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A Theater of Civil Disobedience
Civil disobedience has a tattered history in the American story. Described by Martin Luther King Jr. as both moral reflection and political act, the performance of civil disobedience in the face of unjust laws is also, Patrice Rankine argues, a deeply artistic practice. Modern parallels to King’s civil disobedience can be found in black theater, where the black body challenges the normative assumptions of classical texts and modes of creation. This is a theater of civil disobedience.
Utilizing Aristotle’s Poetics, Rankine ably invokes the six aspects of Aristotelian drama—character, story, thought, spectacle, song, and diction. He demonstrates the re-appropriation and rejection of these themes by black playwrights August Wilson, Adrienne Kennedy, and Eugene O’Neill. Aristotle and Black Drama frames the theater of civil disobedience to challenge the hostility that still exists between theater and black identity.
Language and the World in the Sophistical Refutations
Presenting the first book-length study in English of Aristotle’s Sophistical Refutations, this work takes a fresh look at this seminal text on false reasoning. Through a careful and critical analysis of Aristotle’s examples of sophistical reasoning, Scott G. Schreiber explores Aristotle’s rationale for his taxonomy of twelve fallacy types. Contrary to certain modern attempts to reduce all fallacious reasoning to either errors of logical form or linguistic imprecision, Aristotle insists that, as important as form and language are, certain types of false reasoning derive their persuasiveness from mistaken beliefs about the nature of language and the nature of the world.
Accidents, Cause, Necessity, and Determinism
The first exhaustive study of Aristotle's concept of chance. This landmark book is the first to provide a comprehensive account of Aristotle’s concept of chance. Chance is invoked by many to explain order in the universe, the origins of life, even human freedom and happiness. An understanding of Aristotle’s concept of chance is indispensable for an appreciation of his views on nature and ethics, views which have had a tremendous influence on the development of Western philosophy. Author John Dudley analyzes Aristotle’s account of chance in the Physics, the Metaphysics, in his biological and ethical treatises, and in a number of his other works as well. Important complementary considerations such as Aristotle’s criticism of Presocratic philosophers, particularly Empedocles and Democritus, Plato’s concept of chance, the chronology of Aristotle’s works, and the relevance of Aristotle’s work to evolution and quantum theory are also covered in depth. This is an essential book for scholars and students of Western philosophy.
According to Aristotle, man’s essential sociality implies a distinctive conception of politics, one in which all political associations exist for the sake of the moral perfection of human beings. This stands in sharp contrast with the modern view of politics that man is not “by nature” political; rather, man chooses to create political associations for the sake of securing the protection of his life and property. Many political theorists have begun to express doubts about this modern view, calling for a return to Aristotle’s vision of a politics that is deeply moral. In Aristotle’s Politics Today, distinguished political philosophers representing a diversity of approaches examine the meaning, relevance, and implications of Aristotle’s political thought for contemporary social and political theory. The contributors engage a broad range of topics, including Aristotle’s views on constitutionalism, the extension of Aristotelian ideas to issues in international relations, the place of Aristotelian virtue in modern democratic politics, and Aristotle’s conception of justice.
Between Philosophy and Art
Though our time is often said to be post-religious and post-metaphysical, many continue to seek some encounter with otherness and transcendence in art. This book deals diversely with the issues of art, origins, and otherness, both in themselves and in philosophical engagements with the works of Plato, Kant, Hegel, Schopenhauer, Nietzsche, and Heidegger. Addressing themes such as eros and mania, genius and the sublime, transcendence and the saving power of art, William Desmond tries to make sense of the paradox that too much has been asked of art that now almost nothing is asked of it. He argues that there is more to be said philosophically of art, and claims that art has the power to open up mindfulness beyond objectifying knowledge, as well as beyond thinking that claims to be entirely self-determining.
In the Wake of a Radical Aestheticism
Art’s Undoing is about radical aestheticism, the term that best describes a recurring event in some of the most powerful and resonating texts of nineteenth-century British literature. A radical aestheticism offers us the best way to reckon with what takes place at certain moments in certain texts by P.B. Shelley, Keats, Dickinson, Hopkins, D.G. Rossetti, and Wilde when aestheticized representations reach their radicalization. This aesthetic radicalization has profound consequences not only for the specific texts in which it occurs but for our understanding of the ambitious literary project undertaken by each of these writers and, finally, of our conception of the legacy of this literary tradition. This book explores what happens when these writers, deeply committed to certain versions of ethics or politics or theology, nonetheless produce the encounter with a radical aestheticism in their own work. These are the sites and occasions at which the authors’ projects are subjected to a fundamental crisis.A radical aestheticism offers no positive claims for art (either those based on ethical or political grounds or on aesthetic grounds, as in “art for art’s sake”): it provides no “transcendent or underlying ground” for their validation. In this sense, a radical aestheticism is the experience of a poesis that exerts such a pressure on the claims and workings of the aesthetic that it becomes a kind of black hole from which no illumination is possible. The radical aestheticism encountered in these writers is that which in the course of its very extremity takes us to the constitutive elements – the figures, the images, the semblances – that are at the root of any aestheticism, an encounter registered as evaporation, as combustion, as undoing. It is, therefore, an undoing by and of art and aesthetic experience, one that leaves this important literary tradition in its wake.In order to grasp the nature and consequences of this radical aestheticism, I turn to Walter Benjamin’s notion of the aura (Shelley, Hopkins), Roland Barthes’s accounts in his late work of “the third meaning” and the indolence of aesthetics (Keats), Jacques Derrida’s notion of the “event-machine” and Giorgio Agamben’s account of an originary poesis (Dickinson), Hans Urs von Balthasar’s theological aesthetics (Hopkins), absorption and theatricality according to Michael Fried (Rossetti), Jacques Lacan and Slavoj Zizek on the ethics of desire (Rossetti), and Georges Bataille’s notions of expenditure and sacrifice (Wilde). These diverse theoretical projects become in the course of the book something of a parallel text, one that reveals how some of the most significant theoretical and philosophical projects of our time remain within the wake of a radical aestheticism.
Psychic Distance in Comparative Aesthetics
Artistic Detachment in Japan and the West takes up the notion of artistic detachment, or psychic distance, as an intercultural motif for East-West comparative aesthetics. The work begins with an overview of aesthetic theory in the West from the eighteenth-century empiricists to contemporary aesthetics and concludes with a survey of various critiques of psychic distance. Throughout, the author takes a highly innovative approach by juxtaposing Western aesthetic theory against Eastern (primarily Japanese) aesthetic theory. Weaving between cultures and time periods, the author focuses on a remarkably wide range of theories: in the West, the Kantian notion of disinterested contemplation, Heidegger's Gelassenheit, semiotics, and pragmatism; in Japan, Zeami's notion of riken no ken, the Kyoto School's intepretation of nothingness, D. T. Suzuki's analysis of the function of no-mind, and the writings of Kuki Shuzo on Buddhist detachment. "Portrait of the artist" fiction by such writers as Henry James, James Joyce, Mori Ogai, and Natsume Soseki demonstrates how the main theme of detachment is expressed in literary traditions. The role of sympathy or pragmatism in relation to disinterest is examined, suggesting conflicts within or challenges to the notion of detachment. Researchers and students in Eastern and Western areas of study, including philosophers and religionists, as well as literary and cultural critics, will deem this work an invaluable contribution to cross-cultural philosophy and literary studies.
Levinas, Marcel, and the Contemporary Debate
Every other is truly other, but no other is wholly other.This is the claim that Aspects of Alterity defends. Taking up the question of otherness that so fascinates contemporary continental philosophy, this book asks what it means for something or someone to be other than the self. Levinas and those influenced by him point out that the philosophical tradition of the West has generally favored the self at the expense of the other. Such a self-centered perspective never encounters the other qua other, however. In response, postmodern thought insists on the absolute otherness of the other, epitomized by the deconstructive claim every other is wholly other.But absolute otherness generates problems and aporias of its own. This has led some thinkers to reevaluate the notion of relative otherness in light of the postmodern critique, arguing for a chiastic account that does justice to both the alterity and the similitude of the other. These latter two positions-absolute otherness and a rehabilitated account of relative otherness-are the main contenders in the contemporary debate.The philosophies of Emmanuel Levinas and Gabriel Marcel provide the point of embarkation for coming to understand the two positions on this question. Levinas and Marcel were contemporaries whose philosophies exhibit remarkably similar concern for the other but nevertheless remain fundamentally incompatible. Thus, these two thinkers provide a striking illustration of both the proximity of and the unbridgeable gap between two accounts of otherness.Aspects of Alterity delves into this debate, first in order understand the issues at stake in these two positions and second to determine which description better accounts for the experience of encountering the other.After a thorough assessment and critique of otherness in Levinas's and Marcel's work, including a discussion of the relationship of ethical alterity to theological assumptions, Aspects of Alterity traces the transmission and development of these two conceptions of otherness. Levinas's version of otherness can be seen in the work of Jacques Derrida and John D. Caputo, while Marcel's understanding of otherness influences the work of Paul Ricoeur and Richard Kearney.Ultimately, Aspects of Alterity makes a case for a hermeneutic account of otherness. Otherness itself is not absolute, but is a chiasm of alterity and similitude. Properly articulated, such an account is capable of addressing the legitimate ethical and epistemological concerns that lead thinkers to construe otherness in absolute terms, but without the absolute aporiasthat accompany such a characterization.