics which is fixed in the space and effect of the mentioned balance. As a consequence, after Mulla Sadra and in Esfahan school, (...) the Nasirian though is developed. then the main challenge is that the social development is slowed diminished in favor of individual Eudemonia. But it seems that Tabatabai in his theory (Constructional Perceptions) shows or reconstructs an almost unanimous consensus which tries to find a compromise between temporal (worldly) and eschatological (otherworldly) Eudemonia. In this paper and according to its descriptive- analytic prospect- with memorizing a historical transformation- Tabatabai 's theory is supposed as an alternative for reconstituting of Islamic Philosophical Ethics, which is based on the popular goodness and civil development. (shrink)

Divine Attributes and their reflection in the flowing of history and its stages is one of the most important issues in the theoretical philosophy of history that has attracted the attention of philosophers of history. This issue has become doubly important because it relates to human free will and the extent and manner of his role in history. This article has tried to examine the three attributes: "Lordship", "Knowledge" and "Will" along with a description of the concept of "Fate and (...) Destiny" (Ghadza' and Ghadar) based on the words of Amir al-Mu'menin Ali (AS), especially in Nahj al-Balaghah, and besides explaining the concept of their sovereignty over the history, proves its incompatibility with determinism. The findings of this study indicate that in the view of Amir al-Mo'menin Ali (AS), if these attributes do not rule over the history, history will decline, and since according to the teachings of Islamic revelation, the free will of man, itself is one of the elements of historical events, believing in the dominance of these attributes does not limit the scope of human free will and formative authority. (shrink)

In this article, it is claimed that it is not possible to find a modern capitalist order in Ancient Greece. This claim is supported by the economic activities and historical findings of the ancient period and it is also shaped by reference to the 'primitivist-modernist debate'. In this context, firstly, Mosses I. Finley's primitivist views that claim capitalism cannot be possible in ancient Greece will be explained by taking into consideration the accounting system, commercial activity, social status, labor usages, (...) and land treatments. Secondly, the article will analyze Michael I. Rostovtzeff’s objection to primitivist ideas, and reveal his thoughts by supporting modernist ideas on the existence of capitalism in ancient Greek. Based on these analyses, it is concluded that it is unreasonable to talk about the existence of capitalism in ancient Greece. (shrink)

This article examines the controversy that has arisen concerning the interpretation of Immanuel Kant's account of European colonialism. One the one hand there are those interpreters such as Robert Bernasconi who see Kant's account as all of a piece with his earlier views on race which demonstrate a certain narrow mindedness in relation to black and coloured people and, on the other hand, there are those such as Pauline Kleingeld and Allen Wood who argue that the earlier writings on race (...) are not wholly typical of Kant's approach and suggest that Kant's later discussions of colonialism in Perpetual Peace and the Metaphysics of Morals provide a better indication of Kant's progressive views on the treatment of non-European societies. The article draws attention to the very strong evidence of Kant's dislike for the pattern of European expansion to other parts of the globe and indicates that within Kant's writings there are the seeds of a wholly unconventional critical understanding of western colonialism that have yet to be developed fully. The article suggests that this critical understanding surpasses the unsystematic objections made to colonialism in post - modernist thought and also the critique proffered by the determinist Marxist account. (shrink)

Adolf Loos is one of the few figures that Wittgenstein explicitly named as an influence on his thought. Loos’s influence has been debated in the context of determining Wittgenstein’s relation to modernism, as well as in attempts to come to terms with his work as an architect. This paper looks in a different direction, examining a remark in which Wittgenstein responded to Heidegger’s notorious pronouncement that ‘the Nothing noths’ by reference to Loos’s critique of ornamentation. Wittgenstein draws a parallel (...) between the requirement to start philosophy with an inarticulate sound and the need, in certain cultural periods, to highlight the borders of tablecloths using lace. Paying heed to Wittgenstein’s remark sheds further light on a Loosian influence at work in his thinking about modern civilization, both in his well-known ‘Lectures on Aesthetics’ and in the earlier notes from his 1930 lectures at Cambridge. (shrink)

In a recent online lecture, the acclaimed novelist Amit Chaudhuri responded to an accusation that has greeted his fiction since the start of his literary career: that since, as he openly admits, his novels contain people and events that are drawn from his own life, they are better thought of as thinly disguised memoirs—as not really novels at all. In this paper, I discuss this charge by drawing on an account by the philosopher Stephen Mulhall of the work of (...) another distinguished novelist—J.M. Coetzee (more specifically, that work which features the character Elizabeth Costello). In particular, I want to establish the pertinence to Chaudhuri’s lecture of Mulhall’s analogy between aspects of that work and the work of the influential art historian and critic Michael Fried on the history of modernist painting. In so doing, I aim to show that the commitment to the projects of literary modernism and realism which Mulhall sees in Coetzee (and Costello), can also be seen in Chaudhuri’s understanding of the sense in which his novels both are, and are not, autobiographical. (shrink)

In this essay, I read Woolf’s To the Lighthouse together with philosopher Cora Diamond’s writing on literature and moral life, writing marked by her inheritance from Wittgenstein. I first attend to Woolf’s commitment (one she shares with Wittgenstein) to grappling with what I take to be signature issues of modernism: question, quest, and a longing for vision or revised understanding as a way of confronting the difficulty of reality. I then probe Woolf’s engagement with these issues by reading her novel (...) in light of Diamond’s essay “The Difficulty of Philosophy and the Difficulty of Reality.” Diamond’s insights about literature’s capacity for ethical instruction, and her discussion in that essay of the experience of an ordinary sublime so painful or astonishing that it resists our understanding and categories of thought, illuminate a new philosophical context in which to understand more clearly and profoundly the stakes and aims of Woolf’s novel. Reading Woolf alongside Diamond also prompts us to recognize important ways in which matters that lie at the heart of To the Lighthouseintersect with the Wittgensteinian preoccupations that inform Diamond’s own thinking—concerns about the ethics of difficulty; skepticism about what other people think and feel; the search for communicative and existential clarity; the capacity of literature and fairy tale to convey a sense of beauty or of the “terrible” in the world; the status of expressions of our ethical experience as necessarily nonsensical; a longing for the sense of wholeness, transformative understanding, wonder, safety, and peace to stave off illusion or despair. One important subsidiary effect of looking at Woolf and Diamond together is that doing so also allows us to make significant oblique connections between Woolf’s thinking and Wittgenstein’s, connections that continue to bring into focus the philosophical sympathies that attest to the mutual relevance of their peculiar brands of modernism. (shrink)

This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...) about cinema and modernism, where film at least provides us a symbol of relief from concerns about medium specificity. In the second part of the essay I argue that something close to Cavell's and Fried's thoughts (about using the figure of theater to remind us of cinema's specificity, but also of cinema in its character as a symbol of relief from medium-specific concerns) takes on a certain urgency in questions about what cinema is in the digital age, manifested in representations of theater in the digitally photographed "Shakespeariadas" series by the contemporary Argentine filmmaker Matías Piñeiro. (shrink)

In a beautiful recent essay, the philosopher Walter Sinnott-Armstrong explains the reasons for his departure from evangelical Christianity, the religious culture in which he was brought up. Sinnot-Armstrong contrasts the interpretive methods used by good philosophers and fundamentalist believers: Good philosophers face objections and uncertainties. They follow where arguments lead, even when their conclusions are surprising and disturbing. Intellectual honesty is also required of scholars who interpret philosophical texts. If I had distorted Kant’s view to make him reach a conclusion (...) that I preferred, then my philosophy professor would have failed me. The contrast with religious reasoning is stark. My Christian friends seemed happy to hide serious problems in the Bible and in their arguments. They preferred comfort to intellectual honesty. I couldn’t. To what extent can we, historians of philosophy, claim the virtue of intellectual honesty? Speaking frankly, I do not find the practice criticized by Sinnot-Armstrong’s philosophy professor rare or unusual at all. We very frequently distort the views of past philosophers in order to reach the conclusions we prefer. We just call it “Charitable Interpretation.” In this essay, I discuss and criticize the logic behind so-called charitable interpretations in the history of philosophy. This phenomenon is ubiquitous and is not at all restricted to a particular philosophical strand or ideology. Analytic philosophers and post-modernists, Marxists, liberals, secularists, and fundamentalists, we all engage in the very same domestication project. Even more disturbing than the sheer ideological pervasiveness of this phenomenon is the fact that, on many occasions, superb philosophers and historians take part in this fairly childish endeavor. In the first part of this essay, I discuss the general logic of charitable interpretations in the history of philosophy, mostly by addressing discussions in metaphysics and epistemology. In the second part, I focus on the somewhat less noticed use of charitable interpretations in the study of political philosophy, and point out the quintessential role ideology plays in these discussions. In both parts, I concentrate mostly on the interpretation of Spinoza’s thought. I do so not because I have special fondness for Spinoza (“guilty as charged,” I admit), but because Spinoza is such a beast (and may I add, an enchanting beast) and attracts a disproportionate share of the domestication efforts from historians and philosophers of all creeds and persuasions. In the third and final part of the paper, I will begin to outline an alternative methodology, which suggests that past philosophers can be most relevant to our current philosophical discussion, to the extent that they provide us with well-motivated challenges to our common-sense beliefs. Such challenges have the invaluable virtue of being able to undermine our most fundamental and secure beliefs, and force us to engage with the most fundamental questions. What more can we expect from good philosophy? (shrink)

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

G. W. F. Hegel (1770–1831) has commonly been seen as Europe’s leading philosopher since Kant. His influence extended across the globe down to the Second World War – not least through his dissident disciple, Karl Marx. Since then, despite intermittent revivals, his importance has tended to be eclipsed by a rising tide of anti-modernist polemic, extending from Heidegger to postmodernism. Central to Hegel’s political thought was his view of the French Revolution. But notwithstanding its pivotal role in the (...) development of his ideas, his reaction to that event has been systematically misconstrued. In presenting a more faithful account of Hegel’s interpretation of his own era, the argument presented here places his response to contemporary developments in the context of a series of World Revolutions which framed the meaning of his age. This approach serves to illustrate the unique combination of historical and philosophical reasoning on which Hegel’s thought depended. In the process, reconstructing his arguments raises challenging questions about the applicability of bygone political ideas to later historical periods. (shrink)

The article explores the relationship between Baukunst and Zeitwille in the practice and pedagogy of Ludwig Mies van der Rohe, and the significance of the notions of civilization and culture for his philosophy of education and design practice. Focusing on the negation of metropolitan life and mise en scene of architectural space as its starting point, it examines how Georg Simmel’s notion of objectivity could be related to Mies’s understanding of civilization. Its key insight is to recognize that Mie’s practice (...) and pedagogy was directed by the idea that architecture should capture the driving force of civilization. The paper also summarizes the foundational concepts of Mies’s curriculum in Chicago. It aims to highlight the importance of the notions of Zeitwille and impersonality in Mies van der Rohe’s thought and to tease apart the tension between the impersonality and the role of the autonomous individual during the modernist era. (shrink)

What is to be learned from the chaotic downfall of the Weimar Republic and the erosion of European liberal statehood in the interwar period vis-a-vis the ongoing European crisis? This book analyses and explains the recurrent emergence of crises in European societies. It asks how previous crises can inform our understanding of the present crisis. The particular perspective advanced is that these crises not only are economic and social crises, but must also be understood as crises of public power, order (...) and authority. In other words, it argues that substantial challenges to the functional and normative setup of democracy and the rule of law were central to the emergence and the unfolding of these crises. The book draws on and adds to the rich ’crises literature’ developed within the critical theory tradition to outline a conceptual framework for understanding what societal crises are. The central idea is that societal crises represent a discrepancy between the unfolding of social processes and the institutional frameworks that have been established to normatively stabilize such processes. The crises at issue emerged in periods characterized by strong social, economic and technological transformations as well as situations of political upheaval. As such, the crises represented moments where the existing functional and normative grid of society, as embodied in notions of public order and authority, were severely challenged and in many instances undermined. Seen in this perspective, the book reconstructs how crises unfolded, how they were experienced, and what kind of responses the specific crises in question provoked. -/- Table of Contents -/- Introduction: European Crises of Public Power: From Weimar until Today, Poul F. Kjaer & Niklas Olsen / Part I: Semantics, Notions and Narratives of Societal Crisis / 1. What Time Frame Makes Sense for Thinking About Crises?, David Runciman / 2. The Stakes of Crises, Janet Roitman / Part II: Weimar and the Interwar Period: Ideologies of Anti-Modernism and Liberalism / 3. The Crisis of Modernity – Modernity as Crisis: Towards a Typology of Crisis Discourses in Interwar East Central Europe and Beyond, Balázs Trencsényi / 4. European Legitimacy Crisis – Weimar and Today: Rational and Theocratic Authority in the Schmitt-Strauss Exchange, John P. McCormick / 5. Crisis and the Consumer: Reconstructions of Liberalism in Twentieth Century Political Thought , Niklas Olsen / Part III: The Causes of Crises: From Corporatism to Governance / 6. The Constitutionalization of Labour Law and the Crisis of National Democracy , Chris Thornhill / 7. The Crisis in Labour Law: From Weimar to Austerity Ruth Dukes / 8. From the Crisis of Corporatism to the Crisis of Governance, Poul F. Kjaer / Part IV: The Euro and the Crisis of Law and Democracy / 9. What is left of the European Economic Constitution II? From Pyrrhic Victory to Cannae Defeat Christian Joerges / 10. Reflections on Europe’s “Rule of Law Crisis”, Jan-Werner Müller. 11. Democracy under Siege: The Decay of Constitutionalisation and the Crisis of Public Law and Public Opinion, Hauke Brunkhorst/ Part V: The Consequences of Crises and the Future of Europe / 12. Crises and Extra-Legality: From Above and From Below, William E. Scheuermann / 13. “We could all go Down the Road of Lebanon” – Crisis Thinking on the Anti-Muslim Far Right, Mikkel Thorup / 14. Conclusions and Perspectives: The Re-Constitution of Europe, Poul F. Kjaer & Niklas Olsen Index . (shrink)

In Heidegger’s Being and Time certain concepts are discussed which are central to the ontological constitution of Dasein. This paper demonstrates the interesting manner in which some of these concepts can be used in a reading of T.S. Eliot’s The Love Song of J. Alfred Prufrock. A comparative analysis is performed, explicating the relevant Heideggerian terms and then relating them to Eliot’s poem. In this way strong parallels are revealed between the two men’s respective thoughts and distinct modernist sensibilities. (...) Prufrock, the protagonist of the poem, and the world he inhabits illustrate poetically concepts such as authenticity, inauthenticity, the ‘they’, idle talk and angst, which Heidegger develops in Being and Time. (shrink)

Girolamo Saccheri (1667--1733) was an Italian Jesuit priest, scholastic philosopher, and mathematician. He earned a permanent place in the history of mathematics by discovering and rigorously deducing an elaborate chain of consequences of an axiom-set for what is now known as hyperbolic (or Lobachevskian) plane geometry. Reviewer's remarks: (1) On two pages of this book Saccheri refers to his previous and equally original book Logica demonstrativa (Turin, 1697) to which 14 of the 16 pages of the editor's "Introduction" are devoted. (...) At the time of the first edition, 1920, the editor was apparently not acquainted with the secondary literature on Logica demonstrativa which continued to grow in the period preceding the second edition \ref[see D. J. Struik, in Dictionary of scientific biography, Vol. 12, 55--57, Scribner's, New York, 1975]. Of special interest in this connection is a series of three articles by A. F. Emch [Scripta Math. 3 (1935), 51--60; Zbl 10, 386; ibid. 3 (1935), 143--152; Zbl 11, 193; ibid. 3 (1935), 221--333; Zbl 12, 98]. (2) It seems curious that modern writers believe that demonstration of the "nondeducibility" of the parallel postulate vindicates Euclid whereas at first Saccheri seems to have thought that demonstration of its "deducibility" is what would vindicate Euclid. Saccheri is perfectly clear in his commitment to the ancient (and now discredited) view that it is wrong to take as an "axiom" a proposition which is not a "primal verity", which is not "known through itself". So it would seem that Saccheri should think that he was convicting Euclid of error by deducing the parallel postulate. The resolution of this confusion is that Saccheri thought that he had proved, not merely that the parallel postulate was true, but that it was a "primal verity" and, thus, that Euclid was correct in taking it as an "axiom". As implausible as this claim about Saccheri may seem, the passage on p. 237, lines 3--15, seems to admit of no other interpretation. Indeed, Emch takes it this way. (3) As has been noted by many others, Saccheri was fascinated, if not obsessed, by what may be called "reflexive indirect deductions", indirect deductions which show that a conclusion follows from given premises by a chain of reasoning beginning with the given premises augmented by the denial of the desired conclusion and ending with the conclusion itself. It is obvious, of course, that this is simply a species of ordinary indirect deduction; a conclusion follows from given premises if a contradiction is deducible from those given premises augmented by the denial of the conclusion---and it is immaterial whether the contradiction involves one of the premises, the denial of the conclusion, or even, as often happens, intermediate propositions distinct from the given premises and the denial of the conclusion. Saccheri seemed to think that a proposition proved in this way was deduced from its own denial and, thus, that its denial was self-contradictory (p. 207). Inference from this mistake to the idea that propositions proved in this way are "primal verities" would involve yet another confusion. The reviewer gratefully acknowledges extensive communication with his former doctoral students J. Gasser and M. Scanlan. ADDED 14 March 14, 2015: (1) Wikipedia reports that many of Saccheri's ideas have a precedent in the 11th Century Persian polymath Omar Khayyám's Discussion of Difficulties in Euclid, a fact ignored in most Western sources until recently. It is unclear whether Saccheri had access to this work in translation, or developed his ideas independently. (2) This book is another exemplification of the huge difference between indirect deduction and indirect reduction. Indirect deduction requires making an assumption that is inconsistent with the premises previously adopted. This means that the reasoner must perform a certain mental act of assuming a certain proposition. It case the premises are all known truths, indirect deduction—which would then be indirect proof—requires the reasoner to assume a falsehood. This fact has been noted by several prominent mathematicians including Hardy, Hilbert, and Tarski. Indirect reduction requires no new assumption. Indirect reduction is simply a transformation of an argument in one form into another argument in a different form. In an indirect reduction one proposition in the old premise set is replaced by the contradictory opposite of the old conclusion and the new conclusion becomes the contradictory opposite of the replaced premise. Roughly and schematically, P,Q/R becomes P,~R/~Q or ~R, Q/~P. Saccheri’s work involved indirect deduction not indirect reduction. (3) The distinction between indirect deduction and indirect reduction has largely slipped through the cracks, the cracks between medieval-oriented logic and modern-oriented logic. The medievalists have a heavy investment in reduction and, though they have heard of deduction, they think that deduction is a form of reduction, or vice versa, or in some cases they think that the word ‘deduction’ is the modern way of referring to reduction. The modernists have no interest in reduction, i.e. in the process of transforming one argument into another having exactly the same number of premises. Modern logicians, like Aristotle, are concerned with deducing a single proposition from a set of propositions. Some focus on deducing a single proposition from the null set—something difficult to relate to reduction. (shrink)

This book presents the author’s many and varied contributions to the revival and re-evaluation of American pragmatism. The assembled critical perspective on contemporary pragmatism in philosophy emphasizes the American tradition of cultural pluralism and the requirements of American democracy. Based partly on a survey of the literature on interest-group pluralism and critical perspectives on the politics of globalization, the monograph argues for reasoned caution concerning the practical effects of the revival. Undercurrents of “vulgar pragmatism” including both moral and epistemic relativism (...) threaten the intellectual and moral integrity of American thought – and have contributed to the present sense of political crisis. -/- The text chiefly contributes to the evaluation of the contemporary influence of the philosophy of John Dewey (1859–1952) and his late development of the classical pragmatist tradition. In comparison to Ralph Waldo Emerson (1803–1882), William James (1842–1910), and earlier currents of American thought, Dewey’s philosophy, dominated by its overall emphasis on unification, is weaker in its support for the pluralism of cultural and religious contributions which have lent moral self-restraint to American policy and politics, both foreign and domestic. With all due homage to Dewey’s conception of philosophy, centered on human problems and the need for our ameliorative efforts, the argument is that in the contemporary revival, Dewey’s thought has been too often captured by “post-modernist” bandwagons of self-promotion and institutional control. -/- This work defends democratic individualism against more collectivist and corporatist tendencies in contemporary neo-pragmatism, and it draws upon up-to-date political analysis in defense of America’s long republican tradition. Pragmatism will not and cannot be removed from, or ignored, in American intellectual and moral history; and its influence on disciplines from law to politics, sociology and literary criticism has been immense. However, pragmatism has often been weak in commitment to cultural pluralism and in its accounts of truth. (shrink)

The twentieth-century obsession with meaning often fails to address the central questions: Why are we here? Where are we going? In this radical critique of modernity, Eugene (Rochberg-) Halton resurrects pragmatism, pushing it beyond its traditional formulations to meet these questions head on. Drawing on the works of the early pragmatists such as John Dewey, George Herbert Mead, and particularly C.S. Peirce, Meaning and Modernity is an ambitious attempt to reconstruct concepts from philosophical pragmatism for contemporary social theory. Through a (...) vigorous and illuminating dialogue with other perspectives in the social sciences, (Rochberg-) Halton reveals the value of the pragmatic attitude as a mode of thought, one which speaks to the contemporary hunger for significance in a world where rationalized technique has all too often severed subject and object from their living context... Throughout the work is a sustained critique of modern culture in which (Rochberg-) Halton brings his reconstruction of the pragmatic atttude to bear on twentieth-century thought and its counterparts in the expressive arts. His engaging analysis encompasses figures as diverse as Simmel, Freud, Wittgenstein, Schoenberg, Adolph Loos, Mumford, Melville, the "Vienna School of Fantastic Realism," and Doris Lessing. The author's semiotic approach to culture allows him to move freely and easily across many disciplines, including anthropology, sociology, communications, art, literature, and philosophy. This is a work of rare originality and power that is sure to provoke discussion, for Rochberg-Halton creates new premises for understanding the human web of meaning. In a review published in the London Times Literary Supplement, Charles Townshend said that (Rochberg-) Halton's, “answer to the dilemma of modernity is a still more striking synthesis, which he labels ‘critical animism’ (as distinct from primitive animism). Meaning and Modernity belies its conventional exterior: it is a passionate tract against the 'diabolical tyranny of the rational'...He pits his researches into the attitudes of Chicagoans to their household goods and to their city against the abstract semioticians who have emptied signs of their capacity to 'live objectively in the transactions people have with them'...Such humanism will probably strike his fellow social theorists as downright weird, but his work shows that the cracking shell of modernism will provide a rich intellectual agenda.”. (shrink)

The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work – bold, private, untethered and nonrepresentational as they are – there has been a modicum of nuanced thought on how, exactly, esotericism and theology (...) fomented Klint’s pedagogical projects. Jillian Steinhauer, for instance, has underscored Klint’s naturalistic watercolors; featuring flowers and lifelike drawings of women; Summer Landscape (1888) suggests Klint’s technical aptitude for rendering light. Jadranka Ryle, in a clever article titled “Reinventing the Yggdrasil,” invokes Klint’s motif of the Yggdrasil, or the holy tree of Norse mythology, as a political axle for Nordic romanticism. Ryle makes the claim that by redirecting the Yggdrasil towards androgynous abstraction, Klint’s engagement with Norse mythology subverts the nationalist and patriarchal romanticism that previously characterized the nineteenth century’s use of the Yggdrasil. Others have adroitly uncovered biographical fragments from Klint’s life, detailing how she and four friends formed De Fem (“the Five”), an exclusively female coven that met weekly, praying, meditating, and holding seances to commune with spiritual guides. Rather than poise the Swedish maverick within the cannon of abstraction qua a political praxis, feminist subject-being, or historiography – projects that have been exhaustively overwrought, to the point of rendering Klint’s work both mute and reductively technical– I would like to take this time to closely examine simply one of Klint’s paintings and foreground it as an axiomatic modernist injunction between metaphysics and epistemology. (shrink)

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...) in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” , has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (shrink)

This book is a personal answer to the crisis of the left. The author of this text belongs to a generation habituated to live with global explanations. During our youth, the future of the world was the future of democracy and socialism. We belong to a generation of “leftist” that found in Marx and Freud, phenomenology and structuralism the most important answers that made sense of the everyday world. However, the developments of events during the last sixty years showed that (...) our confidence was ungrounded. The depreciation of the theoretical thought accelerated in direct proportion to the development of technologies, and among them the impact of the digital developments was devastating. One of the most notable consequences of the digitalization of culture was the depreciation of the Marxian thought, but also the less recognized depreciation of all kinds of political-economic thought. The collapse of the world created before the Second World War open for the end of the “grand narratives” and the enthronization of Postmodernism. The production of fragmentary explanations took over the historical perspective with an important influence on social and economic thought. After 60 years of postmodern thinking, we believe that the time of Postmodernism is over. Politicians and economists over the world cannot continue to produce results in small packages. The whole picture must be restituted. Of course it must be done incorporating the lessons of the past to avoid to make the same mistakes. Postmodernism has left behind lots of scattered modernist philosophical remnants. It left a chessboard with only few pieces to work with, and in this allegory, only as references. The philosophical schools remains, but the study of them is strictly for an education in the history of ideas. The situation is aggravating since the most important works from the 1960’s and forth, (post-structuralists) deliberately have avoided obvious identity patterns. A word in Rio de la Plata’s jargon language describes this situation, cambalache, a sort of “flea market” where everything lies higgledy-piggledy. Deconstruction and the focus on differences are vital to Postmodernism. Remaining is therefore the intersections, the contrasts, shadows, and sketches. When trying to orient in such an intellectual environment, the task reminds of patching scatterings, and building with tools of eclecticism. However, we believe that is time to reconstruct instead of deconstruct, moving back to Modernism that we will describe as Cyborgism. (shrink)

An extract from Williams' The Ground of Induction (1947): "The sober amateur who takes the time to follow recent philosophical discussion will hardly resist the impression that much of it, in its dread of superstition and dogmatic reaction, has been oriented purposely toward skepticism: that a conclusion is admired in proportion as it is skeptical; that a jejune argument for skepticism will be admitted where a scrupulous defense of knowledge is derided or ignored; that an affirmative theory is a mere (...) annoyance to be stamped down as quickly as possible to a normal level of denial and defeat. It is an age which most admires the man who, as somebody has said, 'has a difficulty for every solution'. Whether or not this judgment is fair, however, it is safe to say, with Whitehead, that 'the theory of induction is the despair of philosophy - and yet all our activities are based upon it'. [A.N. Whitehead, Science and the Modern World (New York, 1925, p. 35] So prodigious a theoretical contretemps cannot remain a tempest in the professors' teapot. The news that no foundation is discoverable for the procedures of empirical intelligence, and still more the proclaimed discovery that there is no foundation, and still more the complacency which recommends that we reconcile ourselves to the lack, condemn the problem as a 'pseudoproblem', and proceed by irrational faith or pragmatic postulate, will slowly shatter civilized life and thought, to a degree which will make the modernist's loss of confidence in Christian supernaturalism, so often cited as the ultimate in spiritual cataclysms, seem a minor vicissitude. The demand that rational man adjust himself to a somewhat bleaker universe than he once hoped for is only one large and picturesque instance of the sort of re-orientation which inductive intelligence, in its very nature,continually imposes, and well within the proved capacities of human reason and good-will.. (shrink)

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

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)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

Spinoza’s recognition of the unpredictable fortunes of individuals, explicable through the interplay between their intrinsic natures and their susceptibility to external causes, informs his account of political success and – what for him is the same thing – political virtue. Thus, a state may thrive because it has a good constitution (an internal feature), or because it was fortunate not to be surrounded by powerful enemies. Normally, however, it is the combination of both luck and internal qualities that determines the (...) fate of things. What is true about the fate of states holds equally of the fate of other types of individual, both human and non-human. In a sense, even the fate of a theory is determined by the interplay between its intrinsic virtues, and mere historical luck. A quarter century ago, shortly after I began my graduate studies in philosophy at Yale, I started thinking about writing a dissertation on Spinoza’s philosophy. A good and caring friend in my graduate cohort advised me against the idea, which he believed was tantamount to “professional suicide” given the oddity of Spinoza’s thought. Indeed, the environment of analytic philosophy in the mid- and even late-1990s was not particularly auspicious for the academic study of Spinoza. Spinoza was – rightly – considered as having little commitment to commonsense, and commitment to commonsense – the most stubborn of prejudices – was (and still is) considered by many a minimal requirement for entry into the club of “decent” philosophers. Yet, things have changed over the past twenty-five years. So much so, that recently a (non-Spinozist) early modernist colleague of mine complained to me about the futility of changing the description of an event he planned from a ‘Spinoza workshop’ into an ‘early modern philosophy workshop,’ since “one way or another, most of the submitted abstracts are going to deal with Spinoza.” Indeed, in many ways, the interest and intensity of the study of Spinoza’s philosophy in the Anglo-American world has eclipsed that of almost all other early modern philosophers, and we seem to be facing a circumstance in which Spinoza is gradually competing with, if not replacing, Kant as the compass of modern philosophy. One can list many reasons for these dramatic developments: from Spinoza’s radical naturalism, to his dismissal of the fairytales of anthropomorphic and anthropocentric religion – while Kant on these issues could at best be said to kick the ghosts from the front door while inviting them back as ‘ideas’ or ‘postulates of practical reason’ through the back door –- to his unequivocal rejection of the illusions of humanism. Still, we lack a full explanation of the recent Spinozist upheaval in North American philosophy. (shrink)

A striking feature of post-modernism is its distrust of the subject. If the modern period, beginning with Descartes, sought in the subject a source of certainty, an Archimedian point from which all else could be derived, post- modernism has taken the opposite tack. Rather than taking the self as a foundation, it has seen it as founded, as dependent on the accidents which situate consciousness in the world. The same holds for the unity of the subject. Modernity, in its search (...) for a single foundation, held the subject to be an indissoluble unity. Post-modernism’s position, by contrast, is announced by Nietzsche: “The assumption of one single subject is perhaps unnecessary; perhaps it is just as permissible to assume a multiplicity of subjects, whose interaction and struggle is the basis of our thought and our consciousness in general? ...My hypotheses: The subject as multiplicity.” Given this, there is a natural correspondence between the success of post- modernism and the current interest in multiple personality disorder. In the latter, we actually have the experience of a “multiplicity of subjects” in their interaction and struggle. The subject stands there before us “as multiplicity.” It gives us a concrete case, one which raises some of the pressing questions associated with the post-modern denial of the subject. Confronting it, we ask: how real are the personalities composing the multiplicity of this disordered self? What, in fact, does this multiplicity tell us about the self? about its genesis and status? What does it reveal about “our thought and consciousness in general”? I plan, in the short compass of this paper, to sketch some answers to these questions. §1. A brief description of MPD. The American Psychiatric Association gives two criteria for (MPD) multiple personality disorder. First, and most obviously, there is “the existence within the person of two or more distinct personalities or personality states (each with its own relatively enduring pattern. (shrink)

By portraying meaning as a phenomenon that eludes complete expression and arises spontaneously in our everyday embodied interactions with others and objects in the world, as well as in our own unconscious registering of those interactions, Woolf’s Mrs. Dalloway is uniquely insightful concerning both the presence of meaning in modern life and the modern conception of the self--phenomena marked by a certain ineradicable tension between that which is constituted by us and that which is given from outside us. This paper (...) examines this tension through the lens of Merleau-Ponty’s phenomenology, with special attention to the leitmotif of the «spontaneity of sense». Woolf and Merleau-Ponty both help to illustrate an important modern insight: that among the most meaningful experiences are those that are not only unexpected and unexplained, but in some sense foreign and unexplainable--mysterious events and yet everyday occurrences that explode the supposed privacy of our thought, and exceed our capacity for expression. (shrink)

In this essay I take the opportunity to recast some insights from my extensive study over the last decade of Wittgenstein’s remarks on music into a coherent and concise portrayal of Wittgenstein’s philosophical underpinning and upshots pertaining to his perception of the modern music scene in interwar Austria. The gist of the present essay is to show that, for better or for worse, Wittgenstein’s personal taste in music was powered by philosophical reasoning, which was organic to his philosophical development, and (...) that ultimately his philosophical attitude to the music scene of interwar Austria manifests a deeply probing gradation. I are argue that we can distinguish between four varieties of the absurd in the music of interwar Austria, according to Wittgenstein. First is the nonsensical absurd of the incapability of seeing that the nonsensicality of the form of progress is incomprehensible. This category pertains to music which straightforwardly tries to emulate the various maxims and formulations derived from the form of progress. Such nonsensically absurd music typifies progressive Romantic composers such as Richard Strauss, Max Reger, and the early Arnold Schoenberg. Second is the vacuous absurd of the incapability of seeing what the form of progress renders incomprehensible. This category pertains to music which denounces the predominantly nonsensical maxims and formulations of modernity, thus destining itself to keeping on groping for something which it cannot express. Such vacuously absurd music is best exemplified, in Wittgenstein’s mind, by Josef Labor. Third is the philosophical absurd of rendering what is incomprehensible (from the perspective of a cultured person) comprehensible within the same purview. For Wittgenstein, Mahler’s music betokens such incommensurability, evoking a relativist philosophical puzzle: whether cultural progress is real, and it is us who have been left behind, or whether culture has really been vanquished, and we are the only ones left to notice it. The very thought of an artwork of “a totally different sort” remains invariably hypothetical. Fourth is the praxeological absurd of giving rise to an auxiliary, praxeologically dislodged musical language, replacing the transparency of human gesture with exact rules of comprehensibility. From Wittgenstein’s perspective, the shunning of the expanse of lived experience in a musical language fit for the meaning-blind would be the inglorious spot assigned to Arnold Schoenberg’s vision of the music of the future. (shrink)

In this, the first published collection of writings by Hippolyte Havel (1871–1950), Nathan Jun brings a crucial, yet largely forgotten revolutionary figure back into historical focus. Havel was a Czech anarchist at the center of New York’s political and artistic circles at the turn of the twentieth century. He was an editor of numerous publications, including Emma Goldman’s Mother Earth and his influence on several writers, artists, and intellectuals (including Eugene O’Neill, Joseph Stieglitz, and Sadakichi Hartmann) helped shape American modernism. (...) Proletarian Days provides an illuminating introduction to the man and his times. (shrink)

Defining posthumanism as a single, well-oriented philosophy is a difficult if not impossible endeavour. Part of the reason for this difficulty is accounted by posthumanism’s illusive origins and its perpetually changing hermeneutics. This short paper gives a brief account of the ecological trend in contemporary posthumanism and provides a short prescription for the future of posthumanist literature and potential research avenues.

This thesis is a sceptical investigation into the notion that the metaphorical wave-particle binary of Virginia Woolf's To the Lighthouse is related to quantum physics. Indeed, the field of literature and science has employed conceptual similarities as the main means of connecting quantum concepts to novels, however, this has led to a host of scholarly difficulties, prompting the need for a re-examination of analogical linkages. Woolf is the model candidate for such a re-examination, given her historical and philosophical proximity with (...) the developments of quantum mechanics. To the Lighthouse, in particular, was written between 1925 and 1927: precisely when quantum physicists were attempting to resolve the wave-particle duality, leading to Niels Bohr's complementarity. This parallel has been noted by researchers as relevant to the novel, as it too displays a general binary that can be read as wave-particle-like, which the author also attempts to resolve along similar philosophical lines. Nevertheless, other than proximity and similarity, there are no reasons to affirm that the science is related to the novel; hence, it is an ideal case study to examine in order to ascertain the value of conceptual similarities in literature and science. To do so, To the Lighthouse's binary and its resolution are interpreted in a thesis-long close reading, in order to compare aspects of it firstly to Woolf's personal thought, and secondly to various non-quantum intellectual contexts that preceded and surrounded her. In doing so, it becomes clear not only that invoking quantum physics serves no clear purpose in better understanding the novel, but also that the notion of resolving wave- particle-like binaries was a widespread philosophical procedure at the turn of the century, decades before Bohr's concept. This negative conclusion interrogates what the scholarly value of interpreting similarities is, though a hypothetical solution can be found in conceptual metaphor theory. (shrink)

It might, at first sight, seem objectionable to compare Kant and Rorty in terms of their respective irony, for two reasons. First, usually, irony is not considered to be a striking stylistic feature in Kant, whereas it is a key concept in Rorty´s political philosophy. Second, Rorty's liberal ironist is the prototype of the edified individual in post-modern civil society who has overcome metaphysics of both realms: nature and morals. It just is proposed as a remedy against all forms of (...) political foundationalism. However, in his minor political works of the 90s, Kant´s style is marked by his use of irony. Irony performs several functions: it is a polemic device, a means of persuasion, and a safeguard against those who might otherwise take his critical appreciation of political custom too personal. Moreover, Kant's political foundationalism is intertwined with his philosophy of history. Arguably, Kant treats the contingency of historic events with due regard and, hence, his political outlook must not be considered to be vindicatory. Irony, therefore, might, though seemingly un-Kantian at the outset, be a clue to the differences, and, perhaps, in contrast with Rorty´s distancing himself from Kant, similarities between their respective political philosophies. A comparison of Kantian with Rortian irony might thus reveal continuities and discontinuities in political thought between the European Enlightment and American post-modernism. It, therefore, might help to better understand our time. In my paper, I perform a contrastive analysis of these two faces of irony. The analysis starts with an interpretation of these two faces as different ways to cope intellectually with the vicissitudes of the human condition. Next, I relate their irony to the way both philosophers deal with the split between the private and the public spheres, which is, in different ways, central to their political philosophies. This analysis will provide the material for an assessment of whether or not their irony can be considered as an evasive move, which allows for a safe distance from the contingent needs of mankind, and thus prohibits or supports solidarity with its fate. (shrink)

Wittgenstein comes up with his model simply through starting with the assumption that language can be an accurate picture of the world, and realizing the failings of that idea. This makes him a rather odd outsider in the sociology and politics of modern philosophy. He’s a trained engineer. A soldier. An architect. A logician (including being the guy who invented Truth tables for logic). In other words, a total geek. He’s still part of the analytic tradition, dismissed and rejected by (...) many in the continental tradition. But he ends up saying the kind of things that drive your average conservative culture warrior harrumphing about \"post-modernism\" and \"relativism\" up the wall. Simply because he’s thought about it a lot. -/- The other thing that’s striking is how much he is an \"anti-philosopher\". Always running away from philosophy to do other things in his life. And his work is often intended as \"therapeutic\" not trying to \"solve\" philosophical problems so much as \"cure\" us of worrying about them. He emphasizes that philosophical \"problems\" are often just misuses and misunderstandings of words rather than deeper issues. In his first philosophy, many problems come from us not understanding the meaning of the words well enough. If only we could pin them down better, the problems would disappear. In his second, the fact that we have a word for something doesn’t mean that the world really has that thing. And many philosophical problems, he asserts, are nothing but trying to take words that have a \"function\" in a particular context and abstract them out and using them in a different context where they have no useful function. (shrink)

This essay argues that, despite the potential for an encounter between Stanley Cavell’s thought and found-footage experimental filmmaking, this has not yet taken place because the early Cavell’s picture of films as autonomous “wholes,” together with his "global-holistic" conception of modernism, prevented him from appreciating the expressive possibilities of filmic fragments. I then argue that these impediments to an encounter with found footage recede in Cavell’s later thought, as he moves away from a concern with modernism and as (...) J. L. Austin’s How to Do Things with Words comes to play a greater role in his film writing. In this late period, Cavell no longer conceives of topics of film criticism as filmic “wholes” but rather, more loosely, along the lines of what Austin called “total speech situations.” I claim that the culmination of this turn lies in Cavell’s writing on the expressive powers of collections. In closing, I demonstrate the possibilities of the late Cavell’s thinking about collections and “passionate utterances” for found-footage filmmaking by discussing Mexican experimental filmmaker Bruno Varela’s Monolito (2019), with particular attention to how Varela uses archival footage to fulfill the exigencies of finding new modes of expression at just the moment when a world is receding from view. (shrink)

The theoretical underpinnings of public international law have taken the sovereign status of the nation-state for granted since the beginning of the modern era. After centuries of evolution in legal and political thought, the state's definition as a bounded territorial unit has been strictly codified. The legal development of the nation-state was an ideological project informed by extra-legal considerations. Additionally, the ever-narrowing scope of the juridical idea of sovereignty functioned as a boundary mechanism instrumental in colonising Africa and other (...) regions. While international law claims universal liberalism today, the current system based on sovereign nation-states represents not social inclusion but fierce and dangerous exclusion. -/- The central thesis of this book is that the development of legal sovereignty was, rather than part of the modernist progress narrative, a historically contingent evolutionary regression. While other social systems such as economics and science became globalised, politics and law counterintuitively became more territorialised. It is argued that the nation-state today is not only anachronistic but is dangerously ill-equipped for facing international problems such as the climate crisis or global pandemics. Finally, it also leaves African states and many other formerly-colonised territories at a particular disadvantage by regulating their political practices into a predefined mould. (shrink)