The Ramayana and the Mahabharata written in Sanskrit are considered to be the standard texts in India. During the medieval period, the poets have composed these two epics in regional languages incorporating their social elements. While the regional poets maintained the characters of the standard texts constant, the events and functions were variable in their cultural context. The reinterpretation of standard Sanskrit texts in different and diverse contexts was maintained in the vernacular languages and cultures during the medieval period was (...) embedded with many local imaginations connected to these epics. Surdamuni Sarala Das was the first composer of Odia Mahabharata during the 15th Century .His writing was the first of its kind to compose a complete eighteen parvas of the Mahabharata. The Sarala Mahabharata is the foundation of Odia language and has shaped the Odia identity. Surdamuni Sarala Das was an epic singer who mastered the text in his mind through his experience, knowledge, and creativity, and then he wrote the epic poetry in Odia. (shrink)

The Mahabharata, an Indian epic poem, describes a legendary war between two sides of a royal family. The epic’s plot involves numerous moral dilemmas that have intrigued and perplexed scholars of Indian literature. Many of these dilemmas revolve around a character named Krsna. Krsna is a divine incarnation and a self-proclaimed upholder of dharma, a system of social and religious duties central to Hindu ethics. Yet, during the war, Krsna repeatedly encourages his allies to use tactics that violate dharma. In (...) this paper, I try to make sense of Krsna’s actions by analyzing them in terms of categories from Western moral philosophy. I show that Krsna seems to embrace an ethical approach called consequentialism, but that his version of consequentialism differs from Western theories of consequentialism by seeing adherence to dharma as an intrinsic good. (shrink)

This paper deals with the bodily attractiveness of heroines and heroes, as described in one of the two most important epics of India. The basis for this analysis is the love stories and episodes included in the main plot of the Vanaparvan, the third book of the Mahābhārata. The stories from this book have been taken into consideration due to their numerous occurrences, which are a sufficient ground for generalizations. Many characteristic features of their protagonists are repeated in different sub‑stories. (...) Also, the images of female and male characters, princesses, queens and kings are presented and discussed in detail. The external beauty of such female heroines as Damayantī, Sāvitrī, Sukanyā, Suśobhanā and Sitā; as well as the attractiveness of two semi‑goddesses, called Apsarases, are described and analysed. The names of the Apsarases discussed in the context of female beauty are Urvaśī and Menakā. Besides this, the image of an unnamed courtesan is discussed, as it is the most detailed description of a female character and probably follows the ideal of female beauty as shown in the Mahābhārata. As far as the male protagonists are concerned, the images of heroes such as Nala, Bhīma, Aśvapati, Rāma and Daśaratha are taken into consideration. The examples of male attractiveness also include features of the five main heroes of the Mahābhārata: the Paṇḍava brothers. (shrink)

This paper calls attention to matsyanyaya, or state of nature theories, in classical Indian thought, and their significance. The focus is on those discussions of matsyanyaya found in the law books, political treatises and the Mahabharata epic. The significance and relevance of matsyanyaya theories are shown through a comparison with early modern state of nature theories and an elaboration on the possible place of rights and dharma in matsyanyaya and the consequences of this for classical Indian political theory.

The Bhagavad Gītā has inspired more interpretive controversy than any other religious scripture in India’s history. The Gītā, a philosophical and spiritual poem of approximately seven hundred verses, is part of the ancient Sanskrit epic, the Mahābhārata. In the Gītā, the Lord Kṛṣṇa, who appears in the form of a charioteer, imparts spiritual teachings to the warrior Arjuna and convinces him to fight in a just war that entails the slaughter of many of Arjuna’s own relatives and loved ones. Śaṅkara, (...) the great eighth-century champion of the Advaita school of philosophy, wrote the first extant commentary on the Gītā. In this commentary, Śaṅkara interpreted the Gītā strictly in accordance with Advaita.. (shrink)

Second Online Session -/- on the theme -/- Development of Philosophy in India -/- 24th June, 2014 -/- positive -/- Table of Content -/- Preface to the Second Session -/- Spirituality Some Philosophical trends : PROF. D.N.TIWARI -/- ROLE OF YOGA AND NATUROPATHY IN THE DEVELOPMENT OF AN IDEAL LIFE STYLE: PROF. SOHAN RAJ TATER -/- THE DEVELOPMENT OF EARLY MUSLIM PHILOSOPHY: DR MERINA ISLAM -/- THE RELEVANCE OF PHILOSOPHY IN THE 21ST CENTURY: DR. K.VICTOR BABU -/- Public Service Values (...) and Ethics in Public Administration: DR. DESH RAJ SIRSWAL -/- Dharma Philosophy in the Epic Period-with Special Reference to Mahabharata: DR ADITI PATRA (NEE RAY) -/- A PERSPECTIVE IN INDIAN BUSINESS ETHICS : C.V.JAYANTHI -/- Examining Nationality as a taken-for-granted Frame of Reference: SHWETA SINGH -/- Is It Justified to Approve Euthanasia based on the Right to Life with Dignity an Examination: MALAY DAS -/- Meaning Holism as a Semantics Theory: RAJIBA LOCHAN BEHERA -/- DEVELOPMENT OF SIKHISM: RAJNI BALA & MANJU CHAUHAN -/- Life is Philosophy and Philosophy is Life : DR MAYA MAINKAR -/- DEVELOPMENT OF PHILOSOPHY IN INDIA SOME SUGGESSIONS: DR JAYADEV SAHOO . (shrink)

This article studies the epic space of Dam San that is associated with traditional beliefs, rituals in festivals, and contexts associated with Ede’s productive labor and living activities. In that context, the image of the hero Dam San is an ideal leader with strength, talent, courage, virtue, great ambitions, and great ideals, and those ideals also represent the ideals of an ethnic group. The epic space of Dam San is just like a large theme reflecting the cultural life and anchoring, (...) transmitting traditional cultural values of the Ede ethnic group in Vietnam. (shrink)

Mikhail Bakhtin has gained a reputation of a thinker and literary theorist somehow hostile to poetry, and more specifically to the epic. This view is based on texts, in which Bakhtin creates and develops a conceptual contrast between poetry and the novel (in "Discourse in the Novel") or between epic and the novel (in "Epic and Novel"). However, as I will show, such perceptions of Bakhtin's position are grounded in a misunderstanding of Bakhtin's writing strategy and philosophical approach. Bakhtin often (...) draws such conceptual contrasts as the ones between epic and novel, but does so not in order to characterize pre-given phenomena (in this case, the epic and the novel as two groups of literary works), but to construct a conceptual space which he in turn uses to explicate elements of his philosophy. (shrink)

A brief account of the first Russian translation of The Cantos of Ezra Pound is presented. The problems encountered during translation are considered, and the translator’s and editorial decisions are discussed. An overview of the references used during the work on the translation and commentaries is presented. The central problem of translating The Cantos is identified as a lack of poetic language and techniques in Russian literature that are comparable with those of Anglo-American modernism. The methods of creating the modernist (...) epic in Russian poetry are discussed and examples of similar attempts made by predecessors are mentioned. In particular, the translations made by N.I. Gnedich, M.L. Lozinsky, A.Ya. Sergeev, S.S. Khoruzhi and V.A. Hinkis, as well as translations of ancient Greek and Chinese literature are mentioned. Among all the various factors influencing the transition of the text from one literature to the other, authenticity, persuasiveness and laconism are stressed as the major reference points not only for translating the text, but also for commenting on the translation and writing the biographical notes. Every effort was made to ensure that the book would look and feel like an artifact of Pound’s lifetime. This is perfectly in line with the concept of Fortleben of the original text, as was suggested by Walter Benjamin. In this way, the translation is seen not only as an interpretation of the text, but as the renewal, survival and prolongation of the text’s life. (shrink)

Nineteen Prescott Fire Department, Granite Mountain Hot Shot (GMHS) wildland firefighters and supervisors (WFF), perished on the June 2013 Yarnell Hill Fire (YHF) in Arizona. The firefighters left their Safety Zone during forecast, outflow winds, triggering explosive fire behavior in drought-stressed chaparral. Why would an experienced WFF Crew, leave ‘good black’ and travel downslope through a brush-filled chimney, contrary to their training and experience? An organized Serious Accident Investigation Team (SAIT) found, “… no indication of negligence, reckless actions, or violations (...) of policy or protocol.” Despite this, many WFF professionals deemed the catastrophe, “… the final, fatal link, in a long chain of bad decisions with good outcomes.” This paper is a theoretical and realistic examination of plausible, faulty, human decisions with prior good outcomes; internal and external impacts, influencing the GMHS; and two explanations for this catastrophe: Individual Blame Logic and Organizational Function Logic, and proposed preventive mitigations. (shrink)

Both the itihāsa-s of the Mahābhārata and the Platonic philosophical ‘epode’ are often used to persuade in conditions where emotion threatens to incapacitate the person for argumentative discourse. Narrative reason has its own conditions of success and failure, opening up a discursive arena in which all kinds of utterances are welcome. Emphasizing the psychagogic function of the ‘once-upon-a-time’ reason, it is worth asking who the real protagonist of the story is and whether the story has a duty or a dharma (...) of its own to fulfill. Dharma and all the dilemmas it brings along with it constitute one of the fundamental problems that make up the whole Mahābhārata. In this essay I wonder about the dharma of the Mahābhārata itself—a literary work which gives itself the name ‘triumph’ (jaya)—and the cultural mission it fulfills in the lives of those who hear it, read it, study it, and share it with others. (shrink)

In the chapter Spirit of the book "Phenomenology of spirit" in a section called "True spirit, ethical Life", Hegel looks into the happy state of "ethical life" in Greece. The concept of ethical life is a very crucial concept because it formulates Hegel's fundamental political and social ideal, which is to establish synthesis between the community and the individual. In this research, we study the ethical life of people who are unreasonably immersed in the customs and laws of a certain (...) society. In the following, we see that this world is divided and the unity of laws in it is shaken. For this reason, Hegel discusses the literary genres of epic and tragedy in order to show that in them, a person progressively becomes himself and becomes aware of his individual character. Hegel destroys his primitive ethical substance dialectically through essential conflicts, with forced actions and untangling choices of people with will and as a result people are deprived of their social identities. In this dialectical process, the "living unity" of the polis is fragmented and becomes a mass of separate atoms. (shrink)

A review of two books on the writings of Madhvācārya, the first thinker of Dvaitavedānta, by the late Roque Mesquita. One is a richly annotated translation with commentary of one of Madhva’s main works, the Viṣṇutattvanirṇaya; the other deals with the centuries-old question of the ‘fictive’ quotations from apparently non-existent texts which Madhva uses in support of his innovative ideas.

In Byron, Shelley, and Goethe’s Faust, author Ben Hewitt has provided us with a carefully done and convincing study. Given this, it would have been interesting to see Hewitt’s effort to integrate Mary Shelley’s work into his narrative. Apart from any similarities between Faust and Frankenstein, it bears remembering that Goethe himself remained unconvinced by efforts to clearly demarcate works as “tragic” or “epic”; a fact that becomes especially clear in the number of works he’d devoted to rewriting the story (...) of Prometheus. One cannot help but wish that Hewitt had considered the connection between these works and Shelley’s own “Modern Prometheus” in juxtaposition to his reading of P.B. Shelley’s Prometheus Unbound, for this would have made for an especially good ending to Hewitt’s story. Wayne Deakin’s consideration of Hegel and the English Romantic Tradition does indeed close with a brief consideration of Mary Shelley’s Prometheus, but this comes only at the end of a much longer set of considerations. In this book Deakin adopts a similar strategy as that of Hewitt, namely, foregoing any historical recovery of Hegel’s direct influence on the English Romantics—in Deakin’s case, Coleridge, Wordsworth, and P.B. Shelley—to focus instead on a reading of key poetic works in concert with their Hegelian framework. This reading essentially flows from Deakin’s effort to rethink Hegel’s relatively early notion of self-consciousness through his late lectures on aesthetics. For Deakin, this leads to “aesthetic recognition”; a situating of the self in relation to the world that remains in tension so far as the subject’s drive for autonomy will automatically be humbled by its reception of and to alterity—be that other “Nature” or other subject. (shrink)

Argument and Design: The Unity of the Mahābhārata is the outcome of a series of three panels dedicated to the renowned scholar of the Mahābhārata, Alf Hiltebeitel, organized by his favorite disciple, Vishwa Adluri on the occasion of Alf’s seventieth birthday. Per its author “whatever is found here [in the Mahābhārata] may be found elsewhere, but whatever is not, will be found nowhere else” (ix). In his foreword, Robert P. Goldman says that, despite having so many dimensions encompassing so many (...) fields, in the end the Mahabharata “is just a rollicking great tale that has inspired countless re-tellings and kept audiences fascinated for millennia” (x). Adluri, one of the editors, introduces “the premise” of this volume to be “that the Mahābhārata is a work of literature and that its upākhyānas (subtales or, perhaps more accurately, proximate narratives) are central to its literary project” (1). (shrink)

Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations for tragic (...) plot patterns; catharsis ; epic and comedy; the nature of our emotional response to drama; the proper pleasure of tragedy; and the role that art plays in a human life the relevance of Aristotle’s work in metaphysics, epistemology, ethics and philosophical psychology to the Poetics a comparison of Plato and Aristotle on the value of mimetic art the continuing importance of Aristotle’s Poetics to contemporary philosophy, aesthetics, and philosophy of film. (shrink)

A famous Indian argument for jus ad bellum and jus in bello is presented in literary form in the Mahābhārata: it involves events and dynamics between moral conventionalists (who attempt to abide by ethical theories that give priority to the good) and moral parasites (who attempt to use moral convention as a weapon without any desire to conform to these expectations themselves). In this paper I follow the dialectic of this victimization of the conventionally moral by moral parasites to its (...) philosophical culmination in the fateful battle, which the Bhagavad Gītā precedes. Arjuna’s lament is an internalization of the logic of conventional moral expectations that allowed moral parasitism, and Krishna’s push for a purely procedural approach to moral reasoning (bhakti yoga) does away with the good as a primitive of explanation and provides the moral considerations that allow us to see that the jus ad bellum and jus in bello coincide: the just cause is the approximation to the procedural ideal (the Lord), which is also just conduct. Jeff McMahan is correct in claiming that it is wrong for the unjust to attack the just. But it is also not obviously correct that it is the same set of moral considerations in war and peace that mark out the sides, for peace is largely characterizable by conventional morality, which all are forced to abandon in war. Walzer is correct that there are different sets of standards at play at war and peace, and that getting hands dirty in immorality is a price worth paying in war, but Walzer is thereby incorrect for a subtle reason: conventional standards by way of which jus ad bellum and jus in bello appear corrupt are themselves actually corrupt when the need for a just war arises. It is because moral parasites use conventional morality as a means of hostility and not as a means of fair, inclusive social interaction that conventional morality is corrupted and turned into a tool of the unjust. It is hence unjust to employ these standards to judge those whose cause is just, though such a judgement is conventional. Those who fight for a just cause thereby justly get their hands dirty by departing from conventional moral standards. But this is to the disadvantage of parasites who can only function in a climate where the conventionally good are constrained by conventional morality. Just war so understood deprives parasites their weapon of choice. (shrink)

The focus of this essay is on Xenophanes’ criticism of anthropomorphic representation of the gods, famously sounding like a declaration of war against a constituent part of the Greek religion, and adopting terms and a tone that are unequalled amongst “pre-Socratic” authors for their directness and explicitness. While the main features of Xenophanes’ polemic are well known thanks to some of the most studied fragments of the pre-Socratic tradition, a different line of enquiry from the usual one is attempted by (...) considering the multi-layered background of the religious beliefs revolving around the idea that the gods have human form as outlined in the tradition of epic poetry or represented in cult statues: in the light of this consideration Xenophanes’ text can take on some new characteristics. In the second part of the article, emphasis is put on the importance of the correlation Xenophanes established between the issue of the appearance of the gods and that of the certainty of knowledge, in terms that have exerted tremendous influence on later thought, most notably on Plato in the Timaeus. (shrink)

Today's academia is obsessed about writing and speaking gobbledygook. At least most of the time. It has little time in sitting still and actually reading fiction, poetry and say, Wittgenstein. One pretends to say fancy things about these authors but one does not actually read books anymore. COVID 19 Lockdown prompted this author to answer queries from students and peers about a reading list. So prepare a wide ranging list he did which covers everything from the version of Mahabharata one (...) ought to read to novels on celibacy. But then he chose to publish at Prabuddha Bharata over all other platforms because the Ramakrishna Mission has the finances to keep this list alive 200 years hence. This was written during COVID 19 Lockdown in India at the end of April, 2020. Nirad C Chaudhuri insisted on making a good bibliography in his magnum opus. This author follows Nirad C Chaudhuri in quietly speaking about how Harold Bloom plagiarised the Late Professor John Senior's reading list. The list also comments on Romanticism and the art of writing itself. The list on Hinduism is truly contrarian. One hopes that this list survives when GoodReads and other Listopias are no longer. -/- Today's academia is obsessed about writing and speaking gobbledygook. At least most of the time. It has little time in sitting still and actually reading fiction, poetry and say, Wittgenstein. One pretends to say fancy things about these authors but one does not actually read books anymore. COVID 19 Lockdown prompted this author to answer queries from students and peers about a reading list. So prepare a wide ranging list he did which covers everything from the version of Mahabharata one ought to read to novels on celibacy. But then he chose to publish at Prabuddha Bharata over all other platforms because the Ramakrishna Mission has the finances to keep this list alive 200 years hence. This was written during COVID 19 Lockdown in India at the end of April, 2020. Nirad C Chaudhuri insisted on making a good bibliography in his magnum opus. This author follows Nirad C Chaudhuri in quietly speaking about how Harold Bloom plagiarised the Late Professor John Senior's reading list. The list also comments on Romanticism and the art of writing itself. The list on Hinduism is truly contrarian. One hopes that this list survives when GoodReads and other Listopias are no longer. -/- These COVID 19 days, while the First world is mooning over syllabi for their kids and third and fourth world folks like me are tackling Umphan; I chose to prepare a new kind of syllabus. A syllabus which is not merely a list. In these days of incessant and meaningless webinars which my students can only spread memes about and only the poor and doctors will actually travel to white nations which are killing their own; here's a list which ends with Hindu classics which are contrarian. Nirad C Chaudhuri, a much maligned man in India and a forgotten polyglot in white privileged academia said we must first prepare a bibliography. So, Figure it out. I used some of the Hindu resources on recognition mentioned here and tried to work on Stephen King; a privileged white tenure track person from Trumpland just snowballed me. Now, this list is syllabi and also just a list of a bunch of books to read during Lockdowns which will be more common in the future because COVID 19, as Dr Fauci tells us; is here to stay. Even if one COVID 19 person is there; then along with Ebola, my white privileged tenure track fiends; off you go to gagaland. We in India already know these diseases. Go figure it out. (shrink)

Krishna Del Toso offre una penetrante analisi della cultura indiana sotto la particolare prospettiva della pratica marziale e della dimensione agonistica, riconducendole alla grande matrice di senso che è l’azione sacrificale sullo sfondo del grande testo classico Ṛgveda.

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

Bred in an intellectual and practising tradition, the author explores layers of dharma, with its meanings and influences, from the ancient to the present. He juxtaposes and contextualises this concept based on the Mahabharata and relates it to the problems of life vis-à-vis social strata. The work analyses philosophical concepts, readings, and re-readings in a novel way. The sceptre and solace of dharma are depicted and the political interpretation in the Indian Constitution is traced.

The author takes the Mahabharata and the Bhagavadgita as samples of the Eastern stand on tragedy and compares it with the Greek and Shakespearean literature. This in-depth analysis shows that the very meaning of the word ‘tragedy’ changes considerably between these cultures. The narrative, artistic, communicative, social, political, literary, cultural, martial, psychological, ethical, and religious aspects of tragedy are dealt with.

Nietzsche sometimes praises the drive to order—to simplify, organize, and draw clear boundaries—as expressive of a vital "classical" style, or an Apollonian artistic drive to calmly contemplate forms displaying "epic definiteness and clarity." But he also sometimes harshly criticizes order, as in the pathological dialectics or "logical schematism" that he associates paradigmatically with Socrates. I challenge a tradition that interprets Socratism as an especially one-sided expression of, or restricted form of attention to, the Apollonian: they are more radically disparate. Beyond (...) strengthening the case for this basic point, I develop a distinctive account of what, exactly, distinguishes the Apollonian-classical and Socratic forms of order. To this end, I advance interrelated interpretations of Apollonian-classical simplicity and the "cold" calm that it elicits, by contrast to superficially similar Socratic phenomena. This illuminates Nietzsche's broader ambivalence toward science, in part by clarifying the nature and value of an idealized Apollonian science. (shrink)

'ā no bhadrāḥ kratavo yantu viśvato ' Let good thoughts come from all around; inspired by this timeless epic of Rigveda. India has presented an excellent model of Multiculturalism to the world. The multiculturalist model of the West, as established by contemporary thinkers like Wilkymalika, is based on the separate political existence of different cultural classes. been made for thousands of years. India has maintained Multiculturalism not only at the socio-cultural level but also at the political level. Through federal structure, (...) universal suffrage, constitutionally guaranteed civil rights, with other constitutional institutions and provisions, multiculturalism is being addressed at the political level for a population of 13 million people .Thus in India , multiculturalism is not only is not only a political tool for diversity but also a socio-political concept. Therefore, Indian multiculturalism presents a comprehensive, effective, and more sustainable model which have to be discussed. (shrink)

ā no bhadrāḥ kratavo yantu viśvato ' Let good thoughts come from all around; inspired by this timeless epic of Rigveda. India has presented an excellent model of Multiculturalism to the world. The multiculturalist model of the West, as established by contemporary thinkers like Will kymlicka, is based on the separate political existence of different cultural classes. However, India's cultural nationalism has shown how diverse cultures can co-exist with a common socio-political thought over the centuries. Sakas, Huns, Kushans, Turks, Afghan, (...) Iranians, and Mughals all got absorbed in sanatan Indian culture. Not only this , it also gave place to the different cultures to come, and made the model, of coexistence alive. In the name of nationalities like French, Spanish, Portuguese, Polish, and German, Europe got divided into many nation states, but in India Gujarati, Marathi,, Telugu Oriya, Bengali, Punjabi, Assamese, Tamil, Kannada, Malayalam nationalities were not divided into nation states. Instead coexistence has been made for thousands of years. India has maintained multiculturalism not only at the socio-cultural level but also at the political level. Through federal structure, universal suffrage, constitutionally guaranteed civil rights, with other constitutional, institutions and provisions, multiculturalism is being addressed at the political level for population of 13 million people. Thus, in India, multiculturalism is not only a political tool for diversity but also a socio-political concept. Therefore, Indian multiculturalism presents a comprehensive, effective and more sustainable model which have to be discussed. (shrink)

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

The aim of the research is to show the need to defend the prosaic reconfiguration of humanity that we set up every day by using temporary resources. This implies to discuss the overvalued achievements of the philosophies that advocate a direct encounter with our raw reality, or that defend an absolutist project of construction of the being of man that ends by suffocating him instead of offering any kind of salvation. The hypothesis states that the possibility of existence of man, (...) understood as the existence of a sense of the human — and, consequently, of a world with a meaning for man — depends on that prosaic configuration of our home that we have to reenact every morning. The development of meaningful worlds — that exist only as long as man exists, and vice versa — is achieved through symbolic resources, such as the metaphor or the concept. This allows us to replace one thing with another, merrily deferring the direct encounter with our constitutive ontological problematicity. To think man's reality is philosophically bearable only through metaphors and concepts, that is, by spreading a mundane prose that does not, that cannot and that should not come to an end. This in spite of the vocation for epic heroism that characterizes philosophy, and in spite of its temerarious impulse to dive into the depths in order to face what we directly cannot speak of, not without becoming speechless. (shrink)

One of the most fascinating and continually debated arguments in the philosophical literature on the badness of death comes from the work of Lucretius (Titus Lucretius Carus, circa 99-55 BCE). This chapter will focus on Lucretius’s famous Symmetry Argument. I will begin by saying more about what exactly Epicureanism teaches about death — and why Epicureans thought it could not be bad. After that, I will provide the passage from Lucretius’s epic poem that includes his reasons for thinking that death (...) cannot be bad and will show how Lucretius’s passage has been regimented into the Symmetry Argument against the badness of death. Next, I will discuss the lasting influence of Lucretius’s argument, summarizing some common ways of responding. Finally, I will turn to two other passages from Lucretius’s poem, both of which suggest that it is actually good (both for us and for the world) that our lives come to an end, and I will conclude by considering the implications of Lucretius’s thought for political policy. (shrink)

I first argue that the Matrix trilogy is a Gnostic cyber-epic; I then use this interpretive lens to review the films' treatment of fundamental questions in epistemology, metaphysics, and value theory.

Karoline von Günderrode’s reputation as a mystical writer makes her a likely candidate as a proponent of a negative philosophy. However, the historical emphasis on Günderrode’s mystical and lyrical writings reflects gender stereotypes about women’s writing and ignores Günderrode’s strengths as an epic and historical writer. It is therefore important to approach claims about Günderrode’s supposed mysticism carefully. This paper is a preliminary attempt to investigate Günderrode’s claims about knowledge, including knowledge of the absolute, asking: What does Günderrode think knowledge (...) is? What does she think the purpose of knowledge is—i.e., what does she think knowledge gets us, or does for us? And how do her claims differ from those philosophers, such as Novalis, whose thinking on knowledge (including of the absolute) seems to resemble hers? I argue that Günderrode maintains that human beings can experience, or “know,” a reality behind the discrete objects and events that comprise the world of appearances, and that she integrates this idea into a coherent worldview in a unique way. Specifically, I argue that Günderrode reconceptualizes the nature of death and selfhood in specific ways that allow her to make sense of the possibility of experiencing the true nature of the world behind the divisions that are characteristic of human knowledge and existence. (shrink)

This short article pairs the realms of “Mathematics”, “Philosophy”, and “Poetry”, presenting some corners of intersection of this type of scientocreativity. Poetry have long been following mathematical patterns expressed by stern formal restrictions, as the strong metrical structure of ancient Greek heroic epic, or the consistent meter with standardized rhyme scheme and a “volta” of Italian sonnets. Poetry was always connected to Philosophy, and further on, notable mathematicians, like the inventor of quaternions, William Rowan Hamilton, or Ion Barbu, the creator (...) of the Barbilian spaces, have written appreciated poems. We will focus here on an avant-garde movement in literature, art, philosophy, and science, called Paradoxism, founded in Romania in 1980 by a mathematician, philosopher and poet, and on the laboured writing exercises of the Oulipo group, founded in Paris in 1960 by mathematicians and poets, both of them still in act. (shrink)

“But when you meet her again,” he observed, “in Heaven, you, too, will be changed. You will see her spiritualized, with spiritual eyes.”1Dante is not a philosopher, although George Santayana sees him as one among a very few philosophical poets.2 The Divine Comedy deals in terza rima with issues that are philosophically urgent, including the relation between reasoning well and happiness.3And as one of the few great epics in Western literature, the Comedy offers its readers the pleasures of world-class poetry, (...) fabulous beasts from classical literature, good people and sinners from Dante’s Italy, and the prolongation in verse of Thomas Aquinas’s summa Theologiae and Summa contra Gentiles. In some ways, Dante’s epic .. (shrink)

In Greek mythology the Muses –patron goddesses of fine arts, history, humanities, and sciences– are tellingly portrayed as the daughters of Zeus and Mnemosyne, the goddess Memory, who is of the race of Titans, older still than Zeus and other Olympian deities. The relationship between memory and such fields as epic poetry, history, music and dance is easily recognizable to moderns. But bards/poets like Homer and Hesiod, who began oral storytelling by “invoking the Muses” with their audience, knew well that (...) remembering, forgetting, and imagining are each to be esteemed as, in Hesiod’s words, “gifts of the goddesses.” The economy of memory is an important concern for moral psychology, philosophy of emotions, and philosophy of imagination. This chapter examines ways that amusements, both classically and today, can function to educate moral emotions in and though their multi-faceted engagements with the economy of memory. (shrink)

Søren Kierkegaard is often considered to be one of the most vocal critics of German idealism. The present paper analyzes the philosophical similarity between Friedrich Schelling ’s early idealistic work and Kierkegaard ’s existential writings, endeavoring to display Schelling ’s epic 1809 publication Philosophical Investigations into the Essence of Human Freedom as a possible forerunner to Kierkegaard. This juxtaposition reveals concrete similarity that supports the thesis that Schelling ’s work could have been of great inspirational value for Kierkegaard, especially Kierkegaard (...) ’s core concepts such as freedom, morality and God. However, Schelling ’s early work is primarily appreciated as a philosophy of nature, and therefore fundamentally different from Kierkegaard ’s theistic-psychological writings. The present paper tentatively opposes this distinction, concluding that if Schelling really is a forerunner to Kierkegaard, then we ought to appreciate Kierkegaard ’s writings as conveying more than a theological message. The conclusion suggests that Kierkegaard ’s writings should be interpreted in a broader philosophical context, closer to the metaphysical idealism he is often assumed to resist. (shrink)

In the culture of ancient Greece, the term Paideia (Greek: παιδεία) referred to the upbringing and education of an ideal member of the polis. However, the period from Homer's epic poetry (9th or 8th century BCE) to the Peloponnesian War (5th century BCE) differs notably, concerning the forms of Hellenistic culture after the emergence of Christianity (especially from 2nd to 9th century AD). For that reason, it is necessary to consider what significance Paideia had in different historical periods of Greek (...) culture. In addition, the discussion of Paideia cannot exist in the abstract form of conceptual analysis without taking into account the real historical figures who contributed to the survival of Greek culture in the Roman and early Christian periods. This paper aims to examine the role of Greek culture in the social life of the early Christian Romans. We will try to achieve this through a detailed analysis of the panegyrics (Greek: πανήγυρις). Panegyrics are eulogies that educated pagan thinkers addressed to Roman emperors. Following the panegyrics, we will examine the influence of the Greek tradition on the distribution of the social roles in the upper classes in the Roman Empire. At the same time, by analyzing panegyric, the socio-cultural context of early Rome, and the demands that social betterment placed on pagan thinkers, we will introduce new elements of Christian Paideia concerning her classical predecessor, thus showing what such a transformation essentially entailed. (shrink)

It gives me great pleasure and honor to introduce myself as the incoming Editor-in-Chief of Polis: The Journal for Ancient Greek and Roman Political Thought. For the last decade I have served as an Associate Editor and the Book Review Editor of the journal. I am very excited about charting new paths for the journal, while continuing to publish first-rate scholarship in our area strengths. Although ‘polis’ is a Greek word that identifies a specific Greek historical political institution, in many (...) important ways the culture of Greek political thought interacted with the political culture of Regal, Republican, and Imperial Rome through Greek settlements in the Western Mediterranean, Roman military conquest, and cultural Hellenization. In the last year the editorial staff of Polis decided to expand the domain of our journal to include scholarship on Roman political thought and Greek-language political thought from the Hellenistic and Roman Imperial periods. Although Polis has been publishing reviews of books devoted to these new domains for several issues, it is quite gratifying to publish an entire special issue, edited by Grant Nelsestuen and Associate Editor Daniel Kapust, devoted to Roman political thought. Additional articles on Roman political thought are in the journal’s publication queue and we look forward to becoming an important venue for the publication of original scholarship and book reviews on Roman political thought and its subsequent reception, along with our original remit for Greek political thought and its reception. The editorial staff of Polis has undergone a number of changes in conjunction with my new role. First and foremost, my mentor and predecessor Kyriakos Demetriou has retired from the position of Editor-in-Chief and become a member of our Editorial Board. I have had the privilege of working with Kyriakos for over 15 years, during which time he transformed the newsletter of the Society for Ancient Greek Political Thought into a pre-eminent peer-reviewed academic journal. I may only hope 15 years from now, that Polis has continued to grow as a source for landmark scholarship on Greek and Roman political thought. During the editorial transition, Associate Editors Rosanna Lauriola and Essam Safty have left our editorial staff. We are grateful for their service to the journal and wish them well in their scholarly endeavors. Finally, I am pleased to announce several additions to our editorial staff. Dimitri El Murr, Professor of Ancient Philosophy at the Ecole Normale Supérieure (Université Paris Sciences et Lettres), has joined the journal as an Associate Editor responsible for the refereeing and editing of Francophone submissions to Polis. Demetra Kasimis, Assistant Professor of Political Science at the University of Chicago, has joined as an Associate Editor responsible for the refereeing of submissions on the political aspects of Greek literature (such as epic, tragedy, and comedy). Matthew Simonton, Associate Professor of History at Arizona State University, has joined the journal as an Associate Editor and Book Review Editor. Finally, Dr. Alexandra Wilding has joined our editorial staff as the journal’s copy-editor. Learn from and enjoy the scholarship of our current issue. Submit to Polis your scholarship on ancient Greek and Roman political thought. Be a part of the future of Polis. Thornton Lockwood Editor-in-Chief. (shrink)

The present paper defends the thesis that Spenser's recovery of place, as enacted in 'The Faerie Queene,' Book VI, can be linked in a direct way to his use of a poetic phenomenology which informs and clarifies his work as an epic writer. Spenser's "Book of Courtesy" enacts a Neo-Platonic movement from the lower levels of temporal existence to an exalted vision of spiritual perfection. The paper explores this movement along phenomenological lines as a mysterious adventure that embraces self and (...) other, personality and community, aesthetics and ethics, in a sequence of images that opens up a new interpretation of imaginative fulfillment. (shrink)

The sixteenth-century Cossacks became the favourite topic of Ukrainian authors of the nineteenth century who dealt with national and individual identity issues. Nikolai Gogol, the celebrated Russian author who had Ukrainian origin and was born in a Cossack village, wrote the epic romance of Taras Bulba, which narrated the story of Cossacks and their struggle for preserving their independence. While the work has been previously studied under the light of postcolonial theoretical framework, using the concepts developed by Homi Bhabha to (...) scrutinize the situation and the destiny of the two main hybrid characters, Taras Bulba’s sons, takes a step further and reveals the deeply ingrained anxiety and ambivalence in the Cossack mentality. The article focuses on the two main hybrid characters who choose divergent paths upon encountering the conflict brought to them by the imperial power. (shrink)

Two ancient sages show how even the most salacious fiction can be spiritually beneficial, for it shows our need for virtue and for grace. The first is the Roman philosopher Plutarch. Among ancient moral philosophers who were concerned with the effects of bad behavior in fiction, Plutarch distinguishes himself by showing how we can benefit morally from such stories. To do so we must approach them with a critical mind and from the right perspective; only then will we have the (...) discernment to separate the good from the bad, to learn to embrace and imitate virtue but flee from vice. The second is Augustine. A comparison of his writings with Plutarch’s produces not only a valuable theological extension of Plutarch’s thought, but also a valuable Christian perspective on the arts. According to Augustine, the pursuit of virtue only gets us so far, and on its own it cannot get us to a happy life. In particular, fiction such as this shows us that we need virtue; but it also shows us that we are not virtuous; so it also shows us that we need grace. -/- I first expound the concerns of ancient philosophers with the epic fiction of their own day. Then I consider Plutarch’s advice on how to benefit from bad behavior portrayed in fiction. Next, I apply his advice to the reimagined Battlestar Galactica. Finally, I show that Galactica illustrates Augustine’s argument in The City of God that happiness cannot be found in this life and how it thus points to our need for grace. -/- Note: The attached file does not have the same pagination as the published article. If you need to cite this article by page number, please consult Volume 2, Issue 1 of Imaginatio et Ratio. (shrink)

This is the first of lessons on the Bhagavad Gītā. The Bhagavad Gītā is a small section of the Mahābhārata, which is a dialectical experiment in moral theory. Here the characters not only assume the role of prominent ethical theories, but must also work through the ethical challenge as a matter of practice. In this module I explicate the main arguments of the Gītā, which lead us from teleological accounts of ethics (Virtue Ethics, Consequentialism) to procedural accounts (Deontology and Bhakti). (...) Bhakti is the most radically procedural of the four theories, and provides an account of right action independent of the good. To access article: (a) choose "Ethics 1" from the first drop down menu, and (b) the title of the paper in the second drop down menu---after clicking on the link (the title of this article above, or the link below). (shrink)

Examinamos as respostas apresentadas por Cícero, Plutarco e Galeno, representantes da filosofia da época imperial, à pergunta pela possibilidade e legitimidade de uma therapeia das paixões. Tomando como ponto de partida uma reflexão sobre a natureza da alma e o estatuto das paixões, eles reacenderam o debate que remonta à poesia épica, na cena em que Aquiles se vê às voltas com o apelo de Atena para que acalme seu coração. Para tanto elegemos os seguintes textos: de Cícero, o livro (...) IV das Tusculanas, de Plutarco, os tratados Se as paixões da alma são mais nefastas que aquelas do corpo e Como refrear a cólera, e de Galeno, os tratados As paixões e os erros da alma e As faculdades da alma seguem os temperamentos do corpo.In this paper we examine the answers given by Cicero, Plutarch andGalen, all noted representatives of imperial Philosophy, to the question of thepossibility and legitimacy of a therapeia of the passions. Taking reflection on thenature of the soul and the status of the passions as starting point, they revivedthe debate that goes back to the scene in epic poetry where Achiles has todeal with Pallas Athene’s appeal to him to calm his heart. To that end we havechosen the following texts: Cicero’s Tusculans, book IV; Plutarch’s Whether thepassions of the soul are worse than those of the body and On the control of anger; and Galen’s On the passions and errors of the soul and That the faculties of the soul follow the temperaments of the body. (shrink)

Fiction is the favorite of most of the readers. Fiction is the reflection of the societal living and lives of human beings as observed by the writer. The writer also will have individual experiences, ideas, likes, dislikes, philosophy which influence and mold his writings. Fiction is famous as short-fiction and novel. Though fictitious, and also because fictitious, fiction takes possession of minds and hearts of readers more than any other literary genre. Their imaginations sore and they get engrossed in the (...) reading of fiction. Fiction is very good in engaging and passes time to the readers. The scholarship, study, reading, worldly knowledge and observation will make one a good fiction writer. The influence of earlier famous fiction writers will mold the writing of author. I am influenced by stories from the Ramayana and the Mahabharata, Panchatantra, Hitopadesa, Jataka Tales, Somerset Maugham, O. Henry, P.G. Wodehouse, Boris Pasternak, Sir Conon Doyle, Saratchanda Chaterjee, Sripada Subrahmanya Sastry, Satyam Sankarmanchi, mostly and many foreign and Indian fiction-writers. My style of writing is mostly in first person-the aatmaasraya narration. (shrink)

This book analyses the concepts of God in Vaisnavism, which is commonly referred to as one of the great Hindu monotheistic traditions. Addressing the question of what attributes God possesses according to particular textual sources and traditions in Vaisnavism, the book analyses Vaisnava traditions and texts in order to locate them within a global philosophical framework. The book is divided into two sections. The first one, God in Vaisnava Texts, deals with concepts of God found in the canonical Vaisnava texts: (...) the Bhavagad Gita, the Bhagavata Purana, the Pancaratras, and the Mahabharata. The second section, God in Vaisnava Traditions, addresses concepts of God found in several Vaisnava traditions and their respective key theologians. As well as the Alvars, five traditional Vaisnava schools- the Sri Vaisnava tradition, the Madhva tradition, the Nimbarka tradition, the Pustimarga tradition, and the Caitanya Vaisnava tradition- and two contemporary ones Ramakrishna's and Swami Bhaktivedanta's are considered. The book combines normative, critical and descriptive elements. Some chapters are philosophical in nature, others are more descriptive, unpacking a specific Vaiṣṇava concept of God for future philosophical analysis and critique. Written by experts who break new ground in presenting and representing a diversity of Vaiṣṇava texts and tradition, the book presents approaches that reflect the amount of philosophical and historical deliberation on the specific issues and divine attributes considered. This book will be of interest to researchers in the fields of philosophy of religion and Indian philosophy, cross-cultural and comparative philosophy, analytic philosophy of religion, Hindu studies, theology and religious studies. (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)

F. W. Schelling’s Principle of Art returns us to an ancient epic sensibility, as argued elsewhere, laying the foundations for how we might reverse the ‘modern mythology’ at the core of humanity’s ecological/existential crisis. This paper advances that argument by examining Schelling’s systematic approach to constructing art ‘in the particular’ (art-forms/works). ‘Particularity’ is subject only to the reason inherent in the potences (or consequences) of the affirmation of the whole unity (the Principle). This suggests how Schelling’s ‘affirming principles’ determine the (...) boundary conditions of his ‘mythological categories’, and how his generalities inform a ‘scientific sequence’ for explaining the features of the Formative and Verbal arts. I examine these in detail in various artforms, and how they resolve key difficulties (eg., appearance/reality, form, intentionality, and purpose) for assessing art’s higher meaning-value directionality. My analysis reveals why phenomenology is key to understanding meaning in art, and ultimately why we arrived at the problematic modern ‘epic’ reversal of ancient universalising, focusing our attention on means over ends (‘final causes’) in art-making/admiring. By explaining the practical application of the Principle-in-action, in constructing/assessing any artforms/works ‘for all time’ in terms of meaning-value, I expand on my earlier argument that Schelling’s ‘dialectical aesthetics’ presents a radical advance on Kant’s. And, in the process, I suggest why our dominant mythological approach to Literature, Drama, and even fundamental conceptions of Tragedy and Comedy begs revision. My conclusion summarises what shifts in our attendance to the art object Schelling’s system demands, to reverse our unrealistic mythological orientation. Why his Philosophy of Art offers a suitable framework for collectively re-worlding the world, becomes clear in praxis; revealing the need to change practices, traditions, and institutions, in order to advance a New Mythology. (shrink)

Herman Gorter (1864-1927) became famous as the author of May (1889) and Poems (1890). His opus magnum Pan, published in 1916, hardly acquired any readership at all, which is remarkable, given the monumental size and scope of this unique achievement, celebrating the imminent proletarian revolution and the advent of the communist era: a visionary work of global proportions. Gorter’s Pan will be assessed as thinking poetry, more precisely: as dialectical materialist poetry, as a work of art which articulates a dialectical (...) materialist worldview, not only concerning political economy and society, but also concerning nature and the universe as such, from the stars and galaxies of modern astrophysics down to the atoms and molecules of modern chemistry and quantum physics. Gorter’s monumental work is ‘thinking poetry’ in the Heideggerian sense of the term, sensitive to an imminent upheaval of Being as such, as well as a dialectical materialist artwork (albeit with a tinge of Spinozism) contributing (via the ‘school of poetry’) to a dialectical understanding of space, time, life and matter. In this article, I will focus on two crucial recurring motives: the motif of the shining crystal and the motif of the beaming galaxy. Via these motifs, so I suggest, Gorter aspires to bridge the gap between his epic-lyrical poetry and twentieth-century science. (shrink)