The present essay argues that Bergson’s account of the comic can only be fully appreciated when read in conjunction with his later metaphysical exposition of the élan vital in Creative Evolution and then by the account of fabulation that Bergson only elaborates fully three decades later in The Two Sources of Morality and Religion. The more substantive account of the élan vital ultimately shows that, in Laughter, Bergson misses his own point: laughter does not simply serve as a means for (...) correcting human behavior but is rather the élan vital’s vital summons, the demand of life itself, that human beings challenge their obligations, question their societal forms, and thereby create new and, for Bergson, more ideal forms of life and community. (shrink)

The problem of forgiveness may rightly be regarded as a perennial philosophical problem. But of what sort? Introducing his 1973 contribution to the discussion, entitled simply "Forgiveness"—an essay that remains the standard reference for contemporary discussions of the problem, especially in the Anglo-American philosophical community—Aurel Kolnai writes that while the ethical nature of the problem is indisputable, he intends his argument "to be chiefly logical in nature: the central question I wish to discuss is … whether, and if so in (...) what manner, [forgiveness] is logically possible at all."1 The problem, as Kolnai develops it in the first two sections of his essay, is that forgiveness seems to be either... (shrink)

The notes for Theodor Adorno’s courses in the 1960’s are important resources not only for an understanding of his magnum opus, Negative Dialectics, but also for developing critical responses to this problematic philosophical heir of idealism. Particularly noteworthy among the volumes that have appeared so far is from Adorno’s 1965 course on metaphysics where he engages in a sustained reading of Aristotle’s Metaphysics and explicitly connects it with the project of Negative Dialectics. Adorno’s chief concern is to demonstrate, by way (...) of Eduard Zeller’s work, that Aristotle is indeed a proto-idealist and that his ontology is comprised of a fundamental dualism. Adorno is not an informed reader of Aristotle, as his reliance on Zeller makes clear, but he succeeds in drawing the reader’s attention to the organizing force exerted by  upon . The interest in this organizing force is motivated by an interest in the ethics that is consequent upon it: an ethics that ignores the sufferings of the concrete in the name of a rational ideal. While there are echoes of this in Aristotle’s ethical writings, his account of imagination in De Anima ought to give pause to an account as reductive as Adorno’s. In De Anima, Aristotle provides an account of the imagination () that makes it a power reducible neither to  nor to . The imagination, a power of the bodily senses, and especially sight, is a power that grants to thinking its power but is itself the unmotivated actualization of the purely potential. This essay argues that such a power resists interpretation into any dialectical schema insofar as it constitutes a distinct power of the human animal. At the same time, such an interpretation provides a possible route out of the ethical impasse of the unthinkable concrete. (shrink)

Attentive readings of Deleuze’s works alongside the projects of his teachers show that they often share a common problem or set of problems. One of the most innovative and influential of these projects is the work of Jean Wahl. Wahl’s analysis of French existential phenomenology, here analyzed through a representative essay published in 1950, focuses on the problem of the pre-personal, pre-subjective elements of thinking and worldly existence. Deleuze’s philosophical project, already visible in his early essays on Bergson, is a (...) critique of the phenomenological presuppositions that determine this problem in terms of negation. (shrink)

Joseph Conrad’s Heart of Darkness is a frequent point of reference for Edward Said’s investigations into the various forces that structure and define the encounter of imperial societies with others. In Culture and Imperialism, Said explains the importance of Conrad’s novella by linking it to his concept of culture as the aesthetic acme of a society that simultaneously marks it and divides it from others. In Heart of Darkness, Said claims, we have a narrative that challenges its own imperial society (...) by emphasizing the ambiguity of its cultural limit. Heart of Darkness is thereby able to dramatize and emphasize the constituent elements of imperial society, even as it is unable to exceed that society’s fundamental character. Said’s reading is important, and even vital, for an appreciation of the complexities of Conrad’s novella, but it does not go far enough. The ambiguity of Conrad’s depiction of imperial society is only an ambiguity to the extent that the novella is critiqued at the level of content, with a corresponding lack of emphasis upon its rhetorical form. Through a consideration of the three primary elements of this form – the careful situation of the Nellie as the site of the narrative, the work of interruption in Marlow’s narrative, and the reverberation of Kurtz’s dying words in the conclusion of the novella – this essay argues that there is very little ambiguity in Conrad’s text. Indeed, what ambiguity remains is a function of its effort to dramatize the limit of imperialism precisely as a limitation, as a cultural determinant that through its form perpetually determines other societies as inferior, even as this very culture, as a limit set against these other societies, shows their richness to which imperialism is essentially blind. (shrink)

This essay considers Richard Calder’s Dead trilogy as an important contribution to the argument concerning how pornography’s pernicious effects might be mitigated or disrupted. Paying close attention to the way that Calder uses the rhetoric of fiction to challenge pornographic stereotypes that have achieved hegemonic status, the essay argues that Calder’s trilogy provides an important link between debates about pornography and contemporary philosophical discussions of alterity and community. Finally, it argues that, for Calder, sexuality is implicitly predicated on a reconceptualization (...) of social relations in general – a reconceptualization achieved through the exhaustion of that decadent shadow of the Enlightenment, pornography. (shrink)