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Muhammad Iqbal: A Manifestation of Self-reconstruction and Reformation

Written by eastern writer on Thursday, August 28, 2008

If one were to reconstruct the form of Islam, which has been made to degenerate over the course of history, re-assemble it in such a way that its spirit could return to a complete body, and transform the present disorientated elements of Islam into that spirit, as if the trumpet of Israfil were to blow in the 20th century over a dead society and awaken its movement, power, spirit, and meaning, it is then that exemplary Muslim personalities like Muhammad Iqbal would be reconstructed and reborn.

Muhammad Iqbal is not just a Muslim mystic who is solely concerned with mysticism or gnosis as were Ghazzali, Muhyi Din ibn Arabi, and Rumi. They emphasized individual evolution, purification of the soul, and the inner illuminated 'self'. They only developed and trained a few people like themselves but, for the most part, remained oblivious to the outside world, having been almost unaware of the Mongol attack and the subsequent despotic rule and suppression of the people.

Iqbal is also not like Abu Muslim, Hasan Sabah or Saladin Ayyubi and personalities like them who, in the history of Islam, are simply men of the sword, power, war, and struggle and who consider the exercise of power and the defeat of the enemy enough to effect reform and revolution in the minds of the people and in their social relationships.

Nor is Iqbal similar to those learned individuals like the Indian, Sir Sayyid Ahmad Khan, who imagined that no matter in what situation Islamic society is (even if it is under the domination of a British viceroy), it can be revived with modern scholarly interpretations or with 20th century scientific and logical commentaries on Islamic tenets and Quranic verses, as well as through profound philosophical and scholarly research.

Iqbal is not among some Western people who consider science to be sufficient for human salvation, for evolution, and for curing anguish. He is not one of those philosophers who thinks meeting economic needs is tantamount to meeting all human needs. Nor is he like his fellow countrymen, that is, the great Hindu and Buddhist thinkers who consider peace of mind and spiritual salvation to be transmigration, or who consider the cycle of kanna to Nirvana to be the fulfillment of the mission of humanity, and who imagine that in a society where there is even one hungry person, where slavery, deprivation and disgrace exist, one can still develop pure, elevated spirits and disciplined, educated people who have attained well-being and even a sense of morality !

No. Iqbal demonstrates through his very being and through his School of Thought that thoughts which are related to Islam are thoughts which, while paying careful attention to this world and the material needs of humanity, also give the human being a heart. As he himself says, "I find the most beautiful states of life during the yearnings and meditations between daybreak and dawn."

He is a great mystic, with a pure spirit, delivered from materialism and, at the same time, a man who respects and honors science, technological progress, and the advancement of human reason in our age. He is not a thinker who debases science, reason, and scientific advancement having had his emotions aroused by Sufism, Christianity, the religion of Lao Tzu, or Buddha. Neither is he a proponent of "dry" factual science like the science of Francis Bacon or Claude Bernard, which is limited to the discovery of the relationships between phenomena or material manifestations and the employment of natural forces for material life. At the same time, he is not a thinker who links philosophy, illumination, science, religion, reason, and revelation together in an incongruous way, as some have done. Rather, in his outlook and attitude towards this world, he regards reason and science in the very sense they are understood today as allies of love, emotion, and inspiration in the evolution of the human spirit, but he does not accept their goals.

The greatest advice of Iqbal to humanity is: Have a heart like Jesus, thought like Socrates, and a hand like the hand of a Caesar, but all in one human being, in one creature of humanity, based upon one spirit in order to attain one goal. That is, to be like Iqbal himself: A man who attains the height of political awareness in his time to the extent that some people believe him to be solely a political figure and a liberated, nationalist leader who is a 20th century anti-colonialist. A man who, in philosophical thought, rises to such a high level that he is considered to be a contemporary thinker and philosopher of the same rank as Bergson in the West today or of the same level as Ghazzali in Islamic history.

At the same time, he is a man we regard as being a reformer of Islamic society, who thinks about the conditions of human and Islamic society, a society in which he himself lives and for which he performs jihad (i.e. struggles nobly in the way of God) for the salvation, awareness, and liberation of Muslim people. His efforts are not just casual and scientific or of the kind that Sartre called "intellectual demonstrations of political, pseudo-leftists" but rather of the kind exhibited by responsible individuals. He struggles and strives and, at the same time, he is also a lover of Rumi. He journeys with him in his spiritual ascensions and burns from the lover's flames, anguishes, and spiritual anxieties. This great man does not become one-dimensional, does not disintegrate, does not become a one-sided or one-dimensional Muslim. He is a complete Muslim. Even though he loves Rumi, he is not obliterated by him.

Iqbal goes to Europe and becomes a philosopher. He comes to know the European Schools of philosophy and makes them known to others. Everyone admits that he is a 20th-century philosopher, but he does not surrender to Western thinking. On the contrary, he conquers the West. He lives with a critical mind and the power of choice in the 20th century and in the Western civilization. He is devoted to and a disciple of Rumi to an extent that does not contradict and is not incompatible with the authentic dimensions of the Islamic spirit.

Sufism says "As our fate has been pre-determined in our absence, if it is not to your satisfaction, do not complain". Or, "If the world does not agree with you or suit you, you should agree with the world". But Iqbal, the mystic, says "If the world does not agree with you, arise against it!". "The world" means the destiny and life of human beings. The human being is a wave, not a static shoreline. His or her being and becoming is in motion. What do I mean? It is to be in motion. In the mysticism of Iqbal, which is neither Hindu mysticism nor religious fanaticism, but Quranic mysticism, the human being must change the world. Quranic Islam has substituted "heavenly fate" in which the human being is nothing, with "human fate" in which the human being plays an important role. This is the greatest revolutionary, as well as progressive and constructive principle which Islam has created by its world view, philosophy of life, and ethics.

The greatest criticism that humanism and liberal intellectuals have leveled and continue to level against religion is that religious beliefs have been interpreted as being founded on absolute determinism or Divine Will, and thus the absolute subjugation of human will, so the human being is logically reduced to being weak in terms of free-choice in relation to the Absolute. If this were true, it would be a disgrace. It would be servitude and a means for the negation of power, freedom, and responsibility. It would be to submit to the status quo, to 'whatever will be, will be', to accept any fate which is imposed upon the human being in this world and to admit to the futility and uselessness of life. As past, present, and future events have been and will continue to be dictated by fate, in this view, any criticism or objection, then, or efforts to attain our hearts' desires or to change the situation, must be subjugated to "whatever has been pre-destined for us". In this way, the human being's attempts to change, convert, and amend the status quo become impossible, unreasonable, and ill-advised.

But in the philosophy of Islam, although the One God has Absolute Power and is Almighty and although for Him is the Creation, Guidance, Expediency, and Rule over the universe, "His is the Creation and the Command." (7:54), at the same time, the human being, in this extensive universe, is considered in such a way that while one cannot dissociate oneself from the rule of God and from Divine Sovereignty, one can live freely. A Muslim has free will and the power to rebel and surrender. Thus, he or she is responsible and the maker of his or her own image. "Every soul is held in pledge for what he earns" (74:38). "And the human being shall have nothing but what he strives for" (53:30).

In his mystic journey with the Quran, Iqbal described this principle, that is, the principle of authenticity of deed and responsibility towards human beings, that which humanists, existentialists, or radicals endeavor to help humanity achieve by negating religion and denying God. These people, quite rightly, see the religion and the God conceived by the minds of human beings to be incompatible with human freedom, esteem, authenticity, and responsibility, whereas Islam, without resorting to philosophical justification and interpretation, clearly declares "the day when the human being shall see what his two hands have sent before" (78:40).

With his outlook, his orientation to faith and his Islamic mysticism, Iqbal passed through all the philosophical and spiritual states of this age. It can be said that he was a Muslim migrant who appeared in the depths of the Indian Ocean and rose to the highest peaks of honor of the majestic European mountains, but he did not remain there. He returned to us to offer his nation - that is, to offer us - whatever he had learned on his wondrous journey. Through his personality, I see that once again Islam in the 20th century presents a model, an example, for the anguished but confused new generation which has some degree of self-awareness. A shining spirit, full of Eastern inspiration, is selected from the land of the heart of spiritual culture and illumination. The great thoughts of the West, the land of civilization, intellect, and knowledge with the power of creativity and advancement are placed in his mind. Then, with all of this investment, he becomes knowledgeable of the 20th century. He is not one of those reactionaries and worshippers of the past who have enmity towards the West and whatever is new; who oppose new civilization without a sound reason. He is also not like those who imitate and are absorbed by the West without having the courage to criticize and to choose. On the one hand, he employs science and, on the other, he senses its inadequacies and shortcomings in meeting the spiritual needs and the evolutionary requirements of humanity. He offers solutions for its completion. Iqbal is a person who has a world view, and he has developed philosophical-spiritual interpretations based upon it which he offers to the world and its people. Iqbal is a person who bases his social teaching upon his world view, and then offers his spiritual and philosophical interpretations of it. Based upon the culture and history with which he is associated, he develops the concept of a person based on the standard of an "Ali", to the extent that the material for developing such a human being in our century allows.

What does the "standard of Ali" mean? It means a human being with an Eastern heart and a Western mind. It means a person who thinks deeply and profoundly. It means a human being who expresses a beautiful and splendid love. It refers to a person who is well acquainted with the anguish of the spirit as well as with the sufferings of life. It means a human being who both knows God and the people. It is a devotee possessing the light of knowledge who burns with love and faith, and whose penetrating eyes never allow negligence and ignorance to prevail without questioning the fate of enslaved nations. It is a person who seeks reform, revolution, and a change of mental attitudes. As a thinker, he realizes that the spiritless eye of science (according to Francis Bacon) is incapable of seeing all the realities of the universe. He also feels that a lovesick heart attains nothing if it is only concerned with asceticism, self-abasement and purification, because a human being affiliated with society and affiliated to life and the material world cannot disentangle the "self" alone. An individual moves with the caravan of society and cannot choose a way separate from it.

This is why we wish to have a School of thought and action which both responds to our philosophical needs, and at the same time develops a thinking being who is accepted by the world, recognized by civilization and the new culture of the world, and not one alienated from us and our rich cultural resources. We wish for a School of thought and action which nurtures a human being who is closely aware of our culture and all of our good spiritual and religious assets, who is not alienated from the times, and who does not live in the 4th or 5th century. We long for it to develop a human being who can think, who has a scientific mind, yet who does not remain negligent of the anguish, life, captivity, and hardships of his people. We desire the development of a human being who, even if he thinks about the real and material anguish of humanity and about the present confusions and difficulties of human society or his own society, does not forget the ideal human being or the significance of the human being or the eternal mission of humanity in history, and does not lower all human ideals to the level of material consumption.

All that we seek in these various domains can be found in Iqbal, because the only thing that Iqbal did - and this is the greatest success of Iqbal as a Muslim in an Islamic society in the 20th century - was that, based upon the knowledge he had of the rich new and old cultures, he was able to develop himself, based on the model which his ideological School, - that is, Islam, - gave. This is the greatest success of Iqbal in an Islamic society in the 20th century. We do not say that he is a perfect human being. No. We do not say he is a symbolic person. No. He is a personality who, after his disintegration, had been reconstructed into a complete Muslim person and a perfect Islamic personality in the 20th century. This reconstruction is the starting point from which we Muslim intellectuals must ourselves begin. We must feel our greatest responsibility to be in reconstructing ourselves and our society. Sayyid Jamal was the first who produced such a feeling of re-awakening. Asking "Who are you? Who were you?", Iqbal was the first fruit from the seed of the movement which Sayyid Jamal planted in this people. The first product is a great model, an example, and our very awaken- ing. As Easterners, we are affiliated to this part of the world. We are connected with this history. We are human beings confronted by nature and by the West.

But what do we mean when we say Iqbal was a reformer? Can reform really save a society from all of its misfortunes, anguish, and difficulties? Must not a sudden, severe, deep-rooted revolution take place in thought and in relation to society? When we say Iqbal was a reformer, those present who are familiar with the expressions prevalent among the educated class think "reform" means something which is the opposite of "revolution" in a socio-political sense. Most often when we say "reform", we mean gradual change or change in the superstructure, and when we say "revolution", we mean a sudden, abrupt change in the infrastructure, a total collapse and then total reconstruction. But when in these changes we say that Iqbal was a reformer, we are not referring to slow and gradual change in society. Our intention is not gradual change or external reform, but we use this word in its general sense which also includes the meaning of "revolution".

When we say Iqbal was a reformer or that the great thinkers after Sayyid Jamal are known for being the greatest reformers of the century in the world, it is not in the sense that they supported gradual and external change in society. No! They were supporters of a deep-seated revolution, a revolution in thought, in views, in feelings; an ideological and cultural revolution. Iqbal, Sayyid Jamal, Kawakibi, Muhammad Abduh, Ibn Ibrahim and members of the Maqrib lJlama Association are great men who shook the East in the last one hundred years. Their reforms or, still better, "reforming revolutions", stand upon this principle, for they believe that individual reform is no longer an answer. It is an altogether different matter if reform affects society. A person can no longer think and live in a way which he has chosen for himself, nor accept any influence from his age or his society, and still develop himself into a pure and real human being in a corrupt age and in a degenerate society, for if this were to be possible, then "social responsibility and commitment" would make no sense.

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this article written by by: Dr. Ali Shariati. visit www.shariati.com

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Written by eastern writer on Thursday, August 28, 2008

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The payback percentage is the amount of money the slot machine is designed to return over the course of time. This time could be tens of thousands of spins. It's important to not think that the machine will perform optimally over the course of your session, which is a short period of time in the grand scheme of things. Remember, not all slot machines are created equal. It's not uncommon to see a 98% payback machine next to a 94% payback machine or cluster.

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The tribes of art

Written by eastern writer on Thursday, August 28, 2008

Scott McCloud has a fascinating typology of four, fundamentally different types of art - and artists. But how distinct are they?




Certain tensions crop up over and again in conversations about art, be it art v commerce, truth v beauty or the ever popular form v content. Now comics, once derided as "just for kids" but now the source of some of our most powerful storytelling, have entered the high falutin' fray in the form of Scott McCloud, leading theorist of comics and graphic novels.

On the road promoting Making Comics, the follow-up to his now classic text on the practice and theory of comics, Understanding Comics, he recently spoke at the San Diego ComiCon. He's a brilliant and engaging speaker, presenting a new and compelling viewpoint on storytelling, both in comics and other narrative forms. But one of McCloud's most interesting ideas, drawn as much from his observations of artists as of art, are the four tribes of artists and creative thinkers.

Hang out at any big gathering of artists long enough and, McCloud argues, you will see the artists gravitate towards four clusters, or tribes. These tribes represent the fundamental values those artists hold and strive towards in their work. They are not impermeable concrete bunkers, and most artists have their feet in two or more tribes.

• Animists are the first artists, the shamen dancing around the tribal fire who drag raw emotion from their soul and give it to the audience. They are the instinctual artists, concerned above all with content. (Jeff Smith and Jack Kirby would both fall easily under this heading.)

• Classicists worship at the altar of beauty, and yearn to create art that achieves greatness. They believe in objective standards of good and bad, and establish the canon of great artists who embody those ideals. (Neil Gaiman and Frank Cho.)

• Iconoclasts are either the first against the wall when the revolution comes, or at the front leading the charge. They use art as a means of personal and political expression, and when asked will say that they value truth over all else. (See Robert Crumb and Alan Moore.)

• Formalists love talking about art almost as much as they enjoy creating it. They are the experimenters of any given art, obsessing about details of style and technique in their own work and the work of others. (McCloud himself, and Chris Ware.)

The real fun begins when you start to look at synergies and conflicts that exist between the tribes. Between the Classicists and Animists is the shared belief that tradition is important, a belief which both the Formalists and Iconoclasts give the finger to in favour of revolution and change. However, the Formalists and Classicists both believe first and foremost in the value of art, whereas Animists and Iconoclasts both make art secondary to life.

These might seem fairly arbitrary distinctions, until you relate them to those unending arguments in the arts, which start to look like ongoing territorial squabbles between competing tribes. What is the age-old debate between truth and beauty, if not a fight between the Classicists and the Iconoclasts? Who is more passionate about style v content than Formalists and Animists.

The theory of the four tribes makes an interesting thought experiment for artists, one that raises far more question than it answers. Where do we each fit among the tribes? Are there artists who belong to none of the tribes, or who belong all of them? And of course it's fun to debate the merits of one tribe over the other, which so many arguments in the arts boil down to.

But every tribe has weaknesses to balance their strengths. For all their ability to move an audience, Animists are often the most colloquial and narrow-minded artists. Classicists might know what is great, but in constantly repeating it can easily become boring. While style-conscious Formalists can be so concerned with experimentation that their creations lack heart and soul. And the Iconoclasts, determined to change the world, risk making art consumed by negativity and anger. Whichever tribe you belong to, it's worth opening your mind to the strengths and values of your opponents, even when enjoying a really good argument with them.

source: http://blogs.guardian.co.uk

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Written by eastern writer on Thursday, August 28, 2008

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Banner stands and accessories

Written by eastern writer on Tuesday, August 26, 2008

Banner Stand Pros have the largest selection of banner stands and accessories. They carry everything from the top name brands such as Expand, Banner Bug, Testrite, and Orbus, as well as exclusive models you will only find here. You have a choice of over 35 rollup banner stands, over 25 portable banner stands, and over 15 retail banner stands. So that you can find the exact banner stand display that fits their needs and budget.

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The Drama in the 18th Century

Written by eastern writer on Thursday, August 21, 2008

EVERYWHERE in Europe the modern drama has been evolved from out the drama of the middle ages; but the development had been slower in France than in Spain and in England; and this retarding of its evolution was fortunate for the French, since the golden days of their dramatic literature arrived only after the conditions of the theater had become far less medieval than they had been during the golden days of the Spanish and of the English dramatic literatures. It was natural that the more modern form of play should be taken as a model by the poets of other countries, the more especially at the beginning of the eighteenth century, when the French were everywhere accepted as the arbiters of art, the custodians of taste, and the guardians of the laws by which genius was to be gaged. In England the Puritans had closed the places of amusement and had thus broken off the theatrical traditions that ran far back into the middle ages; and when the playhouses opened again after the Restoration, the managers had to gratify new likings which king and courtiers had brought back with them from France. Even though the plain people in London continued to prefer the plays of Shakespeare to belauded adaptations from Corneille or Racine and to icily decorous imitations like the CATO of Addison, and even though the plebeian folk in Madrid still relished the plays of Lope de Vega and Calderon, the English men-of-letters and the Spanish men-of-letters were united in taking an apologetic tone toward the earlier dramas which had pleased their less cultivated forefathers. In England as in Spain the learned critic was willing to admit that these earlier dramas had a certain rough power which might move the uneducated, but he had no desire to deny that they wanted art. For instance, Doctor Johnson, when he brought out his edition of Shakespeare in the middle of the eighteenth century and when he ventured a timid suggestion that possibly the so-called rules of the theater were not absolutely infallible, seems to have felt almost as though he was taking his life in his hands.

In Italy and in Germany, as in England and in Spain, the men-of-letters maintained the necessity of conforming to the theatrical theory of the French because they believed the French to be the only true exponents of the Greek tradition, which it was the bounden duty of every dramatic poet to follow blindly. The rules of the theater as the French declared them had only a remote connection with the Greek tradition; and they consisted mainly of purely negative restrictions. They told the dramatic poet what he was forbidden to do, and they declared what a tragedy must not be. To accord with the demands of the French theory a tragedy should not have more or less than five acts and it should not be in prose; it should deal only with a lofty theme, having queens and kings for its chief figures, and avoiding all visible violence of action or of speech, and all other breaches of decorum; it should eschew humor, keeping itself ever serious and stately, and never allowing any underplot; and, above all, it should permit no change of scene during the whole play, and it should not allow the time taken by the story to extend over more than twenty-four hours.

These were the rules to conform to which Corneille cramped himself and curbed his indisputable genius, with the result that he is to Shakespeare "as a clipped hedge is to a forest,"--to quote an unsympathetic British critic. A certain likeness to the virgin woods is discoverable in the Elizabethan drama, whereas the drama of Louis XIV resembles rather a pleasure-park laid out by some such architect as Lenôtre. French tragedy had a graceful symmetry of its own, but it was lacking in bold variety and in imaginative energy. Here is an added reason why it was widely accepted in the eighteenth century, which has been termed "an age whose poetry was without romance" and "whose philosophy was without insight." The century itself, rather than the French example, is to blame if it has left so few poetic plays deserving to survive. What Lowell called "its inefficacy for the higher reaches of poetry, its very good breeding that made it shy of the raised voice and the flushed features of enthusiasm," enabled the century to make its prose supple for the elegancies of the social circle and for the literature which sought to reflect those elegancies. "Inevitably, as human intercourse in cities grows more refined, comedy will grow more subtle," so De Quincey declared; "it will build itself on distinctions of character less grossly defined and on features of manners more delicate and impalpable."

II

A FLEXIBLE prose is plainly the fittest instrument for the comedy-of-manners; and the comedy-of-manners is as plainly the kind of drama best suited to the limitations of the eighteenth century. By their comedies rather than by their tragedies are the dramatists of that century now remembered. Their comedies, like their tragedies, were composed in imitation of French models; but the influence of Molière was as stimulating as the influence of Corneille and Racine had been stifling. Within a few years after Molière's death the type of comedy which he had elaborated to suit his own needs and to contain his veracious portrayal of life as he saw it, had been taken across to England by the comic dramatists of the Restoration, some of whom had borrowed plots from him and all of whom had tried to absorb his method. No one of the English dramatists had Molière's insight into character or his sturdy morality. Congreve and Wycherley, Farquhar and Vanbrugh helped themselves to Molière's framework only to hang it about with dirty linen. At times Molière had been plain of speech, but he was ever clean-minded; whereas the English dramatists of the Restoration were often foul in phrase and frequently filthy in thought also.

Clever as these Restoration comedies were and brilliant in their reflection of the glittering immorality, their tone was too offensive for our modern taste, and scarcely one of them now survives on the stage. Yet the form they had copied from Molière they firmly established in England, where the conditions of the theater had come to be like those in France; and this form has been accepted by all the later comic dramatists of our language, who have never cared to return to the looser and more medieval form which had to satisfy the humorous playwrights under Elizabeth. Steele and Fielding and, later in the century, Goldsmith and Sheridan continue in English comedy the tradition established by Molière. In SHE STOOPS TO CONQUER and in THE RIVALS there is an element of rolicking farce not quite in keeping with the elevation of high comedy but not unlike the joyous gaiety which laughs all through the IBOURGEOIS GENTILHOMME. In the SCHOOL FOR SCANDAL we have an English comedy with something like the solid structure of the FEMMES SAVANTES, but narrower in its outlook, not so piercing in its insight, and far more metallic in its luster.

The English followers of Molière are many, but they are not more numerous or more amusing than those who in his own country profited by the example he had left. Regnard is almost the equal of his master in adroitness of versification and even in comic force, in the power of compelling laughter. MONSIEUR DE POURCEAUGNAC has hardly added more to the mirth of the French than has the LÉGATAIRE UNIVERSAL. But Regnard is fantastic and arbitrary in the conduct of his plots; and he lacks the truth to life and the penetration which characterize Molière. Lesage comes nearer, in his knowledge of human nature and in his appreciation of its frailties, although it is in his novels rather than in his plays that he reveals himself most fully as a disciple of Molière. Like Fielding in England, Lesage in France carried over into prose fiction the method of character-drawing which he had acquired from the greatest of all comic dramatists.

In the DÉPIT AMOUREUX and in the ÉCOLE DES FEMMES Molière had shown how to set on the stage certain more delicate phases of feminine personality; Marivaux pushed the analysis still further, thereby enriching French comedy with a series of studies of women in love,--women at once ethereal, sophisticated, and fascinating. Broader than Marivaux was Beaumarchais, broader and franker; his psychology was swifter, his action more direct, and his stagecraft was more obvious. It was TARTUFFE and the ÉTOURDI that he had taken as his models, but he was only clever and wily where Molière was transparently sincere; and instead of the large liberality of the dramatist under Louis XIV the dramatist under Louis XVI had a caustic skepticism. The career of Beaumarchais was as varied in its vicissitudes as that of his own Figaro; he was an adventurer himself, like Sheridan, his contemporary on the other side of the Channel. The BARBER OF SEVILLE was as lively and as vivacious as the RIVALS; and the MARRIAGE OF FIGARO was as scintillating and as hard as the SCHOOL FOR SCANDAL.

There was a disintigrating satire in these comedies of Beaumarchais, a daring bitterness of attack like that of a reckless journalist who might happen also to be an ingenious and witty playwright. Where Molière had assaulted hypocrisy in religion and humbug in medicine, Beaumarchais made an onslaught on the Ancient Regime as a whole. No doubt a portion of the vogue Beaumarchais enjoyed among his contemporaries was due to their covert sympathy with the thesis he was so cleverly sustaining on the stage. He knew how to profit by the scandal aroused by his scathing insinuations against the established order. Yet he was not dependent on these factitious aids, and his solidly constructed comedies reveal remarkable dramaturgic felicity. They have established themselves firmly on the French stage, where they are still seen with pleasure, although certain polemic passages here and there strike us now as extraneous and as over-vehement. Beaumarchais is the connecting-link between the French comedy of the seventeenth century and that of the nineteenth, between Molière and Augier.

III

ALTHOUGH the French theorists insisted on a complete separation of the comic and the tragic, disapproving fiercely of any humorous relief in a tragedy, they also maintained that comedy should hold itself aloof from vulgar subjects, that it should ever be genteel; and there were some who held that it ought to be unfailingly dignified. Even in England Goldsmith was reproached for having disfigured SHE STOOPS TO CONQUER with scenes of broad humor "to low even for farce"; and Sheridan in the prologue of the RIVALS felt forced to make a plea for laughter as a not unnatural accompaniment of comedy. without asserting categorically that the drama should be strenuously didactic, many critics considered that it was the duty of comedy, not first of all to depict human nature as it is with its foibles and its failings, and not to clear the air with hearty laughter wholesome in itself, but chiefly to teach, to set a good example, to hold aloft the standards of manners and of morals. Dryden had declared that the general end of all poetry was "to instruct delightfully"; and not a few later writers of less authority were willing enough to waive the delight if only they could make sure of their instruction.

Thus there came into existence a new dramatic species, which flourished for a little space on both sides of the English Channel and which was known in London as sentimental-comedy and in Paris as tearful-comedy, comédie larmoyante. The most obvious characteristic of this comedy was that it was not comic; and in fact it was not intended to be comic, but pathetic. It was a mistake that a play of this new class should call itself comedy, which was precisely what it was not, and that by this false claim it should hinder the healthy growth of true comedy with its ampler pictures of life and its contagious gaiety. But the new species, however miscalled, responded to a new need of the times. It was the result of that awakening sensibility of the soul, of that growing tenderness of spirit, of that expansion of sympathy, which was after a while to bring about the Romanticist upheaval.

In England this sentimental-comedy never amounted to much, even though it had for one of its earliest practitioners Steele, who claimed that a certain play of his had been "damned for its piety." But Steele, undeniable humorist as he was, lacked the instinctive touch of the born playwright, and his humor was too delicate to adjust itself easily to the huge theaters of London. Steele's is the only interesting name in all the list of writers for the English stage who intended to edify rather than to amuse and who did not regret that their comedies called for tears rather than laughter. That the liking for sentimental-comedy was more transient in England than in France perhaps was due to the fact that the Londoners had already wept abundantly over dramas of an irregular species, not comedies of course, nor yet true tragedies, but dealing pathetically with the humbler sort of people. Of this irregular species Lillo's GEORGE BARNWELL and Moore's GAMESTER may serve as specimens. Difficult to classify as these plays may have been, they were moving in their appeal to the emotions of the London citizens; and they must be accepted as spontaneous attempts at a kind of play which the French later in the century were to strive for under the name of tragédie bourgeoise, the tragedy of common life, with no vain tinsel of royalty and no false perspective of antiquity.

In France, where comedy and tragedy were more rigorously restricted than in England, the vogue of sentimental-comedy was less fleeting, sustained as it was by the sudden success of the pathetic plays of La Chaussée and by the ardent proclamations of Diderot. With all his intelligence, Diderot failed to write a single good play of his own; but he was swift to see that the prescribed molds of tragedy and comedy, as the French theorists had established them, were not only too narrow but above all too few for a proper representation of the infinite variety of human life. Envying the larger liberty of the English theater and approving of the comédie larmoyante and the tragédie bougeoise, he demanded a frank recognition of the right of these new species not only to exist but also to be received as the equals of tragedy and comedy. Unfortunately Diderot could not sustain precept by example; his own attempts at play-writing were painfully unsatisfactory, and the tearful-comedies of La Chaussée were poor things at best, even though they had won favor for a little while. Perhaps the most pleasing example of French sentimental-comedy was Sedaine's PHILOSOPHE SANS LE SAVOIR; and in spite of its amiable optimism and its touching situations, the tone of this innocent little play was thin, and its manner was rather argumentative than appealing.

IV

IF we needed proof of the temporary popularity of the ingenuous domestic drama which pretended to be comedy, although it preferred tears to laughter, we could find this in the fact that it tempted even Voltaire to essay it. Yet for sentimental-comedy it would seem as though Voltaire had few natural qualifications, since he was deficient in sentiment, in pathos, and in humor. Wit he had in profusion,--indeed, he was the arch-wit of the century; and he was so amazingly clever that when he attempted tragedy he was able to make his wit masquerade even as poetry. In the drama, as in almost every other department of literature, Voltaire is the dominating figure of this time. He was very fond of the theater, and he had possessed himself of some of the secrets of the dramaturgic art. He could devise an ingenious story; but he had no firm mastery of human motive. However artfully his plots might be put together, they were generally improbable in the main theme and arbitrary in the several episodes.

Even his best tragedy, ZAÏRE, which is less of an improvisation than most of his other plays, and which still has an intermittent vitality on the French stage, was little more than a melodrama, as the characters existed soley for the situations by which they were created. Although his versification was feeble, and although he was never truly a poet, he was sometimes really eloquent. As a dramatist he was often self-conscious, not to say insincere; his mind was on the minor effects of the stage and not on the larger problems of the soul. His conception of tragedy was petty; it was without elevation or austerity; and yet he thought that the French had been able to improve on the type of tragedy which they had borrowed from the Greeks. He did not see that French tragedy, vaunting itself so absolutely Greek, had acquired from the Spanish drama a trick of complicating its plot with ingenious surprises, than which nothing could be more foreign to the large simplicity of the Athenian drama. He did not percieve that what his countrymen had been trained to expect and to admire in the tragic drama "was a set of circumstances peculiar to that play, with a set of characters common to all French plays in general,--the mesdames et seigneurs of the Spanish CID of Corneille, the Jewish ATHALIE of Racine, and the Grecian MÉROPE of Voltaire" himself.

How widely the ideal of tragedy upheld by the French dramatists under Louis XV differed from that pursued by the English playwrights under Elizabeth, and also from that followed by the Greek poets under Pericles, was made plain by Voltaire's own formal declaration in which he set up a standard of tragedy as he understood it: "To compact an illustrious and interesting event into the space of two or three hours; to make the characters appear only when they ought to come forth; never to leave the stage empty; to put together a plot as probable as it is attractive; to say nothing unnecessary; to instruct the mind and move the heart; to be always eloquent in verse with the eloquence proper to each character represented; to speak one's tongue with the same purity as in the most chastened prose, without allowing the effort of rhyming to seem to hamper the thought; to permit no single line to be hard or obscure or declamatory;--these are the conditions which nowadays one insists upon in a tragedy." From this explicit definition it is evident that Voltaire regarded tragedy as a work of the intelligence rather than of the imagination; and it might even be inferred that he distrusted the imagination, and that he thought that the intelligence could be aided in the accomplishment of its task by the rules.

The rules of the theater, including that of the Three Unities, had been adopted in France in the seventeenth century largely because Corneille had given his adhesion to them, although they held him in bondage he could not but feel; and they were maintained in France in the eighteenth century very largely because of the authority of Voltaire, who was ever ready to reproach Corneille for every chance dereliction and to denounce Shakespeare for every open disregard of dramatic decorum. The weight of Voltaire's authority was acknowledged not only in France but throughout Europe. His plays were translated and acted in the various languages of civilization; and his opinions about the theater were received with acquiescence in Italy, in Germany, and in England. It is true that in England, while the professed critics deplored the lamentable lack of taste shown by their rude forefathers, they themselves continued to enjoy the actual performances of the vigorous plays of the Elizabethan dramatists. It is true that in Italy the men-of-letters who accepted the rulings of Voltaire could take little more than an academic interest in the drama, since their theater was not flourishing, and even the comedy-of-masks seemd to be wearing itself out. It is true that in Germany also the theater was in a sorry condition, and that the German actors were often forced to perform in adaptations of French plays in default of native dramas worthy of consideration.

Charming as are certain of the comedies of Goldoni, they are slight in texture and superficial in character; and it is significant that Goldoni himself felt it advisable to leave his native land and to go to Paris to push his fortunes. Significant is it also of the increasing cosmopolitanism of the theater toward the end of the century that the plot of one of Goldoni's Italian comedies was utilized by Voltaire, whose French play was adapted into English by the elder Colman. Lofty as are the tragedies of Alfieri they have a scholarly rigidity as if they were intended rather for the closet than the stage, although the simplicity of their structure has made it possible to present them in the actual theater. Italy in the eighteenth century was sunk in corruption or busy with petty intrigue; and it was devoid of the energy of will which is the vital element of the drama. Not only was there little expectation or even hope of national unity; there was in fact but little solidarity of feeling among those who spoke the language. The French people, and the English also, were each of them conscious of their nationality and proud of it; but the Italians were like the Germans in having neither pride nor consciousness. Italy was only a geographical expression then; and no fervid lyrist had yet proclaimed the large limits of the German fatherland. The Italians and the Germans, whatever their merits as individuals, were then as peoples too infirm of purpose and too lax of will to be ripe for an outflowering of the drama such as might follow hard upon the achievement of national unity and the establishment of a national capital. Very important indeed is the contribution which a city can make to the development of a dramatic literature; and not only in Athens but also Madrid, London, and Paris have deserved well of all lovers of the drama.

V

ALTHOUGH the Germans had then no center of national life and had not yet felt the need of it, they had given more proof of resolution than the Italians; and it was in the eighteenth century that Frederick laid the firm foundation of the national unity to be achieved more than a century later. It was in Germany again that there arose a stalwart antagonist to withstand Voltaire, to destroy the universal belief in the infallibility of French criticism, and to disestablish the pseudo-classicism which needed to be swept aside before a rebirth of the drama was possible. Lessing was the best equipped and the most broad-minded critic of aesthetic theory who had come forward since Aristotle; and he had not a little of the great Greek's commingled keenness and common sense. The German critic was not so disinterested as Aristotle; indeed, what strikes us now as the sole defect of his stimulating study of the drama is its polemic tone. It was in the stress of a contemporary controversy that Lessing set forth eternal principles of the dramatic art. He went into the arena with the zest of a trained athlete; and he was never afraid to try a fall with Voltaire himself. In fact, it was especially in the hope of a grapple with the French dictator of the republic of letters that the German kept his loins girded.

Lessing had not only a courage of his own: he had also the solid learning of his race. He was a scholar, thoroughly grounded and widely read. He knew at first hand the Greek drama and the Latin; he was acquainted with Shakespeare and with Lope de Vega in the original; he was thoroughly familiar with the French theater, and with the criticisms made against it in Paris itself. Original as Lessing was, he profited by the suggestions of his predecessors, and there is no reason now to deny his immediate indebtedness to Diderot. The French critic it was who pointed out the path, but only the German critic was able to attain the goal. What Diderot had happened merely to indicate in passing, Lessing, with his wider knowledge of life, of literature, and of art, was able to accomplish. He took up the French rules of theater with their insistence on the alleged Three Unities, and he was able to show the baselessness of the claim that they are derived from the practice or the precepts of the ancients. Then he went further and pointed out the inherent absurdity of these factitious restrictions and their fettering effect upon the French dramatic poet, even when they were kept only in letter and broken in spirit.

Lessing destroyed the superstitious reverence for the French theories; but he could build up as well as tear down. German literature was then at its feeblest period; and such original German pieces as might exist were almost as pitiful as the week limitations of French tragedy. The German theater was battling for life; it was barren of plays worthy of good acting; it was almost as deficient in good actors capable of doing justice to a fine drama; and it attracted scant and uncultivated audiences without standards of comparison and therefore with little appreciation of either the dramaturgic art or the histrionic. Like Aristotle, Lessing had grasped the complex nature of the dramatic art, with the necessary correlations of playwright and player; and, like Aristotle again, he never thought of a drama as a work of pure literature but always as something intended to be performed by actors, in a theater, before an audience. The French imitations Lessing strove to eliminate by substitution,--by providing plays of his own which should be native to Germany in motive and in temper, and which might serve as the foundation for a national drama. He was almost as successful in this constructive effort as he had been in his destructive labors.

A critic Lessing was, no doubt, but a critic who had the rare ability to practice what he preached. It at least three plays he revealed himself as a true dramatist, as a man who had mastered the craft of play-making, and who could present on the stage the essential scenes of a struggle between contending forces embodied in vital characters. The proof of the play is in the acting always; and Lowell did not hesitate to assert that MINNA VON BARNHELM and EMILIA GALOTTI act "better than anything of Goethe or Schiller." In justification of Lowell's assertion it may be noted that these two plays are nowadays seen in the German theaters quite as often as any two dramas of either Goethe or Schiller.

EMILIA GALOTTI and MISS SARA SAMPSON are tragedies of middle-class life, tragédies bourgeoises, owing something to the precept of Diderot and owing perhaps more to the practice of the English dramatists, whom Lessing had also admired. Although his style is noble and direct, he is not primarily a poet, with a poet's instinctive happiness in finding the illuminative phrase. His culture, his formidable instruction, his resolute thinking, unite to give certain of his dramas a richness of texture uncommon enough in popular plays. MINNA VON BARNHELM is a comedy, not tearful exactly, nor yet mirthful, rather cheerful, even if grave in spirit. Lessing was scarcely every gay, although he could be witty enough on occasion. His dialogue has sometimes a Gallic ease, and it has always a Teutonic sincerity. MINNA is the best of his plays; it is brisk in action, lively in incident, and ingeniously contrived throughout.

Perhaps the model of which Lessing availed himself unconsciously when his serious plays were taking shape in his mind, was that suggested by Molière's larger and later comedies. But with his practicality and his perfect comprehension of the conditions of the modern theater, Lessing made one important modification in the form of the drama which Molière had supplied. Where the Frenchman, dealing only with the crisis of Tartuffe's career in Orgon's house, had no difficulty in concentrating the action into a single day and a single spot, the German, rejecting the Unity of Time and the Unity of Place, held himself at liberty to protract the action over so long a period as he might find advisable, and to change the scene as often as he might see fit. But Lessing perceived the advantage of not distracting the attention of the audience by changes of scene during the progress of the act; and he therefore made his removals from place to place while the curtain was down. He was apparently the first playwright who gave to each act its own scenery, not to be changed until the fall of the curtain again. Here he supplied an example now followed by the most accomplished playwrights of the twentieth century.

VI

IN this avoiding of the confusion resulting from frequent shifting of the scenery before the eyes of the spectators, Lessing was more modern than either Goethe or Schiller, both of whom--especially in their earlier dramatic efforts, in the GOETZ of the one and in the ROBBERS of the other--appeared to hold that the example of Shakespeare warranted their returning to the more medieval practice of making as many changes of place as a loosely constructed plot might seem to require. Lowell suggested that there was "in the national character an insensibility to proportion" which would "account for the perpetual groping of German imaginative literature after some foreign mold in which to cast its thought or feeling, now trying a Louis Quatorze pattern, then something supposed to be Shakespearian, and at last going back to ancient Greece."

Nowadays Goethe's surpassing genius is everywhere acknowledged,--his comprehensive and insatiable curiosity, his searching interrogation of life, his power of self-expression in almost every department of literature. But great poet as he was, a theater-poet he was not. He was not a born playwright, seizing with unconscious certainty upon the necessary scenes, the scènes a faire, to bring out the conflict of will against will which was the heart of his theme. He lacked the instinctive perception of the exact effect likely to be produced on the audience, and he was deficient in the intuitive knowledge of the best method to appeal to the sympathies of the spectators. In fact, the time came in Goethe's career as a dramatic poet when he refused to reckon with the playgoers who might be present at the performance of his plays,--an attitude inconceivable on the part of a true dramatist and as remote as possible from that taken by Sophocles, by Shakespeare, and by Molière. When he was director of the theater in Weimar he did not hesitate to assert that "the public must be controlled." A more enlightened tyrant than Goethe no theater could ever hope to have; and yet little more than sterility and emptiness was the net result of his theatrical dictatorship and of his refusal to consider the native preferences of the Weimar playgoers.

It was Victor Hugo who once declared that the audience in a theater can be divided into three classes,--the crowd which expects to see action, women, who are best pleased with passion, and thinkers, who are hoping to behold character. The main body of playgoers has always wanted to be amused by the spectacle of something happening before their eyes; and many of them, including nearly all women, desire to have their sympathies excited; but it is only a chosen few who go to the theater seeking food for thought and ready, therefore, to welcome psychologic subtlety and philosophic profundity. The great dramatists have been able to satisfy the demands of all three classes; and OEDIPUS THE KING, HAMLET, and TARTUFFE were popular with the plain people from their first performance. But Goethe seemed to care for the approval of only the smallest class of the three; and only in FAUST did he reveal the dramaturgic skill needed to devise an action interesting enough in itself to bear whatever burden of philosophy he might wish to lay upon it.

Even in his early plays, in GOETZ VON BERLICHINGEN, for example, in which there is action enough and emotion also, there is no felicity of stagecraft. It purports only to be a chronicle-play; but although afterward reshaped for the stage, it was not conceived to suit the conditions of the actual theater. CLAVIGO, however, which is only a dramatized anecdote, an unpretending improvisation, swift in its action and clear in its handling of contending motives, is effective on the boards; and as a stage-play it is perhaps the most satisfactory of all Goethe's dramatic attempts, trifle as it is after all, devoid of either poetry or philosophy. IPHIGENIA is a dramatic poem rather than a play; and EGMONT is little more than a novel in dialogue. So fraternal a critic as Schiller confessed that he found IPHIGENIA to be wanting in "the sensuous power, the life, the agitation, and everything which specifically belongs to a dramatic work." But if final proof is needed that Goethe, however various and powerful as a poet, was not a born playwright, it can be found, outside his own attempts at dramatic form, in his alteration of ROMEO AND JULIET. In this he not only modified and condensed both Mercutio and the Nurse, but he also substituted a tame narrative for Shakespeare's skillful and spirited exposition by which the quarrel of the two families was brought bodily before our eyes.

VII

A THEATER-POET Schiller was, even if Goethe was not; yet Schiller's first drama, the ROBBERS, was not written for performance,--although it soon found its way to the stage-door, after the poet had somewhat restrained its boyish extravagance. Schiller rejected the model he could have found in Lessing's tragedies of middle-class life, a model too severe for the tumultuous turbulence of the storm-and-stress period. He followed Goethe, who, in GOETZ, had claimed the right to be formless as Shakespeare was supposed to be. There is in the ROBBERS a certain resemblance to the crude Elizabethan tragedy-of-blood with its perfervid grandiloquence and its frequent assassination.

In this first play Schiller's stagecraft was primitive and unworthy; he shifted his scenes with wanton carelessness, and he let his absurd villain turn himself inside out in interminable soliloquies. But however reckless the technique, the play revealed Schiller's abundant possession of genuine dramatic power. The conflict of contending passions was set before the spectator in scenes full of fire and action. The antithesis of Moor's two sons, one strenuously noble and the other unspeakably vile, was rather forced, but it was at least obvious even to the stupidest playgoer. The hero lacked common sense, no doubt; but he had energy to spare; and at the end he rose to tragic elevation in his willingness to expiate his wrong-doing.

Dramatist as Schiller was by native gift, he was but a novice in the theater when the ROBBERS was written, and it was the fitting of that play to the actual stage which drew his attention to the inexorable conditions of theatrical performance. In his later dramas, in WILLIAM TELL, for example, and in MARY STUART, the technique is less elementary and more in accord with the practice of the contemporary playhouse. But Schiller appears to have been thinking rather of his readers than of the spectators massed and expectant in the theater. He seems to have taken no keen interest in spying out the secrets of the stage. His plays are what they are by sheer dramatic power, and not by reason of any adroitness of technique. Indeed, in Schiller's day the German theater was almost in chaos; and probably he never saw any satisfactory performance of a dramatic masterpiece, German or French or English, until he went to Weimar.

Despite his limitations, Schiller was the one dramatic poet of the eighteenth century; he is to be compared, not with Sophocles and Shakespeare, the supreme masters, but rather with Calderon and Hugo. He lacked their conscious control of theatrical effect, but he had something of their rhetorical luxuriance and their exuberant lyricism. He was intellectually deeper than the Spaniard and he was more masculine than the Frenchman. Schiller's influence on the later development of the drama would have been fuller if his structure had been more modern and if he had profited earlier by the example of Lessing, emulating the great critic's certainty of artistic aim and imitating his rigorous self-control.

But self-control was rarely a characteristic of German poets in those days of impending cataclysm. Lessing had emancipated his countrymen from the tyranny of French taste, from the despotism of pseudo-classicism. Other despotisms survived in Germany, not in literature but in life itself; and a younger generation was ardent for the destruction of these survivals from the middle ages. In Lessing's play the father of Emilia Galotti slew his daughter to preserve her honor, while the evil ruler who was responsible escaped scot-free. In GOETZ and in the ROBBERS the aggrieved hero was ready to turn outlaw on slight provocation, and to revenge individual injuries on society at large. The ROBBERS especially had the super-saturated sentimentality of the last half of the eighteenth century; and it was filled with the clamor of revolt, which was to reverberate louder and louder throughout Europe until at last the tocsin tolled in the streets of Paris and the French Revolution was let loose to sweep away feudalism forever.

VIII

THE most of the German dramas of this period of unrest were not intended for the actual theater, although many of them did manage to get themselves acted here and there. With all their wild bombast and with all their overstrained emotionalism, they were not without a significance and a vitality of their own, a freshness of self-expression wholly lacking on the German stage before Lessing had inspired it. If these dramas had been controlled by something of Lessing's self-restraint, if they had been less excessive in their violence, they might have afforded shelter for the growth of a dramatic literature native to the soil and national in spirit. But they were not healthy enough, and they soon fell into decay; and what did burgeon from their matted roots was the melodrama of Kotzebue, with its exaggeration of motive, its hollow affectation, and its tawdry pathos. Kotzebue's taste is dubious and his methods now outworn; but his play-making gift is as undeniable as that of Heywood before him or that of Scribe after him. MISANTHROPY AND REPENTANCE, known in England as the STRANGER, has caused as many tears to flow as A WOMAN KILLED WITH KINDNESS; and whereas Heywood's simply pathetic play was known to his contemporaries only in the land of its language, Kotzebue's turgid treatment of the same theme was performed in all the tongues of Europe, in Paris and London and New York as well as in Vienna and Berlin.

Melodrama bears much the same relation to tragedy and to the loftier type of serious play that farce does to pure comedy. When we can recall more readily what the persons of a play do than what they are, then the probability is that the piece if gay is a farce, and if grave a melodrama. Even among the tragedies of the Greeks we can detect more than one drama which was melodramatic rather than truly tragic; and not a few of the powerful plays of the Elizabethans were essentially melodramas. So also were some of Corneille's, though they masqueraded as tragedies and conformed to the rules of the pseudo-classics. Yet it was only in the eighteenth century that melodrama plainly differentiated itself from every other dramatic species.

The "tradesmen's tragedies" of Lillo and Moore in England and the tearful-comedies of La Chaussée and Sedaine in France had helped along its development; but it was Kotzebue in Germany who was able at last to reveal its large possibilities. In the pieces which the German playwright was prolific in bringing forth there was something exactly suited to the temper of the times; and this helped to make his vogue cosmopolitan. He was the earliest play-maker whose dramas were instantly plagiarized everywhere; and in this he was the predecessor of Scribe and Sardou. He influenced men like Lewis in England and like Pixérécourt and Ducange in France. In the works of the Parisian playwrights there was a deftness of touch not visible in the pieces of Kotzebue, who was heavy-handed; as Amiel once suggested, it is not unusual to see "the Germans heap the fagots for the pile, the French bring the fire." It was this French modification of eighteenth century German melodrama which was to serve as a model for French romanticist drama in the nineteenth century.

A century is only an artificial period of time adopted for the sake of convenience and corresponding to no logical division of literary history. None the less we are able to perceive in once century or another certain marked characteristics. No doubt every century is more or less an era of transition; but surely the eighteenth century seems to deserve the description better than most. For nearly three quarters of its career, it appears to us as prosaic in many of its aspects, dull and gray and uninteresting; but it was ever a battle-ground for contending theories of literature and of life. In the drama more especially it was able to behold the establishment and the disestablishment of pseudo-classicism.

At its beginning the influence of the French had won wide-spread acceptance for the rules with their insistence on the Three Unities and on the separation of the comic and the tragic. At its end every rule was being violated wantonly; and the drama itself seemed almost as lawless as the bandits it delighted in bringing on the stage so abundantly. Throughout Europe, except in France, the theater had broken its bonds; and even in France, the last stronghold of the theorists, freedom was to come early in the nineteenth century. Lessing had undermined the fortress of pseudo-classicism; and the walls of its last citadel were to fall with a crash at the first blast on the trumpet of Hernani.

-------------
This article was originally published in The Development of the Drama. Brander Matthews. New York: Charles Scribner's Sons, 1912. pp. 263-295.

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Goethe: Tragedy of Faust

Written by eastern writer on Thursday, August 21, 2008

Goethe’s retelling of the classic Faust legend and the crowning achievement of his literary output. Faust sells his soul to the devil for knowledge.

Bibliographic Record
AUTHOR: Goethe, Johann Wolfgang von, 1749–1832.
TITLE: The tragedy of Faust, part I, by J. W. von Goethe; translated by Anna Swanwick.
SERIES: The Harvard classics, edited by Charles W. Eliot.
PUBLISHED: New York: P.F. Collier & Son, 1909–14.
PHYSICAL DETAILS:Vol. 19, Part 1, of 51.
OTHER AUTHORS: Eliot, Charles William, 1834–1926.
Swanwick, Anna, 1813–1899.
CITATION: Goethe, J.W. von. Faust. Part I, translated by Anna Swanwick. Vol. XIX, Part 1. The Harvard Classics. New York: P.F. Collier & Son, 1909–14; Bartleby.com, 2001. www.bartleby.com/19/1/. [Date of Printout].
ON-LINE ED.: Published March 29, 2001 by Bartleby.com; © 2001 Copyright Bartleby.com, Inc. (Terms of Use).


Dramatis Personæ



Characters in the Prologue for the Theatre
THE MANAGER. THE DRAMATIC POET. MERRYMAN.

Characters in the Prologue in Heaven
THE LORD.
RAPHAEL, GABRIEL, MICHAEL, (The Heavenly Host).
MEPHISTOPHELES.

Characters in the Tragedy
FAUST. MEPHISTOPHELES. WAGNER, a Student.
MARGARET. MARTHA, Margaret’s Neighbour.
VALENTINE, Margaret’s Brother. OLD PEASANT. A STUDENT.
ELIZABETH, an Acquaintance of Margaret’s.
FROSCH, BRANDER, SIEBEL, ALTMAYER, (Guests in Auerbach’s Wine Cellar.)
Witches; old and young; Wizards, Will-o’-the-Wisp, Witch Pedlar, Protophantasmist, Servibilis, Monkeys, Spirits, Journeymen, Country-folk, Citizens, Beggar, Old Fortune-teller, Shepherd, Soldier, Students, &c.

In the Intermezzo
OBERON. TITANIA. ARIEL. PUCK, &c. &c.

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Culture industry reconsidered

Written by eastern writer on Monday, August 18, 2008

"The importance of the culture industry in the spiritual constitution of the masses is no dispensation for reflection on its objective legitimation, its essential being, least of all by a science which thinks itself pragmatic." That is the warning given by Adorno in this essay, in which he looks back at his earlier writings on the culture industry.



The term culture industry was perhaps used for the first time in the book Dialectic of Enlightenment, which Horkheimer and I published in Amsterdam in 1947. In our drafts we spoke of "mass culture". We replaced that expression with "culture industry" in order to exclude from the outset the interpretation agreeable to its advocates: that it is a matter of something like a culture that arises spontaneously from the masses themselves, the contemporary form of popular art. From the latter the culture industry must be distinguished in the extreme. The culture industry fuses the old and familiar into a new quality. In all its branches, products which are tailored for consumption by masses, and which to a great extent determine the nature of that consumption, are manufactured more or less according to plan. The individual branches are similar in structure or at least fit into each other, ordering themselves into a system almost without a gap. This is made possible by contemporary technical capabilities as well as by economic and administrative concentration.

The culture industry intentionally integrates its consumers from above. To the detriment of both it forces together the spheres of high and low art, separated for thousands of years. The seriousness of high art is destroyed in speculation about its efficacy; the seriousness of the lower perishes with the civilizational constraints imposed on the rebellious resistance inherent within it as long as social control was not yet total. Thus, although the culture industry undeniably speculates on the conscious and unconscious state of the millions towards which it is directed, the masses are not primary, but secondary, they are an object of calculation; an appendage of the machinery. The customer is not king, as the culture industry would have us believe, not its subject but its object. The very word mass-media, specially honed for the culture industry, already shifts the accent onto harmless terrain. Neither is it a question of primary concern for the masses, nor of the techniques of communication as such, but of the spirit which sufflates them, their master's voice. The culture industry misuses its concern for the masses in order to duplicate, reinforce and strengthen their mentality, which it presumes is given and unchangeable. How this mentality might be changed is excluded throughout. The masses are not the measure but the ideology of the culture industry, even though the culture industry itself could scarcely exist without adapting to the masses.

The cultural commodities of the industry are governed, as Brecht and Suhrkamp expressed it thirty years ago, by the principle of their realization as value, and not by their own specific content and harmonious formation. The entire practice of the culture industry transfers the profit motive naked onto cultural forms. Ever since these cultural forms first began to earn a living for their creators as commodities in the market-place they had already possessed something of this quality. But then they sought after profit only indirectly, over and above their autonomous essence. New on the part of the culture industry is the direct and undisguised primacy of a precisely and thoroughly calculated efficacy in its most typical products. The autonomy of works of art, which of course rarely ever predominated in an entirely pure form, and was always permeated by a constellation of effects, is tendentially eliminated by the culture industry, with or without the conscious will of those in control. The latter include both those who carry out directives as well as those who hold the power. In economic terms they are or were in search of new opportunities for the realization of capital in the most economically developed countries. The old opportunities became increasingly more precarious as a result of the same concentration process which alone makes the culture industry possible as an omnipresent phenomenon.

Culture, in the true sense, did not simply accommodate itself to human beings; but it always simultaneously raised a protest against the petrified relations under which they lived, thereby honoring them. In so far as culture becomes wholly assimilated to and integrated in those petrified relations, human beings are once more debased. Cultural entities typical of the culture industry are no longer also commodities, they are commodities through and through. This quantitative shift is so great that it calls forth entirely new phenomena. Ultimately, the culture industry no longer even needs to directly pursue everywhere the profit interests from which it originated. These interests have become objectified in its ideology and have even made themselves independent of the compulsion to sell the cultural commodities which must be swallowed anyway. The culture industry turns into public relations, the manufacturing of "goodwill" per se, without regard for particular firms or saleable objects. Brought to bear is a general uncritical consensus, advertisements produced for the world, so that each product of the culture industry becomes its own advertisement.

Nevertheless, those characteristics which originally stamped the transformation of literature into a commodity are maintained in this process. More than anything in the world, the culture industry has its ontology, a scaffolding of rigidly conservative basic categories which can be gleaned, for example, from the commercial English novels of the late seventeenth and early eighteenth centuries. What parades as progress in the culture industry, as the incessantly new which it offers up, remains the disguise for an eternal sameness; everywhere the changes mask a skeleton which has changed just as little as the profit motive itself since the time it first gained its predominance over culture.

Thus, the expression "industry" is not to be taken too literally. It refers to the standardization of the thing itself — such as that of the Western, familiar to every movie-goer — and to the rationalization of distribution techniques, but not strictly to the production process. Although in film, the central sector of the culture industry, the production process resembles technical modes of operation in the extensive division of labor, the employment of machines and the separation of the laborers from the means of production — expressed in the perennial conflict between artists active in the culture industry and those who control it — individual forms of production are nevertheless maintained. Each product affects an individual air; individuality itself serves to reinforce ideology, in so far as the illusion is conjured up that the completely reified and mediated is a sanctuary from immediacy and life. Now, as ever, the culture industry exists in the "service" of third persons, maintaining its affinity to the declining circulation process of capital, to the commerce from which it came into being. Its ideology above all makes use of the star system, borrowed from individualistic art and its commercial exploitation. The more dehumanized its methods of operation and content, the more diligently and successfully the culture industry propagates supposedly great personalities and operates with heart-throbs. It is industrial more in a sociological sense, in the incorporation of industrial forms of organization even when nothing is manufactured — as in the rationalization of office work — rather than in the sense of anything really and actually produced by technological rationality. Accordingly, the misinvestments of the culture industry are considerable, throwing those branches rendered obsolete by new techniques into crises, which seldom lead to changes for the better.

The concept of technique in the culture industry is only in name identical with technique in works of art. In the latter, technique is concerned with the internal organization of the object itself, with its inner logic. In contrast, the technique of the culture industry is, from the beginning, one of distribution and mechanical reproduction, and therefore always remains external to its object. The culture industry finds ideological support precisely in so far as it carefully shields itself from the full potential of the techniques contained in its products. It lives parasitically from the extra-artistic technique of the material production of goods, without regard for the obligation to the internal artistic whole implied by its functionality (Sachlichkeit), but also without concern for the laws of form demanded by aesthetic autonomy. The result for the physiognomy of the culture industry is essentially a mixture of streamlining, photographic hardness and precision on the one hand, and individualistic residues, sentimentality and an already rationally disposed and adapted romanticism on the other. Adopting Benjamin's designation of the traditional work of art by the concept of aura, the presence of that which is not present, the culture industry is defined by the fact that it does not strictly counterpose another principle to that of aura, but rather by the fact that it conserves the decaying aura as a foggy mist. By this means the culture industry betrays its own ideological abuses.

It has recently become customary among cultural officials as well as sociologists to warn against underestimating the culture industry while pointing to its great importance for the development of the consciousness of its consumers. It is to be taken seriously, without cultured snobbism. In actuality the culture industry is important as a moment of the spirit which dominates today. Whoever ignores its influence out of skepticism for what it stuffs into people would be naive. Yet there is a deceptive glitter about the admonition to take it seriously. Because of its social role, disturbing questions about its quality, about truth or untruth, and about the aesthetic niveau of the culture industry's emissions are repressed, or at least excluded from the so-called sociology of communications. The critic is accused of taking refuge in arrogant esoterica. It would be advisable first to indicate the double meaning of importance that slowly worms its way in unnoticed. Even if it touches the lives of innumerable people, the function of something is no guarantee of its particular quality. The blending of aesthetics with its residual communicative aspects leads art, as a social phenomenon, not to its rightful position in opposition to alleged artistic snobbism, but rather in a variety of ways to the defense of its baneful social consequences. The importance of the culture industry in the spiritual constitution of the masses is no dispensation for reflection on its objective legitimation, its essential being, least of all by a science which thinks itself pragmatic. On the contrary: such reflection becomes necessary precisely for this reason. To take the culture industry as seriously as its unquestioned role demands, means to take it seriously critically, and not to cower in the face of its monopolistic character.

Among those intellectuals anxious to reconcile themselves with the phenomenon and eager to find a common formula to express both their reservations against it and their respect for its power, a tone of ironic toleration prevails unless they have already created a new mythos of the twentieth century from the imposed regression. After all, those intellectuals maintain, everyone knows what pocket novels, films off the rack, family television shows rolled out into serials and hit parades, advice to the lovelorn and horoscope columns are all about. All of this, however, is harmless and, according to them, even democratic since it responds to a demand, albeit a stimulated one. It also bestows all kinds of blessings, they point out, for example, through the dissemination of information, advice and stress reducing patterns of behavior. Of course, as every sociological study measuring something as elementary as how politically informed the public is has proven, the information is meager or indifferent. Moreover, the advice to be gained from manifestations of the culture industry is vacuous, banal or worse, and the behavior patterns are shamelessly conformist.

The two-faced irony in the relationship of servile intellectuals to the culture industry is not restricted to them alone. It may also be supposed that the consciousness of the consumers themselves is split between the prescribed fun which is supplied to them by the culture industry and a not particularly well-hidden doubt about its blessings. The phrase, the world wants to be deceived, has become truer than had ever been intended. People are not only, as the saying goes, falling for the swindle; if it guarantees them even the most fleeting gratification they desire a deception which is nonetheless transparent to them. They force their eyes shut and voice approval, in a kind of self-loathing, for what is meted out to them, knowing fully the purpose for which it is manufactured. Without admitting it they sense that their lives would be completely intolerable as soon as they no longer clung to satisfactions which are none at all.

The most ambitious defense of the culture industry today celebrates its spirit, which might be safely called ideology, as an ordering factor. In a supposedly chaotic world it provides human beings with something like standards for orientation, and that alone seems worthy of approval. However, what its defenders imagine is preserved by the culture industry is in fact all the more thoroughly destroyed by it. The color film demolishes the genial old tavern to a greater extent than bombs ever could: the film exterminates its imago. No homeland can survive being processed by the films which celebrate it, and which thereby turn the unique character on which it thrives into an interchangeable sameness.

That which legitimately could be called culture attempted, as an expression of suffering and contradiction, to maintain a grasp on the idea of the good life. Culture cannot represent either that which merely exists or the conventional and no longer binding categories of order which the culture industry drapes over the idea of the good life as if existing reality were the good life, and as if those categories were its true measure. If the response of the culture industry's representatives is that it does not deliver art at all, this is itself the ideology with which they evade responsibility for that from which the business lives. No misdeed is ever righted by explaining it as such.

The appeal to order alone, without concrete specificity, is futile; the appeal to the dissemination of norms, without these ever proving themselves in reality or before consciousness, is equally futile. The idea of an objectively binding order, huckstered to people because it is so lacking for them, has no claims if it does not prove itself internally and in confrontation with human beings. But this is precisely what no product of the culture industry would engage in. The concepts of order which it hammers into human beings are always those of the status quo. They remain unquestioned, unanalyzed and undialectically presupposed, even if they no longer have any substance for those who accept them. In contrast to the Kantian, the categorical imperative of the culture industry no longer has anything in common with freedom. It proclaims: you shall conform, without instruction as to what; conform to that which exists anyway, and to that which everyone thinks anyway as a reflex of its power and omnipresence.

The power of the culture industry's ideology is such that conformity has replaced consciousness. The order that springs from it is never confronted with what it claims to be or with the real interests of human beings. Order, however, is not good in itself. It would be so only as a good order. The fact that the culture industry is oblivious to this and extols order in abstracto, bears witness to the impotence and untruth of the messages it conveys. While it claims to lead the perplexed, it deludes them with false conflicts which they are to exchange for their own. It solves conflicts for them only in appearance, in a way that they can hardly be solved in their real lives. In the products of the culture industry human beings get into trouble only so that they can be rescued unharmed, usually by representatives of a benevolent collective; and then in empty harmony, they are reconciled with the general, whose demands they had experienced at the outset as irreconcilable with their interests. For this purpose the culture industry has developed formulas which even reach into such non-conceptual areas as light musical entertainment. Here too one gets into a "jam", into rhythmic problems, which can be instantly disentangled by the triumph of the basic beat.

Even its defenders, however, would hardly contradict Plato openly who maintained that what is objectively and intrinsically untrue cannot also be subjectively good and true for human beings. The concoctions of the culture industry are neither guides for a blissful life, nor a new art of moral responsibility, but rather exhortations to toe the line, behind which stand the most powerful interests. The consensus which it propagates strengthens blind, opaque authority. If the culture industry is measured not by its own substance and logic, but by its efficacy, by its position in reality and its explicit pretensions; if the focus of serious concern is with the efficacy to which it always appeals, the potential of its effect becomes twice as weighty. This potential, however, lies in the promotion and exploitation of the ego-weakness to which the powerless members of contemporary society, with its concentration of power, are condemned. Their consciousness is further developed retrogressively. It is no coincidence that cynical American film producers are heard to say that their pictures must take into consideration the level of eleven-year-olds. In doing so they would very much like to make adults into eleven-year-olds.

It is true that thorough research has not, for the time being, produced an airtight case proving the regressive effects of particular products of the culture industry. No doubt an imaginatively designed experiment could achieve this more successfully than the powerful financial interests concerned would find comfortable. In any case, it can be assumed without hesitation that steady drops hollow the stone, especially since the system of the culture industry that surrounds the masses tolerates hardly any deviation and incessantly drills the same formulas on behavior. Only their deep unconscious mistrust, the last residue of the difference between art and empirical reality in the spiritual make-up of the masses explains why they have not, to a person, long since perceived and accepted the world as it is constructed for them by the culture industry. Even if its messages were as harmless as they are made out to be — on countless occasions they are obviously not harmless, like the movies which chime in with currently popular hate campaigns against intellectuals by portraying them with the usual stereotypes — the attitudes which the culture industry calls forth are anything but harmless. If an astrologer urges his readers to drive carefully on a particular day, that certainly hurts no one; they will, however, be harmed indeed by the stupefication which lies in the claim that advice which is valid every day and which is therefore idiotic, needs the approval of the stars.

Human dependence and servitude, the vanishing point of the culture industry, could scarcely be more faithfully described than by the American interviewee who was of the opinion that the dilemmas of the contemporary epoch would end if people would simply follow the lead of prominent personalities. In so far as the culture industry arouses a feeling of well-being that the world is precisely in that order suggested by the culture industry, the substitute gratification which it prepares for human beings cheats them out of the same happiness which it deceitfully projects. The total effect of the culture industry is one of anti-enlightenment, in which, as Horkheimer and I have noted, enlightenment, that is the progressive technical domination of nature, becomes mass deception and is turned into a means for fettering consciousness. It impedes the development of autonomous, independent individuals who judge and decide consciously for themselves. These, however, would be the precondition for a democratic society which needs adults who have come of age in order to sustain itself and develop. If the masses have been unjustly reviled from above as masses, the culture industry is not among the least responsible for making them into masses and then despising them, while obstructing the emancipation for which human beings are as ripe as the productive forces of the epoch permit.


---------
From: New German Critique, 6, Fall 1975, 12-19 (translated by Anson G. Rabinbach)

source: http://www.icce.rug.nl

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Literature and Stylistics for Language Learners

Written by eastern writer on Saturday, August 16, 2008

Literature and Stylistics for Language Learners
Theory and Practice

Edited by Greg Watson and Sonia Zyngier
Availability: Now In Stock
From Palgrave Macmillan
Pub date: Feb 2007
260 pages
Size 5 1/2 x 8 1/4
$80.00 - Hardcover (1-4039-8799-8)


Description

This volume presents the state of the art in terms of stylistic research and application, including EFL and ESL language classroom situations. Some of the most prominent scholars from a variety of backgrounds in the field of pedagogical stylistics show how theory, empirical studies and new technology, including corpus analysis, can be integrated into the classroom. This volume is suitable for all those interested in keeping abreast of the most recent developments in literature and language education.

Author Bio
GREG WATSON is a Senior Lecturer in the Foreign Languages Department of the University of Joensuu, Eastern Finland.

SONIA ZYNGIER is Associate Professor of English Language and Literature at the Postgraduate Programme of Applied Linguistics at the Federal University of Rio de Janeiro, Brazil.

Table of contents
Foreword--R.Carter * Preface * Notes on Contributors * PART 1: THEORETICAL PERSPECTIVES * Stylistics in Second Language Contexts: A Critical Perspective--G.Hall * On Teaching Literature Itself--P.Stockwell * PART 2: NEW APPROACHES * When the Students Become the Teachers: A Practical Pedagogy--J.Gavins & J.Hodson * "The Shudder of the Dying Day in Every Blade of Grass". Whose Words? Voice, Veracity and the Question of Realism--J.Mcrae * Analysing Literature Through Films--R.Montoro * Discourse Stylistics and Detective Fiction: A Case Study--U.Clark * PART 3: CORPUS STYLISTICS * Corpus Stylistics as Discovery Procedure--D.E.Hardy * Literary Worlds as Collocation--B.Louw * Investigating Student Reactions to a Web-based Stylistics Course in Different National and Educational Settings--M.Short, B.Busse & P.Plummer * PART 4: STYLISTICS, GRAMMAR AND DISCOURSE * From Syntax to Schema: Teaching Flannery O'Connor in the Persian Gulf--D.L.Gugin * Non-Standard Grammar in the Teaching of Language and Style--P.Simpson * Language Teaching Through Gricean Glasses--J.Zerkowitz * PART 5: AWARENESS AND COGNITION * Attention Directed Literary Education: An Empirical Investigation--D.I.Hanauer * What Reading Does to Readers. Stereotypes, Foregrounding and Language Learning--W.Van Peer & A.Nousi * Revisiting Literary Awareness--S.Zyngier, O.Fialho & P.A.do Prado Rios * Index

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Written by eastern writer on Saturday, August 16, 2008

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Paul Ricoeur and the Hermeneutics of Suspicion

Written by eastern writer on Saturday, August 16, 2008

Hermeneutics is both science and art. In many ways this beguilingly simple statement is responsible for the modern ferment in hermeneutics - a process begun with F. Schleiermacher (1768-1834) and his attempt to gain meaning through understanding the mind of the author; given significant impetus more recently in the seminal work of Hans-Georg Gadamer and his call for a dialectic between the horizons of the text and reader; and radicalized in the increasingly reader-response oriented hermeneutics of today.[1]

The French philosopher, Paul Ricoeur, while essentially operating from within the reader oriented end of the spectrum, is uncomfortable with the intrinsic subjectivity associated with such hermeneutics and seeks to walk the fine line between a call for objectivity (grounded in some way in the text), and yet at the same time seeking to remain "open" to what the text may have to say. Ricoeur's hermeneutic of suspicion represents his attempt to retain both science and art, whilst disallowing either an absolute status; "Hermeneutics seems to me to be animated by this double motivation: willingness to suspect, willingness to listen; vow of rigor, vow of obedience."[2] Distilling the essence of Ricouer's hermeneutics here stated, A. Thisleton notes that:

 

The first addresses the task of 'doing away with idols,' namely, becoming critically aware of when we project our own wishes and constructs into texts, so that they no longer address us from beyond ourselves as "other." The second concerns the need to listen in openness to symbol and to narrative and thereby to allow creative events to occur "in front of" the text, and to have their effect on us.[3]

 

It is this hermeneutic of "critical openness," of "suspicion and hope"[4] that I wish to examine briefly below. It is hoped that by examining Ricoeur's own heroes of suspicion, how his hermeneutic applies to certain genres of text, the implications of suspicion with respect to epistemology, and finally, how a hermeneutic of suspicion works out in a suspicion of ideology, that both the strengths and limitations of such a hermeneutic for Biblical studies will be made clear.

 

Paul Ricoeur's Masters of Suspicion

 

In his highly influential work, Freud and Philosophy, Ricoeur (1970) draws attention to three key intellectual figures of the twentieth century who, in their different ways, sought to

unmask, demystify, and expose the real from the apparent; "Three masters, seemingly mutually exclusive, dominate the school of suspicion: Marx, Nietzche, and Freud."[5]

What was it in these three 'masters of suspicion' that so impressed Ricoeur? The answer to this question is not insignificant since it would appear that the suspicion displayed by these three serve as paradigms for Ricoeur's own hermeneutic. David Stewart has addressed this question directly and has demonstrated how each of these masters sought to find or explain the true meaning of religion by stripping away the false meaning.[6]

Very briefly, Marx's analysis of religion led him to the conclusion that while religion appeared to be concerned with the lofty issues of transcendence and personal salvation, in reality its true function was to provide a "flight from the reality of inhuman working conditions" and to make "the misery of life more endurable."[7] Religion in this way served as "the opium of the people."[8]

Similarly, Nietzche's understanding of the true purpose of religion as the elevation of "weakness to a position of strength, to make weakness respectable" belied its apparent purpose, namely to make life for the 'slave morality', the weak, the unfit, a little more endurable by promoting virtues such as pity, industry, humility, and friendliness. Thus Nietzche unmasks religion to reveal it as the refuge of the weak.[9]

Likewise with Freud, the same pattern of "unmasking" to reveal and distinguish "the real" from the "apparent" is evident in his analysis of religion. So, while religion was perceived to be a legitimate source of comfort and hope when one is faced with the difficulties of life, in reality religion was an illusion that merely expressed one's wish for a father-God.[10] It was only a small step for Ricoeur to recognize the suspicion of religion and culture offered by the heroes and then apply the same principle to the act of communication under the rubric of a hermeneutics of suspicion.

Furthermore, Ricoeur insisted that it would be a mistake to view the three as masters of skepticism. Why is this? Because, while it is true they are involved with destroying established

ideas "All three clear the horizon for a more authentic word, for a new reign of Truth, not only by means of a 'destructive' critique, but by the invention of an art of interpreting."[11] In other words, each of the masters have, in their own way, unmasked a false consciousness, a false understanding of the "text" (society) by systematically applying a critique of suspicion, with the result that the true understanding, one that more faithfully tracks and correlates with the real situation now becomes unmasked and revealed. All three, for Ricoeur, "represent three convergent procedures of demystification."[12]

Such a hermeneutic when applied to a text gives rise to the possibility of a "second naivete"[13] whereby the goal of interpretation may be reached, namely "a world in front of the text, a world that opens up new possibilities of being."[14] What is an appropriate response to Ricoeur's analysis from

an evangelical perspective?[15] It seems to me that Ricoeur's insight here is an essentially valid one. It is simply too easy when reading a (biblical) text, especially one that we are familiar with, to do so with a rigidity and complacency that tends to "freeze" its meaning irrevocably. To approach the text with suspicion - to query whether what the text appears to say really does correspond with its true message - seems to be both a valid and necessary hermeneutical process.

Ricoeur's three masters highlight another important aspect of this question of suspicion, namely that suspicion needs to operate with a bi-polar focus. Just as Marx, Nietzche and Freud in their own contexts criticized both the participants (society at large, or individuals) and "the system" (religion), so we too need to be aware that suspicion has a dual focus as we approach a text; I need to apply suspicion to myself -am I imposing a meaning upon this text?[16] And a suspicion to the text - is the text really saying this? Both poles of suspicion are valid and necessary if we are to hear afresh what God may seek to communicate to us. Ricoeur is in a way merely reminding us, in a startling manner no doubt, of the reality of the hermeneutical circle. We must approach the text critically and suspiciously in order that its message may truly be heard, and so that our own pre-understandings and certainties do not mask the truth.

 

Suspicion, Metaphor and Parable

 

Ricoeur's hermeneutic of suspicion finds expression in his understanding of metaphor in tensive terms.[17] Ricoeur believes that intrinsic to metaphor is both an "is like" element and an "is not" element. The former points to the literary vehicle used to convey the metaphor, while the latter indicates that the referent of the metaphor is not to be found in literal terms. This tension projects 'a world in front of the text' which is the true metaphorical referent.[18] For Ricoeur, "the metaphorical meaning and reference await appropriation through the recontextualizing activity of the current reader."[19]

By this interaction with the world in front of the text, Ricoeur seeks for a "metaphor-faith beyond demythologization, a second naivete beyond iconoclasm"[20] - a stress on the "is like." However, Ricoeur simultaneously seeks to stress the critical "is not" aspect and thus renders his hermeneutic an open system which seeks to avoid a naive credulity. This tension finds expression in three spheres: (i) within poetic language, (ii) between interpretations of this language, and (iii) between these

interpretations and the lives of the readers or listeners. These tensions find resolution in the present by the creation of new meanings and new referents.[21]

Ricoeur identifies biblical "limit expressions" where tensions intrinsic to metaphor especially apply, namely proverbs, eschatological sayings, and parables. In applying his hermeneutic of metaphor to parables, Ricoeur sees the "is like" component in the narrative form of the parable (the model), and the "is not" in the way the narrative form is transgressed (the qualifier) by the intrusion of the extraordinary or even scandalous. These dual components leads to the tension between the "closedness" of the narrative form and the "openness" of the metaphorical process. Again, the tension leads to the projection of a world in front of the text between the interpreter/hearer and the text itself whereby the referent of the parable becomes apparent.[22] Ricoeur's definition of a parable as "the conjunction between a narrative form, a metaphysical process, and an appropriate qualifier" is thus seen to be consistent with both his overall hermeneutic of suspicion and his specific understanding of how metaphor functions.[23]

Having outlined Ricoeur's approach to metaphor, and more specifically, to the genre of parable, several responses seem appropriate. First, Ricoeur's insight into the dual aspects of metaphor

as simultaneously containing an aspect of familiarity and an aspect that points beyond the familiar is helpful; I suspect Luther's insistence on "this is my body" in literal terms would

have been modified in the light of Ricoeur's insight into the fundamentally dual nature of metaphor! In addition, much of the fanciful interpretations associated with expositions of the book

of Revelation by some Bible teachers would benefit from Ricoeur's understanding here. Furthermore, Ricoeur's application of this principle to parables is also helpful. Many parables are indeed characterized by the model/qualifier structure with the resultant call for the reader to recognize and enter into the metaphoric process.[24]

Despite these positive aspects of Ricoeur's understanding of metaphor and parable, there are aspects of his hermeneutic that needs to be seriously questioned. The first concerns the insistence that the dynamic between reader and text is characterized by "openness" and in principle cannot be closed. This is related on the one hand to Ricoeur's high view of the role of the reader in his hermeneutic, and on the other to his conviction that "the written text becomes a disembodied voice,

detached from the author and the author's situation" once written.[25]

Interestingly, while both Ian Ramsay (whose metaphoric model of "is like" and "is not" Ricoeur applies to his own hermeneutic)[26] and Ricoeur recognize the existence of the deliberate disjuncture and tension introduced into a parable by way of a qualifier, their conclusions regarding the function the qualifier serves in the parable differ significantly.

 

For Ramsay, the function of the qualifier is to lead, by means of a logical process, to "God", the word that 'completes' and 'presides over' all language. For Ricoeur, on the other hand, the function of the qualifier is to rupture the logic of the narrative and disorient the reader or listener. While both Ramsay and Ricoeur agree that the qualifier is the means by which language is pushed to its limit, the former advocates a closed system of hermeneutics and the latter an open system.[27]

 

Ricoeur's dialectical approach to the text, together with his desire to avoid absolutizing either text or the interpreting self, leads him to an intrinsic "openness" regarding the meaning

of a parable - and, in fact, to all written texts where distanciation is present. In his desire to find meaning, not in the text itself, but in front of the text, Ricoeur in fact allows

for an inescapable relativizing of the text's message. As the reader's context changes so does the world in front of the text and in reality the "is not" is allowed to dominate at the expense

of the "is like." Ricoeur wishes to maintain the tension, but in reality the tension is finally resolved in favor of the "new meaning" generated in the flux between reader and text; an intrinsic destabilizing of the text's message and an associated relativizing of that message inevitably follows.

While it is true that certain biblical texts do seem to invite a reader response,[28] the responses called for in the biblical text are guided and even determined, not by the reader,

but by the text itself. It is the text that controls the appropriate response on the part of the reader, and the reader's response is not allowed to be an arbitrary one. Furthermore, many

texts are only indirectly calling for a reader's response since those passages are more historically oriented (e.g., Pentateuch) or didacticly oriented (e.g., Pauline epistles). The reader is not free to establish new meaning on the basis of a dynamic interplay in front of the text. While the text's own, fixed meaning needs to be applied, Ricoeur seems to confuse meaning with application or contextualization.

There is a certain "givenness" about biblical texts that opposes a plurality of meaning being sought on the basis of the reader's response.[29] Thisleton summarizes the concern well:

 

The theological understanding of biblical texts as given, then, does not short circuit questions about the reader and the reader's response . . . Nevertheless these considerations (related to the givenness of the biblical texts) place serious question marks against theories which attempt to dispense altogether with authors or with extra-linguistic contexts of situation.[30]

Ricoeur's hermeneutic of suspicion is, ironically, in fact too open and functions as an eternal hermeneutical circle, and fails to realize that hermeneutical procedures may be developed that lead not to an endless circle, but a spiral, where in principle a determinative meaning, coincident with the author's intended meaning, may justifiably be sought and found.[31]

 

Suspicion and Epistemology

 

Just as Ricoeur's hermeneutic of suspicion led him to seek to maintain the tension between absolutizing the reader or the text in the process of gaining meaning, so also the shadow of the

same hermeneutic may be seen to operate regarding the question of methodology in gaining knowledge. Put simply, Ricoeur is "suspicious" of an epistemology that relies exclusively on

"explanation" on the one hand, and "understanding" on the other.[32]

This distinction between explanation and understanding arose in debates in the last century over theories regarding an adequate epistemology with one wing arguing that positivistic, methodologically oriented scientific explanation was adequate for interpreting phenomenon, while proponents of the humanities argued that scientific explanation was adequate as far as it went, but could not account for the whole of reality and human experience - they called for a theory of understanding where

teleological purposes and imagination play a legitimate role in human knowledge.[33]

Ricoeur saw this contrast between understanding and explanation exemplified in the hermeneutical approaches of Gadamer and Habermas respectively - the "ascending" and "descending" pathways of hermeneutical reflection.[34] Gadamer's "openness" and lack of methodological interest in establishing how knowledge (and its immediate corollary, the interpretation of that knowledge) is gained may be discerned in this statement by him:

 

In language there is, first of all, both langue and parole, to use Saussure's distinction. The spoken word (parole) is something other than the system of symbols (langue) that constitute language. . . . Speech exists in texts. Yes, certainly, but the texts are alien or brutal. How is this speech, the speaking word, really preserved in the written text? Is it completely the utterance of my mind? Are we not all acquainted with the alienation between what we said and what we had in mind? . . . We must always look for the real meaning of an utterance.[35]

The problem Ricoeur (rightly) has with Gadamer's hermeneutic is that it offers no methodology for gaining real meaning - how are we to know "the real meaning of an utterance"? Gadamer's approach offers no check to the advances of positivistic epistemologies into the area of the human sciences - it is too subjective.[36]

Habermas's approach, by contrast, does actively involve the positive sciences and does lead toward an epistemology of methods. Whilst there are several aspects of Habermas's approach that Ricoeur agrees with (e.g. his interest in linguistics which matches well with Ricoeur's own attempt to work out a "transcendental semiology"[37]), Ricoeur nevertheless faults Habermas for the error of "identifying the problem of understanding with the problem of understanding another . . . He thinks in too exclusive a sense, that the meaning of a transmission must be the meaning that other subjects have put there."[38] This too, is ultimately a subjective and uncritical approach to meaning.

Ricoeur's own approach would seek to avoid the lack of methodology of Gadamer (with its attendant lack of objectivity), and the lack of criticality of Habermas who too readily confuses

meaning with the text itself. Instead Ricoeur strives for a method whereby "one will both uncover the ontological structures of meaning and perhaps succeed in giving an interpretation of a 'sort

of being-in-the-world unfolded in front of the text.'"[39] Semiology, a linguistic tool that strives for meaning on the basis of the text alone (apart from its authorial intent, or solely in the intent of the reader), Ricoeur believes can provide for both "participation" in the intentions of the speaker and independence from the particular references which the speaker actually had in mind.[40] Through such a dialectical method of text/symbol-reader interaction, "we will have a form of knowing in which the subject will possess truth both in the manner of a participation and in the manner of a truth critically reached."[41]

Certainly Ricoeur is correct in recognizing the excessively subjective nature of Gadamer's approach, but one suspects that Ricoeur's own concern to avoid subjectivity in his call for "participation" with the speaker's intention while at the same time refusing to locate that participation with authorial referents can be equally criticized as being too subjective. Ultimately, if authorial intent is not grounded upon the clues given by the author in his text as to the referents of his statements, then meaning and referent are bound to "free-float" wherever the interpreter decides they will go. And this latter point is true irrespective of any (Semiotic) theory of language used to justify the dissociation of the text's writings from the original author's intended meaning and referent. Habermas is not to be faulted in seeking to understand another (though he may be faulted for failure to be suspicious enough of his own pre-understandings in approaching the text), and his approach is not to be viewed as a type of epistemology of "explanation" with its assumed simplistic and inadequate methodology.

Ricoeur, wishing to avoid the subjectivity associated with an "understanding" epistemology, actually cannot avoid this subjectivity because of his seeking objectivity and a critical methodology, not in terms of authorial intent established by sensitively "listening" to the author express himself in his text, but in terms of an impersonal linguistic analysis. Ironically, by pushing the author 'out of the way,' Ricoeur effectively ensures the subjectivity of the interpreter prevails, even through the use of a "scientific" tool (Semiotics).

 

Suspicion and Ideology

 

The influence of Ricoeur's hermeneutic of suspicion beyond the immediate confines of reader-text dynamic may be seen in the various strands of liberation theology - black, feminist, or Latin American. Nowhere is this more clearly visible than in the suspicion of ideology that undergirds the socio-critical hermeneutics of Uraguayan theologian Juan Segundo.[42] According to J. O'Donnell, who has examined the influence of Ricoeur's interpretation of Freud on Segundo's writings, Segundo deliberately based his theology of liberation upon Ricoeur's hermeneutic of suspicion.[43]

Segundo's thrust is directed not so much to establishing a theological "system" (though of course he cannot avoid this), but rather his interest is focused towards theological method; if one's theological method is invalid then the theological superstructure built upon it will inevitably be invalid also. Furthermore, Segundo insists that theological method is a function of ideology. With these presuppositions, it is clear why a hermeneutic that evaluates ideology suspiciously - i.e. critically - becomes so attractive for Segundo. In fact "Analytical instruments of suspicion . . . designed to discard . . . the commonplace, the tranquilizing escapisms, the false explanations" are called for.[44]

Working through Freudian categories of psychic transformation that centers around a demystifying, unmasking hermeneutic that aims at making the individual accept reality, that is, realize that things are not as they appear, Segundo develops his "reality principle."[45] This calls for a certain humility that allows for the deciphering of hidden meaning in an apparent meaning as societal ideology (the "text") is interpreted with suspicion.

In the light of this analysis theological categories such as sin, faith, grace, church, eschatology all become reinterpreted in a way consistent with the unmasking and demystifying of traditional ideological frameworks that maintain and promote the exploitation and oppression of the poor. Segundo maintains that "the alienating sin of the world is ideology."[46] As a consequence "Liberation means, therefore, to opt for the exercise of an ideological suspicion in order to unmask

the unconscious ideological structures which dominate and which favor a powerful, privileged minority."[47]

Liberation theologians, of course, also apply their hermeneutic of suspicion to the biblical text. An instance of such an application has been evaluated by M. Bleyker regarding a favorite text, Luke 4:16-30 (Jesus' inaugural ministry in Nazareth).[48] Bleyker notes that "Liberation theology calls for a hermeneutic of suspicion because it feels that North American and European theologians have been unduly influenced in their hermeneutics by a capitalist mind-set."[49]

Once more both the strength and weakness of Ricoeur's hermeneutic of suspicion manifests itself in this area of theological discourse. Without a doubt, the liberation theologian's insights concerning the tendency of (any) ideology to blindly maintain the status quo, usually in its favor, is a valid

and necessary one. Here the hermeneutics of suspicion, whether oriented directly to a critique of ideology, or indirectly via a suspicion of biblical texts viewed traditionally (and uncritically) within a fixed ideological grid, does indeed serve to unmask false or distorted interpretations of society or text.

Unfortunately, by failing to consciously seek to ground a legitimate critique within the biblical message itself, liberation theologians become prey to a non-biblical ideology (often Marxist in flavor), and end up merely exchanging one self-serving ideology for another! This new perspective/ideology then, ironically, becomes frozen, with the result that "In the interpretation of the biblical message suspicion is often cast upon the hermeneutics of anyone who may happen to arrive at a contrary conclusion concerning that message."[50]

What is needed is both a hermeneutic of suspicion, but also a suspicion of that suspicion![51] This is so because it is too easy for the reader/interpreter to merely substitute one understanding of a text on the basis of a critique promoted by suspicion, for another equally invalid understanding imposed upon the text by the reader who (probably unknowingly) brings to the text his own distinctive interests, emphases, prejudices and theological pre-understandings.

To avoid a premature and invalid interpretation, two factors need to be operative; first, a continual attitude of suspicion - a suspicion of suspicion. In this respect Ricoeur is right in recognizing the need for a prominent place in "openness." But second, and equally important, a valid move, migration, or spiral must be made towards determining the biblical text's message. It is on this latter score that Ricoeur's hermeneutic ultimately flounders, and this due to his erroneous belief that text and author become divorced once written and hence that authorial intent is, even in principle, impossible to achieve. This, in turn, leads him to seek meaning in a world created in front of the text.

Under such hermeneutical conditions, a radical and inherent relativism and subjectivism is unavoidable, allowing the reader to dictate, ultimately, what the text is allowed to mean. In the end, Ricoeur's hermeneutic of suspicion that attempts to find the balance between "explanation" and

"understanding", science and art, falls on the side of the perpetual and inescapable openendedness of art. The hermeneutics of suspicion needs to be balanced by a hermeneutic that is grounded in the recognition that written texts represent valid expressions of their author's intent, and that principles may be established that would guide the reader to that intent. The science and art of hermeneutics is to be more than an eternal hermeneutical circle; it should move towards the closure implied by a spiral. A hermeneutic of suspicion helps in this move, but alone is ultimately inadequate for the task.

 

 

Notes

[1] Grant R. Osborne, The Hermeneutical Spiral (Downers Grove: IVP, 1991), 368-369. See also Osborne's excellent chart on p. 396 depicting the move away from the centrality of the text towards the centrality of the reader (and vice-versa) in modern hermeneutics.

[2] Paul Ricoeur, Freud and Philosophy: An Essay on Interpretation (New Haven: Yale University Press, 1970), 27.

[3] Anthony Thisleton, New Horizons in Hermeneutics (Grand Rapids: Zondervan, 1992), 26. Thisleton himself, while generally sympathetic to Ricoeur's approach, has reservations regarding the comprehensiveness of his model (27).

[4] Erin White, "Between Suspicion and Hope: Paul Ricoeur's Vital Hermeneutic," Journal of Literature and Theology 5 (1991): 311-321.

[5]Ricoeur, Freud and Philosophy, 32. As E. White, "Between Suspicion and Hope," 312 points out, Freud and Philosophy represents a "middle stage" in Ricouer's own hermeneutical development. It does not appear, however, as though Ricoeur abandoned his basic model of suspicion, merely developed and incorporated it into his later thinking.

[6] David Stewart, "The Hermeneutics of Suspicion," Journal of Literature and Theology 3 (1989): 296-307.

[7] Ibid., 299.

[8] Karl Marx, "Contribution to the Critique of Hegel's Philosophy of Right," in Early Writings trans. and ed. T. B. Bottomore (New York: McGraw-Hill, 1964), 44.

[9] Stewart, "Hermeneutics of Suspicion", 301.

[10] Ibid., 302. Though it does not affect my purposes here, Stewart goes on to show how each master's conclusions in fact could not be sustained within their own system - i.e. all three were fundamentally inconsistent.

[11] Ricoeur, Freud and Philosophy, 33.

[12]Ibid., 34.

[13] Paul Ricoeur, The Symbol of Evil, trans. E. Buchanan (New York: Harper & Row, 1967), 349. The first, of course, represents a bald reading of the text.

[14] Stewart, "Hermeneutics of Suspicion," 306.

[15] In responding to this question two factors need to be borne in mind; (i) I recognize that Ricoeur's motif of suspicion, while important, does not constitute the totality of his complex hermeneutic - only one strand, and it is this strand alone that is being assessed; (ii) I am not necessarily condoning other aspects of Ricoeur's model, e.g. his understanding of texts as divorced from their author once committed to writing (see Thisleton, New Horizons, 69-70 for elaboration of this last point).

[16] Thisleton warns "There are at least six distinct levels at which readers may consciously or unconsciously bring about a transformation of texts and their meaning . . ."! (New Horizons, 38.

[17] White, "Between Suspicion and Hope," 312 discusses Ricoeur's understanding of metaphor as applied to biblical parables while recognizing that "his hermeneutic is always informed by both a suspicion which makes him wary of any easy assimilation to past meanings and as hope that believes in complete appropriation of meanings while warning 'not here', 'not yet'. Via suspicion and hope, Ricoeur plots a hermeneutic course that avoids both credulity and skepticism".

[18] Ricoeur resists the attempt to get 'behind' the text, i.e. to seek to reconstruct the mind of the author or original readers. Because of the problem of distanciation, any text is removed from its original author, audience, and even original meaning (Paul Ricoeur, "The Hermeneutical Function of Distanciation" Philosophy Today 17 (1973)).

[19] White, "Between Suspicion and Hope," 313.

[20] Paul Ricoeur, The Rule of Metaphor: Multi-Disciplinary Studies in the Creation of Meaning trans. R. Czerny (Toronto: University of Toronto Press, 1977).

[21] White, "Between Suspicion and Hope," 315.

[22] The parable of the wedding banquet (Mt 22:1-14) serves to illustrate the process. The king's wedding feast for his son and the associated preparations comprise the model of the parable. The lack of interest of the invited guests to attend comprises the qualifier. The world projected in front of the text now becomes the reader's own relationship to the kingdom of God.

[23] Paul Ricoeur, "Biblical Hermeneutics" Semeia 4 (1975): 33.

[24] Whether all biblical parables fit this scheme is doubtful; some parables (e.g. the parable of the sower) seem more didactic and have less (if any) emphasis on the scandalous qualifier.

[25] Thisleton, New Horizons, 69.

[26] Ricoeur, "Biblical Hermeneutics," 118-122.

[27] White, "Between Suspicion and Hope," 317.

[28] Thisleton, New Horizons, 64 suggests "some or many parables" and Job and Ecclesistes.

[29] "Some texts which cannot be up-anchored from the contextual setting in life and history . . . decisively shape their meaning. . . . Some texts, by their very nature, draw part of their meaning from the actions, history and life with which they are inextricably interwoven"; Ibid., 66.

[30] Ibid., 68.

[31] Osborne, Hermeneutical Spiral, 411-415 has traced out the elements such an approach would entail, an approach he designates a 'Field Approach to Hermeneutics'. A key feature of such a hermeneutic is the distinction between the need to affirm a polyvalent attitude on the part of the reader towards the text (a la Ricoeur's suspicion), while resisting the need to see polyvalent interpretations associated with a text. Ricoeur incorrectly sees the one inevitably leading to the other.

[32] See Paul Ricoeur, "Explanation and Understanding: On Some Remarkable Connections Among the Theory of the Text, Theory of Action, and Theory of History" in The Philosophy of Paul Ricoeur: An Anthology of His Work, eds. C. Reagen and D. Stewart (Boston: Beacon Press, 1978):149-166.

[33] See the preface to Roy J. Howard, Three Faces of Hermeneutics (Los Angeles: University of California Press, 1982) for an excellent overview of the issues. The distinction is also clearly seen, for example, in Stewart's criticism of Freud, Nietzche and Marx who offer "not an understanding of religion but an explanation for it based on a model more appropriate to the natural than to the human sciences, a model in which an event is explained as caused by a prior event"; "Hermeneutics of Suspicion," 304.

[34] Paul Ricoeur, "Ethics and Culture: Habermas and Gadamer in Dialogue," Philosophy Today 17 (1973): 153-165.

[35] Hans-Georg Gadamer, "The Hermeneutics of Suspicion," in Hermeneutics: Questions and Prospects eds. G. Shapiro and A. Sica (Amhurst: University of Massachusetts Press, 1984), 63.

[36] Ricoeur, of course is not arguing for meaning to be sought on the basis of e.g. authorial intent as per E. D. Hirsch (in Validity of Interpretation (New York: Yale University Press, 1967)).

[37] Paul Ricoeur, The Conflict of Interpretations: Essays in Hermeneutics ed. D. Ihde (Evanston: Northwestern University Press, 1974), 261.

[38] Howard, Three Faces of Hermeneutics, 169.

[39] Ricoeur, "Explanation and Understanding," 40.

[40] Howard, Three Faces of Hermeneutics, 170.

[41] Ibid., 171.

[42] Thisleton, New Horizons, 410-470 devotes an entire section to the hermeneutics of liberation. He points out that Segundo distinguished between two theologies of liberation, one that was theoretically grounded in a conscious hermeneutic of suspicion, and the other, more practically oriented, and based on "doing", i.e. involvement with the oppressed (411). I am concentrating only on the former here.

[43] James G. O'Donnell, "The Influence of Freud's Hermeneutic of Suspicion on the Writings of Juan Segundo," Journal of Psychology and Theology 10 (1982): 28-34.

[44] Ibid., 28.

[45] Ibid., 31.

[46] J. L. Segundo, Evolution and Guilt (New York: Orbis, 1974), 52.

[47] O'Donnell, "Hermeneutic of Suspicion," 32.

[48] Merle Den Bleyker, "A hermeneutic of Suspicion: A Dialogue with Liberation Hermeneutics on the Nazareth Pericope (Luke 4:16-30)" M. A. Thesis abstract, Calvin Theological Journal 18 (1983): 297.

[49] Ibid.

[50] Ibid.

[51] See Rowan Williams, "The Suspicion of Suspicion: Wittgenstein and Bonhoeffer" in The Grammar of the Heart: New Essays in Moral Philosophy and Theology, ed. R. H. Bell (San Francisco: Harper & Row, 1988): 36-53.

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This article was written by G. D. Robinson, originally published at http://www.gongfa.com/robinsonlike.htm

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The Crisis of Meaning in Religion and Art

Written by eastern writer on Saturday, August 16, 2008

While seminaries and churches have shown a burgeoning interest in the arts, the academic study of religion and the arts has come under fire in some quarters. In 1990 the American Academy of Religion, the chief scholarly organization of college and university professors of religion, suspended its Arts, Literature and Religion section for a period of reflection on its future, citing various tensions and disagreements which purportedly surfaced during the regularly scheduled review of the section. It had functioned continuously since the AIR began in 1964.

What can we make of such dissonance? Why is the study of religion and art (by which latter term I intend all the arts, including literature) being questioned in the academy just when it is celebrated and promulgated in the seminary? What did the AIR's year of reflection (leading up to its preauthorization of the section for 1991 and beyond) reveal about the state of the interdisciplinary study of religion and art?

One cannot understand the current conflicts apart from the history of the field's comparatively recent emergence as an academic subject. Religion and art has been a "field" in the sense that one can study it in graduate school and find positions teaching it in colleges only since the 1950s. But its roots are traceable to the end of the 19th century when influential cultural critics- Matthew Arnold chief among them-drew critical attention to deep concordances between religion and art with their predictions that, in Arnold's famous phrase, "most of what now passes with us for religion will be replaced by poetry." Arnold thought that only art could address his society's widespread loss of confidence in religion, fostered by the rise of modern science. Humankind needed art and especially poetry "to interpret life for us, to console us, to sustain us."

If art was canonized, so too was religion aestheticized. In the words of George Santayana, "the whole of Christian doctrine is religious and efficacious only when it becomes poetry." There is a fascinating story here to be told-but one which would take us too far afield from this discussion-about the intricate interplay between the crises of biblical authority and Christian belief on the one hand and the rise of the novel and the growth of art history and literary criticism on the other. It may not be too much of an exaggeration to claim, as Terry Eagleton does, that the growth of English studies is explained primarily by the failure of religion in the late 19th century.

Without espousing the Arnoldian conflation of the religious and the aesthetic, we might nonetheless appreciate the intuition prompting it, namely that, there are important connections between religion and art: both are oriented toward meaning, and both deal in universal human values-both are fundamental to being human. What is more, religion and art share remarkably similar discourses. Each works primarily through story, image, symbol and performance. This way of putting the connection would seem somewhat strange to those who promoted art as a substitute for religion at the turn of the century, however, for it exhibits a consciousness both about the art object and about the language of religion and art which had not yet informed criticism or religion. Absent such awareness and the methodologies it fostered, art criticism and religion tended, in their efforts to articulate the consonance, to collapse art into religion (Arnold) or religion into art (Santayana).

What intervened in the half-century or so between Arnold and Santayana and the early Ph.D. programs in religion and art was precisely this interest in the art object, its language and form. The results can be summarized, albeit somewhat too facilely, by considering first the advent of formalism and the new criticism, and second, the emergence of hermeneutics.

While formalism in art history and the new criticism in literature are somewhat distinct, they have in common a commitment to take the work of art seriously on its own terms. On the art historical side, this means a descriptive and analytic fidelity to the optical data of the painting and not simply its classification according to school and style. In literature, the close reading of the text offered a way to move beyond two reductive fallacies: 1) taking the work merely as a historical or social document and thus an example of what "great men" thought and said; 2) seeking the poem's meaning behind the text in the author's intention. Both formalism and the new criticism understood their project to be focusing on the object itself as the nexus of its own unparaphrasable meaning.

There is, however, an important difference between the two which cannot be glossed over. Whereas formalists eschewed iconography as the importation of extraneous reference to the pure forms which constitute expression, the new criticism from the start reveled in metaphor and symbol. Indeed, for the new critics poetry is symbolic language, the poem a verbal icon. They too discountenanced the use of interpretive principles shaped by theoretical interests, but their comparative openness to external reference-as well as their political success within the academy-meant that the study of religion and literature developed somewhat sooner than did the study of religion and visual art.

Meanwhile, in mainline Protestantism the theological response to the so-called failure of religion in the modern world took two chief forms: the kerygmatic theology of Karl Barth and the existential or apologetic theology of Paul Tillich. If Barth recalls theology to a radical God- centeredness, Tillich rediscovers its correlative and existential character. With Tillich, theology becomes a way of reformulating and answering the fundamental question of our being, aiming to overcome tendencies toward a rationalized objectivity on the one hand and a romantic subjectivity on the other. Through the method of correlation, the existential questions which arise from our human predicament find response in theological answers derived from revelation.

Such interdependence of existential question and theological answer is itself a pointer to the Logos which is "the universal principle of revelation in religion and culture" and as such their one theonomous root. Thus the void that Tillich sees as the cultural destiny of the modern period can be viewed theologically as a sacred void, an existential cry of ultimate concern. Both art and religion are rooted in the Logos, and the language of both is symbolic; for symbols, whether religious or aesthetic, open up levels of reality which are otherwise closed for us and unlock dimensions of our soul which correspond to that reality.

The centrality of the symbol in Tillichian theology and the new criticism was one among several reasons why literary criticism and the theology of culture found in each other a fruitful dialogue partner. And thanks to the method of correlation, the practice of religion and art was never limited to aesthetic objects with explicit religious content, since even the most dark and despairing texts could be read as expressions of ultimate meaning. Tillich himself practiced "religion and art" in his discussions of expressionist painting. Among cultural forms he clearly favored the visual arts, thus himself helping to foster another branch of the interdiscipline. This marriage of critical and theological method opened the way for careful considerations of the myriad ways in which art has religious dimensions and religion is expressed and experienced aesthetically.

Yet both approaches contained a certain tendency to fall back into the Arnoldian conflation. Formalism in literature and the visual arts took the autonomous object with such seriousness that its attention veered toward idolatry, transforming the art object into a sort of fetish. In theological correlation, Christianity's truth claims and specifity were undercut to the extent that works of art provided the basic model on which those claims were to be understood. The symbol was always in danger of being cut loose from history.

While formal analysis opened up a space for the academic study of religion and art, the project soon sought and found more congenial theoretical underpinnings in hermeneutics. Hermeneutics was more consonant with Tillich's enterprise not only because it began its career as biblical interpretation, but because it put the reader/viewer back into the work's meaning.

In understanding the work of art as a language-event, an image-event, the hermeneutics of Hans-Georg Gadamer and Paul Ricoeur offered a critique of the formalists' tendency to make "meaning" a static object. According to the hermeneutical circle, the text initiates a kind of dialogue or encounter with the reader/viewer, and like all dialogues this one makes claims upon its partner. Far from merely explicating the "objective" meanings inherent in the autonomous text, interpretation is, in the words of Ricoeur, "the process by which disclosure of new modes of being, of new forms of life, gives to the subject a new capacity for knowing himself." In his own wide-ranging and nuanced criticism of both biblical and secular texts, Ricoeur himself moves easily from a close reading of symbols to theoretical reflection, thereby modeling for an entire generation a more conceptually sophisticated way of joining religion and art than had heretofore been practiced.

To retrieve my initial question: Why, granted its intellectual contributions and vitality, is the study of religion and art now under question? Because its very interdisciplinariness and inherent concern with issues of interpretation have put it at the center of the most significant controversy in the human sciences today. This controversy, prompted by the rise of "radical hermeneutics" (I am borrowing a phrase of John Caputo's, stretching it to encompass not only deconstruction but also political criticism), is over the entire field's attachment to "symbol" and "meaning." Radical hermeneutics claims that religion and art has a closer continuity with its 19th-century origins than it realizes or wants. While modern developments in criticism and religion did open up a space for interdisciplinary work by allowing relative distinctions between religion and art, they did so within a foundational framework fraught with unexamined presuppositions.

Deconstruction's project is to relativize "meaning" by showing that any text has many other senses than that conveyed by its "meaning." By exploring the surfaces of text, deconstructionists lift up all sorts of phonic and graphic relationships at play that reduce the assumed priority of "meaning." The problem with Gadamer's and Ricoeur's hermeneutics (and before them the new criticism) is that they assume a thematic unity or system of meaning in the text. Such subordination of the text to the rule of meaning does violence to the text and restricts its free play of significations.

Deconstruction's radical hermeneutics strikes serious blows at certain traditional theories of meaning by showing how unstable an affair language is. This would be unsettling enough if language were simply a tool we use rather than the very medium in which we live. Language's claim to present inner experience and describe how reality is corresponds to our desire for some ultimate "word" or "reality" in which to ground all experience. Tillich's claim that religion and art are rooted in one theonomous Logos is just the sort of claim about "meaning" that deconstruction wants to interrogate.

The significance of these foundational presuppositions or the extent to which pointing them out is a damning criticism depends, of course, on where one stands in the current controversy. Some read deconstruction as denying the existence of anything but discourse; others, as relativizing and pluralizing meanings by showing them to be the effects of language, the unconscious, social institutions and practices.

In this last point we can see a family resemblance between deconstruction and political criticism, which practices a somewhat more traditional hermeneutic of suspicion. It wants to peel away the manifest sense of discourse to disclose the authoritarian and ideological character of its latent meanings. Since linguistic signs are matters of historical and cultural convention, when language presents itself as natural rather than drawing attention to its own arbitrariness, it may get granted unquestioned status as the expression of what is real and abiding. Such masking of cultural convention as the nature of things-the naturalizing of social reality-is an act of ideology, undertaken for the sake of power relations.

Literature itself (no less than religion) is, in this view, an ideology, with the most intimate relations to social power. What sorts of oppressions, for example, are being supported in novels of traditional realism, and what sort of "meaning" is being canonized when an ethicist writes that "the unity of the self is like the unity exhibited in a good novel"? Among the issues political criticism brings to the fore and into question are: canons, whether literary, artistic or religious; distinctions between so-called high and low art; the granting of certain types of discourse privileged status; and matters of gender, race and class.

While both deconstruction and political criticism see more moderate forms of hermeneutics as serving closed and totalizing discourses (more iconic than iconoclastic), each regards the other as not radical enough. To the deconstructionists, political criticism is still trapped within the old humanism; to those engaged in the critique of ideology, meanwhile, deconstruction's play with textual indeterminacy looks too much like the old bourgeois "art for art's sake."

At the end of the last century, Arnold advocated art as a solution to the evident collapse of religion: "There is not a creed which is not shaken, not an accredited dogma which is not shown to be questionable, not a received tradition which does not threaten to dissolve." As we approach the end of another century, some in the academy see radical hermeneutics as the final step in that process of dissolution, while to others it is the promise of a rebirth. Such a renewal in religion and art would interrogate the language of domination and would approach questions of "depth" and "meaning" and "ultimacy" with circumspection, attuned to who or what is being ruled in or out of the discourse. The AIR's preauthorization of the Arts, Literature and Religion section is an invitation to get on with the debate.

-------------
About the writer:
Barbara DeConcini is dean of the Atlanta College of Art in Atlanta, Georgia. This article appeared in The Christian Century, March 20-27,1991, pp. 223-326. Copyright by The Christian Century Foundation; used by permission. Current articles and subscription information can be found at www.christiancentury.org. Article prepared for Religion Online by Herb and June Lowe.

source: www.religion-online.org

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Determinism and Free Will

Written by eastern writer on Thursday, August 14, 2008

Here are some important pieces of writing on the various subjects in the philosophy of Determinism and Freedom. The name of this philosophy might have been Determinism and Free Will, since in this context 'free will' is often used generally to mean the same as 'freedom'. In fact there is such a philosophical custom. It is better, however, despite that disadvantage, to use the term 'free will' in a particular way, for a particular kind of freedom -- for one species included in the genus 'freedom'. This is what is also called origination. The subjects in the philosophy of Determinism and Freedom include the nature of causation, the different kind of freedom that is voluntariness rather than free will or orgination, and so on.

For those who want a guide to the language of it all, some technical, try Determinism, Freedom and Free Will Philosophy -- The Terminology.

1 CAUSATION -- WHAT IS IT?

Thomas Hobbes: Entire Causes and Their Only Possible Effects
Thomas Hobbes: Causation Itself, Determinism, and their Compatibility with Freedom
Ted Honderich: Causality and Causation -- the Fundamental Fact Plainly Explained
David Hume: Causal Connection Is Constant Conjunction


2 DETERMINISM, UNDERSTANDING IT

Thomas Hobbes: Causation Itself, Determinism, and their Compatibility with Freedom
Ted Honderich: Mind Brain Connection
Ted Honderich: Mind and Brain Explanation
Immanuel Kant: For Determinism in a Way and also Indeterminism, and for Freedom of Origination Being Consistent with the Determinism
Derk Pereboom: Meaning in Life Without Free Will


3 INDETERMINISM, UNDERSTANDING IT

Immanuel Kant: For Determinism in a Way and also Indeterminism, and for Freedom of Origination Being Consistent with the Determinism
Robert Kane: Reflections on Free Will, Determinism and Indeterminism
Ted Honderich: Mind the Guff -- John Searle's Thinking on Consciousness and Free Will Examined
Thomas Nagel: Freedom and the View From Nowhere


4 DETERMINISM OR INDETERMINISM -- WHICH IS TRUE?

John Earman: Determinism: What We Have Learned and What We Still Don't Know
Ted Honderich: Determinism as True, Compatibilism and Incompatibilism as Both False, and the Real Problem
David Hume: The Obviousness of the Truth of Determinism
Dana Nelkin: The Sense of Freedom


5 DETERMINISM'S POSSIBLE CONSEQUENCES FOR OUR LIVES

Ted Honderich: Determinism's Consequences -- The Mistakes of Compatibilism and Incompatibilism, and What Is To Be Done Now
Thomas Nagel: Freedom and the View from Nowhere
Derk Pereboom: Meaning in Life Without Free Will
Peter Strawson: Freedom and Resentment


6 COMPATIBILISM -- FREEDOM AS VOLUNTARINESS

Ansgar Beckermann: Free Will in a Natural Order of the World
Joseph Keim Campbell: Compatibilist Alternatives
Harry Frankfurt: Alternate Possibilities and Moral Responsibility
Thomas Hobbes: Causation Itself, Determinism, and their Compatibility with Freedom
David Hume: Freedom Reconciled with Necessity
Tomis Kapitan: Deliberation and the Presumption of Open Alternatives
Keith Lehrer: Freedom and the Power of Preference
Alfred Mele: Agnostic Autonomism
Peter Strawson: Freedom and Resentment
John Martin Fischer & Mark Ravizza: Morally Responsible People Without a Freedom
Christopher Taylor & Daniel Dennett: Who's Afraid of Determinism? -- Rethinking Causes and Possibilities



7 INCOMPATIBILISM -- FREEDOM AS ORIGINATION OR FREE WILL AS WELL AS VOLUNTARINESS

Bishop Bramhall: The Pretty Freedom of Thomas Hobbes that Goes With Necessity
Richard Double: The Moral Hardness of Libertarianism
Ted Honderich, Mind and Brain Explanation
Ted Honderich, On Libet -- Is the Mind Ahead of the Brain? Behind It?
Immanuel Kant: For Determinism in a Way and also Indeterminism, and for Freedom of Origination Being Consistent with the Determinism
Robert Kane: Reflections on Free Will, Determinism and Indeterminism
John Martin Fischer & Mark Ravizza: Morally Responsible People Without a Freedom
Peter van Inwagen: The Mystery of Metaphysical Freedom
Peter Van Inwagen: Van Inwagen on Free Will
Ted Honderich: Mind the Guff -- John Searle on Consciousness and Freedom Examined
Alfred Mele: Agnostic Autonomism
Thomas Nagel: Freedom and the View from Nowhere


8 NEITHER COMPATIBILISM NOR INCOMPATIBILISM

Richard Double: Misdirection in the Philosophy of Mind
Ted Honderich: Determinism as True, Compabilism and Incompatibilism as Both False, and the Real Problem
Ted Honderich: After Compatibilism and Incompatibilism
Immanuel Kant: For Determinism in a Way and also Indeterminism, and for Freedom of Origination Being Consistent with the Determinism
Shaun Nichols, Folk Intuitions on Free Will
Shaun Nichols & Joshua Kobe, Moral Responsibility and Determinism: The Cognitive Science of Folk Intuitions
Saul Smilansky: Free Will, Fundamental Dualism, and the Centrality of Illusion
Ulrich Steinvorth, A Third Concept of Freedom of the Will
Galen Strawson: Free Will
Manuel Vargas, The Revisionist's Guide to Responsibility


9 THE NEW AND HARDER PROBLEM?

Ted Honderich, How Free Are You?
Ted Honderich: Determinism as True, Compatibilism and Incompatibilism as Both False, and the Real Problem
Ted Honderich: After Compatibilism and Incompatibilism


visit http://www.ucl.ac.uk/~uctytho/dfwIntroIndex.htm to get link to the articles above.

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Platypus: a Darwinian Cautionary Tale

Written by eastern writer on Thursday, August 14, 2008

The platypus is an evolutionary enigma. According to Professor Tom Kemp:

The greatest mystery of all concerning mammalian evolution stretches back for 200 years: the question of what exactly the monotreme mammals are, and how they relate phylogenetically to therians [from T.S. Kemp (2007) The Origin and Evolution of Mammals Oxford University Press pages 173-174].


Mammals comprise three major groups. The therians [theria] include all placental mammals [eutheria] and marsupials [metatheria] which have the characteristic pouch in which the immature foetus is nurtured after birth. The third group of mammals are the monotremes or egg-laying mammals. These are the prototheria [as distinct from the theria] and there are only three species of monotremes living today, only found in Australia. These are the platypus [Ornithorhyncus], the short beaked echidna [Tachyglossus] and the long-beaked echidna [Zaglossus].

Is it a reptile?

At one time, it was believed that the monotremes were transitional between reptiles and mammals. It is easy to see why. The prototheria [Gk: first beast] lay small round eggs and have some other reptilian features. For example, the male platypus possesses a spur on its hind limbs through which it delivers a venomous cocktail produced by the crural glands located in its upper thigh. This venom contains hundreds of different chemicals including four major toxins. Three of these toxins are unique to the platypus and are described as defensin-like proteins [DLPs].

Whittington et al. have recently published a paper in the academic journal Genome in which they describe significant homology [structural similarity] between the DLPs and proteins present in the venom of snakes and other reptiles. However because of the prevailing evolutionary phylogenetic classification that places reptiles and monotremes in very different clades, the general consensus is that similar venom proteins evolved independently in reptiles and monotremes. This is considered an example of convergence which suggests that given the appropriate conditions, similar proteins and structures will evolve any number of times in different organisms. In their own words:

Convergent evolution has repeatedly selected genes coding for proteins containing specific structural motifs as templates for venom molecules.


With respect to Whittington and his colleagues, at least they attempt to speculate how this might have occurred by suggesting processes involving “gene duplication and subsequent functional diversification”. Presumably, functional diversification must involve the repeated emergence of active protein intermediates with some selective advantage. It is interesting to ponder what these unknown proteins might have been and what particular function they might have served. Unfortunately, this is rarely done.

Nevertheless, the main reason that monotremes cannot be considered intermediate between reptiles and mammals is the current Darwinian consensus that reptiles and mammals have evolved independently from a putative common ancestral amniote either via the synapsid [to leading to mammals] or sauropsid [leading to reptiles and birds] lineages. We refer you to the article “Synapsids and the Evolution of Mammals” which can be found here.

Consequently, it is something of an embarrassment to describe the synapsids as “mammal-like reptiles” which is still a very common occurrence in the both the academic and popular press. As mentioned in the previous article, Professor Donald Prothero is dogmatic about this anomaly. In chapter 13 entitled “Mammalian Explosion” in his book, he writes as follows:

Of the transitional series that we have examined between major groups of vertebrates, one of the best documented is the transition from primitive amniotes to mammals via the synapsids, formerly known as the "mammal-like reptiles." As we explained previously, however, the synapsids that evolve into mammals are not reptiles and never had anything to do with the lineage that leads to reptiles …This idea is now completely discredited, and anyone who still uses the obsolete and misleading term mammal-like reptiles clearly doesn't know much about the current understanding of vertebrate evolution [from Donald R. Prothero [2007] Evolution: What the Fossils Say and Why It Matters New York: Columbia University Press page 271].


Tom Kemp goes on to consider the mystery of the monotreme evolution:

The relationship of monotremes to the Mesozoic mammal groups is considerably less clear, and the development of views about this problem has had an extraordinarily chequered history. At one time it was believed by almost everyone that monotremes had a separate origin from pre-mammalian therapsids, implying convergent evolution of their mammalian characters. The discovery of late Triassic mammals of South Wales quickly altered that view because similarities were seen between, on the one hand Morganucodon and the monotremes and on the other Kuehneotherium and the living therians [from T.S. Kemp (2007) The Origin and Evolution of Mammals Oxford University Press page 175].


As we reported in our previous article, Morganucodon is generally regarded as a mammal although it also possesses some reptilian features, particularly in its lower jaw. The reason why this creature is considered a relative to the monotremes is its teeth. As Kemp points out, this is highly contentious because the platypus sheds its juvenile teeth which are replaced in maturity by bony ridges. To complicate matters further, echidnas do not have teeth at all. The other ancient mammal referred to by Kemp is Kuehneotherium which has been found in exactly the same strata in South Wales [for further information see Kemp pages 162-163]. After a consideration of academic attempts to relate monotremes to Morganucodon, Kemp concludes:

Compared to this very weak evidence for monotreme-Morganucodon relationship, there are several characters shared by monotremes and therians that can be demonstrated to be more derived than in Morganucodon … All cladistic analyses now place monotremes closer to living therians than to morganucondontids [from T.S. Kemp (2007) The Origin and Evolution of Mammals Oxford University Press page 176].


Since the recent publication [May 2008] of the platypus genome in the journal Nature there has been a great deal of activity in the academic press and in the popular media including the BBC. All this activity, however, has not brought any resolution to the evolutionary enigma that is the platypus. If anything, the situation has become even more confused. For example, Elizabeth Finkel wrote a review entitled “Genome speaks to Transitional Nature of Monotremes” in the prestigious American journal Science in which she states:

The clearest traces of the journey from reptile to mammal come from tracking the yolk and milk genes. Chickens have three vitellogenin egg yolk genes; the platypus has just one left. But the casein milk protein genes that mammals have but reptiles don't are all there. And just as in other mammals, in platypus, they are clustered next to the tooth enamel genes from which they are thought to have evolved, the researchers report.


Here in this statement, one can discern something of the current confusion in attempts to trace the evolutionary history of the monotremes. The suggestion here is that the platypus has evolved from a reptilian lineage which is anathema according to Professor Prothero. Current Darwinian thinking dictates that mammals have evolved from synapsids which are not reptiles. Of course, presumably, synapsids were oviparous and like all egg-laying animals would have possessed yolk proteins and the vitellogenin coding genes. This is a reasonable assumption, since according to Patrick Brabin in his recent paper in Gene [May 2008], vitellogenin homologues have been found in amphibians, fish, birds as well as in the platypus and reptiles.

On the other hand, therian mammals [i.e. both placental and marsupial] do not lay eggs and it might be thought that they have no need of vitellogenin genes.

In particular, David Brawand et al. have published a recent paper [March 18 2008] in the open access journal PLoS Biology entitled “Loss of Egg Yolk Genes in Mammals and the Origin of Lactation and Placentation". In the abstract of this paper they write:

Embryonic development in nonmammalian vertebrates depends entirely on nutritional reserves that are predominantly derived from vitellogenin proteins and stored in egg yolk. Mammals have evolved new resources, such as lactation and placentation, to nourish their developing and early offspring. However, the evolutionary timing and molecular events associated with this major phenotypic transition are not known. By means of sensitive comparative genomics analyses and evolutionary simulations, we here show that the three ancestral vitellogenin-encoding genes were progressively lost during mammalian evolution (until around 30–70 million years ago, Mya) in all but the egg-laying monotremes, which have retained a functional vitellogenin gene.


Their research identified vitellogenin pseudogenes in the previously published human and dog genome. A pseudogene is essentially a non-active version of a previously functional gene that has been switched off. In the case of the vitellogenin genes, Brawand and his group found that there were “premature stop codons and frame-shifting insertion/deletions” in genomic regions equivalent to the active vitellogenin genes found in the chicken. Are these pseudogenes a relic of mammalian evolutionary history? Brawand and his colleagues think so but is their another explanation?

Do placental and marsupial mammals need the ability to produce egg yolk at any stage in their life cycles. The answer is an emphatic yes! In the paradoxical words of Brawand and his group:

Marsupials also have a placenta, originating from the yolk sac, but the marsupial oocyte [egg] contains considerably more yolk than that of eutherians, which is virtually devoid of it. The marsupial yolk reserve is assumed to be essential during the earliest development of the embryo, complementing the uptake of uterine secretions by the yolk sac, prior to shell coat rupture. However, the content of marsupial yolk is not well known.


The fact is this; all mammals require yolk at some stage in development. In particular, all placental mammals produce eggs that require yolk for nourishment prior to the establishment of the placenta. In the words of LM Baggott in his book entitled Human Reproduction:

The eggs of mammals contain relatively little yolk compared to the eggs of other vertebrates. However, yolk is present in sufficient quantity to sustain the development of the embryo through the period of cleavage … In placental mammals, including of course humans; cleavage takes place as the embryo passes down the Fallopian tube towards the uterus. During this period, the embryo draws upon the reserves of yolk in the dividing cells. After implantation, has taken place in the uterus and until birth, energy and raw materials come to the developing embryo from the maternal circulation [from LM Baggott (1997) Human Reproduction Cambridge University Press page 33].


This fact might allow an alternative explanation for the presence of vitellogenin pseuodogenes in placental mammals. In fact, seen in this light, pseudogenes may sometimes be active genes that are permanently switched off in many different types of cell during development and cellular differentiation. For example, a skin cell has no need of yolk but will continue to possess the full genetic compliment. In this particular cell, however, the vitellogenin gene will have been inactivated. What is much more difficult to consider from a Darwinian perspective, however, is the emergence of a fully functional placenta with everything associated with it. It is almost impossible to comprehend what would have to take place to move from an oviparous (egg-laying) to a viviparous (live birth) physiology. Brawand et al. do not begin to consider this even though they include the word “placentation” in the title and abstract of their paper.

On the other hand, like all mammals, the platypus possesses the metabolic and physiological capability to produce milk. Brawand and colleagues appear somewhat bemused by the fact that the platypus has casein (milk protein) genes. They state:

We screened the platypus genome to see whether monotremes do in fact have orthologous casein genes, which would imply that these genes emerged in the common mammalian ancestor. Interestingly, we identified three putative casein genes in a genomic region that is syntenic to that carrying the casein genes in therians.


Two genes are said to be orthologous [a Darwinian term] if they diverged after a speciation event. A syntenic genomic region is the location on different chromosomes from different species possessing similar genes. The language of the Brawand paper is remarkable “we identified three putative casein genes in a genomic region that is syntenic to that carrying the casein genes in therians”. It is as though they were surprised to find them. The fact is all mammalian lactation requires that all the genes for the production of all the protein constituents of milk are present and that the physical structures necessary to deliver that milk are functional. The platypus, however, does not suckle its young in the conventional mammalian manner. It does not have nipples but exudes milk from specialised glands on its abdomen. These glands are generally regarded as modified sweat glands. For example, Lewis Wolpert in his article in The Independent [December 8 2004] wrote:

One important piece of evidence is the platypus, a monotreme mammal that has a patch on its breast that secretes milk for its infants to suck ... Clearly, the platypus was an early stage in breast evolution. Numerous theories have been proposed for how lactation evolved in the platypus. One theory, more than a hundred years old, suggests that the glands secreting nourishment in the platypus are modified sweat glands, but that the lactating glands in other mammals are modified sebaceous glands, which normally secrete an oily fluid to protect the skin. In the 1960s, JBS Haldane took up the problem and proposed that the ancestors of monotreme mammals might have needed to keep their eggs cool, and so evolved a mechanism for moistening them in their fur, in a manner similar to that used by some Asian birds who moisten their feathers. More recently a theory has emerged in which multiple glands of the skin are involved.


According to Professor Wolpert and others, lactation in the platypus was an “early stage in breast evolution” perhaps being required to keep eggs cool by secreting milk from modified sweat glands. It is worth evaluating this hypothesis objectively.

Sweat glands are characteristic of warm blooded mammals. Furthermore, reptiles [and birds] do not possess sweat glands. On the other hand, mammalian skin has two types of sweat glands: apocrine and merocrine. The secretion from both these types is controlled by the endocrine and the autonomic nervous systems. Apocrine sweat glands produce a thick secretion containing pheromones. Merocrine sweat glands are more widely distributed and are closely involved in temperature regulation and excretion by secreting sweat which is 99 percent water.

So we have a few questions:

1. For the lactation machinery to evolve from a sweat gland there has to be a functioning sweat gland but reptiles [and birds] do not possess sweat glands. There is no requirement for sweat glands until the animal has evolved an endothermic physiology. In other words, a mammal has to be a mammal to possess a sweat gland.

2. Since sweat is 99% water, why was it deemed necessary to evolve all the milk protein coding genes just to keep the eggs cool? It is worth noting that milk has no nutritional benefit for a developing embryo encased in the monotreme egg.

If, as Professor Wolpert and others suggest, lactation in the platypus is the beginning of the evolution of the breast [presumably the nipple and the machinery associated with it], one has to assume that all the ancient mammals from the mid-Triassic to the Cretaceous had monotreme-like oviparous physiology even though there is no fossil evidence to suggest that this is true. The general Darwinian consensus [also reflected in the Nature paper on the platypus genome] is that the monotremes diverged from the other mammals approximately 166 million years ago.

Nevertheless, the oldest known fossils recognisable as monotremes include Teinolophos trusleri, Steropodon galmani and Kollikodon ritchiei. These creatures are conventionally dated at approximately 100 to120 million years, supposedly 100 million years after the emergence of true mammals in the fossil record in the late Triassic.

The situation is made even more confusing by the discovery of several mammalian fossils in the southern hemisphere that possess tribosphenic [three-cusped] molars. These teeth are characteristic of all marsupials and placental mammals which were thought to have emerged initially only in the northern hemisphere. For example, Thomas Rich of the Museum of Victoria in Melbourne spent many years looking for the ancestors of Australia's mammals. In the late 1990s he discovered an ancient jaw which he and his co-workers subsequently described in a publication in the academic journal Science. In the abstract we read:

A small, well-preserved dentary of a tribosphenic mammal with the most posterior premolar and all three molars in place has been found in Aptian (Early Cretaceous) rocks of south-eastern Australia. In most respects, dental and mandibular anatomy of the specimen is similar to that of primitive placental mammals.


Rich called this animal Ausktribosphenos nyktos and since that time several other fossils have been found in Australia (Bishops), Madagascar (Ambondro mahabo) and South America (Asfaltomylos) that seem to indicate an emergence of placental animals in the fossil record that predates the most ancient monotremes. This has been extremely controversial. For example, Luo et al., proposed independent convergent evolution for tribosphenic teeth in the northern and southern hemispheres. This was reported in Nature.

The most extensive cladistic analysis of mammalian fossil dental characteristics has been undertaken was published in 2003 in the journal Molecular Phylogenetics and Evolution. In the words of Kemp:

Woodburne et al. (2003) undertook a cladistic analysis, based on 51 characters, mostly dental but a few mandibular. They found that monotremes, including Steropodon and Teinolophos as basal members, are a sister group of all the therian mammals. Furthermore the disputed genera Ambondro, Ausktribophenos, Asfaltomylos, and Bishops constituted a monophyletic group that nests within the stem placentals [from T.S. Kemp (2007) The Origin and Evolution of Mammals Oxford University Press page 180].


More recently, another “mammal-like” fossil has been discovered in mid-Jurassic sediments in Mongolia which may eventually lead to a total revision of our understanding regarding the emergence of mammals. The creature has been called Castorocauda lutrasimilis.

This discovery was first described by Ji et al. in a 2006 publication entitled “A Swimming Mammaliaform from the Middle Jurassic and Ecomorphological Diversification of Early Mammals” in the journal Science.They conclude their descriptive paper as follows:

Castorocauda was a semiaquatic carnivore, similar to the modern river otter. This fossil shows that basal mammals occupied more diverse niches than just those of small insectivorous or omnivorous mammals with generalized terrestrial locomotory features. Castorocauda also suggests that mammaliaforms developed physiological adaptations associated with pelage [fur], well before the rise of modern Mammalia, and had more diverse ecomorphological adaptations than previously thought, with at least some lineages occupying semiaquatic niches.


At the present time, Castorocauda is not regarded as a true mammal. According to current Darwinian thinking, the creature can only be regarded as a mammaliaform or proto-mammal. Nevertheless, the most remarkable feature of this fossil discovery is the preservation of its fur. According to Ji et al.:

The fur of Castorocauda is preserved as impressions of guard hairs and carbonized under-furs. Hairs and hair-related integument structures are important characteristics of all modern mammals … the broad and scaly tail of Castorocauda was similar to that of the modern beaver Castor canadensis, a semiaquatic placental mammal well adapted for swimming.


The presence of fur is a clear indication that the animal was warm-blooded and although the animal appears most like a semi-aquatic placental mammal (e.g. beaver or otter), the authors suggest that the forelimbs are similar to the platypus in that they are adapted for both digging and swimming. There is also the indication of webbing on the hind feet. Furthermore, according to the National Geographic:

Even tiny middle-ear bones are intact. The well-preserved teeth - incisors, canines, premolars, and molars - look to have been ideal for feeding on fish and aquatic invertebrates, somewhat like the teeth of modern seals … Castorocauda has the ankle spurs characteristic of its nearest living relative, the platypus, which uses them for territorial defense. And like the platypus, Castorocauda was probably an egg-layer.


So was Castorocauda an ancient monotreme? According to Kemp, “the solution to the mystery of the monotremes continues to be elusive”. Presumably, this will remain the situation until there is some major revision in current Darwinian thinking.

Is it a bird?

Perhaps the most remarkable feature of the platypus genome is the structure and number of sex chromosomes. Typically, all male mammals have one X and one Y [i.e. heterogametic] chromosome whereas females possess two X [i.e. homogametic] chromosomes. The male platypus has five X and five Y chromosomes and the female platypus five pairs of X chromosomes. In most mammals, the Y chromosome possesses a gene called SRY which is a major sex determining factor but this appears to be absent in the platypus. In addition, there also appears to be no homology between the X chromosomes of placental mammals and the platypus. Sex determination in the platypus is therefore something of a mystery and a great deal of research is continuing in order to discover its mechanism.

Several groups have reported the identification of a gene called DMRTI on the X5 chromosome of the platypus. DMRTI is thought to be a sex determining factor in birds! Avian sex chromosomes comprise Z and W [as distinct from X and Y]. Unlike mammals, male birds carry paired homogametic sex chromosomes [ZZ], females have unpaired heterogametic [ZW] chromosomes. DMRTI is found on the Z chromosome of birds. The double dose of DMRTI in male birds is thought to be a trigger for sex determination. Elizabeth Finkel suggests:

The story of the platypus' march away from the reptilian world is also told in the sex chromosomes. According to Jenny Graves of the Australian National University in Canberra, sex chromosome wise, "they do it like a chicken" … The genome sequence now shows that one of the platypus X chromosomes [X5] has more than just that one bird gene: It's almost entirely equivalent to the chicken Z chromosome.


More recent evidence supporting the contention that sex determination in the platypus is similar to that in birds has just been published in Genome Research [June 2008]. In the abstract, Veyruns et al. state:

Most significantly, comparative mapping shows that, contrary to earlier reports, there is no homology between the platypus and therian X chromosomes. Orthologs of genes in the conserved region of the human X (including SOX3, the gene from which SRY evolved) all map to platypus chromosome 6, which therefore represents the ancestral autosome from which the therian X and Y pair derived. Rather, the platypus X chromosomes have substantial homology with the bird Z chromosome (including DMRT1) and to segments syntenic with this region in the human genome. Thus, platypus sex chromosomes have strong homology with bird, but not to therian sex chromosomes, implying that the therian X and Y chromosomes (and the SRY gene) evolved from an autosomal pair after the divergence of monotremes only 166 million years ago. Therefore, the therian X and Y are more than 145 million years younger than previously thought.


So do the platypus and the other monotremes share any common ancestry with birds? According to the current Darwinian hypothesis, birds are viewed as living dinosaurs, in that they are thought to have descended from sauropsid ancestors. As mentioned in our previous article, the sauropsids are distinct from the synapsids, the supposed ancestors of the mammalian line. However, this model has become even more impenetrable with the recent suggestion that there are multiple independent origins for sex determination in amniotes. The full paper is available here. In the review of this work, Vallender and Lahn suggest:

It is generally accepted that environmental sex determination is the ancestral state and that genetic sex determination evolved as a derived condition. It is also recognized that genetic sex determination is evolutionarily highly labile, having evolved into existence on many independent occasions across diverse taxa [emphasis added]. A case in point is sex-determination mechanisms in amniotes (a clade encompassing reptiles, birds, and mammals). The ancestral state in amniotes is likely temperature-dependent sex determination, which is still found in many extant reptilian species, such as crocodilians and some turtles and lizards. From this ancestral state, genetic sex determination evolved in birds, which utilize the ZZ:ZW system, and also independently in mammals, which use the XX:XY system.


This problem with particular reference to the platypus has been discussed in detail in the most recent review by Wallis et al. published in the journal Cellular and Molecular Life Sciences [June 26 2008]. They conclude their review as follows:

Interest in elucidating the sex-determining system from which SRY assumed control in therians has intensified following our recent finding that the sex chromosomes of birds and monotremes share homology. The possibility that the ancestor of amniotes harboured a sex chromosome system still maintained in monotremes and birds today, while intriguing, still faces several obstacles: the apparent lack of homology between many amniote sex chromosomes, the frequency of subsequent transitions to temperature sex determination in reptiles, and the inferred sex heterogamety transition using the same sex chromosomes.


In these last two quotes; we can appreciate something of the Darwinian dilemma. Vallender and Lahn suggest that “the ancestral state in amniotes is likely temperature-dependent sex determination” whereas Wallis et al. are tempted to conclude “that the ancestor of amniotes harboured a sex chromosome system still maintained in monotremes and birds today”. The sex chromosome system in monotremes [indeed all mammals] and birds does not involve temperature-dependent sex determination. As we have seen, sex determination in reptiles, birds, monotremes and the therian mammals [both marsupial and placental] are all very different and distinctive. Furthermore, with these independent, multiple and, in some cases, convergent evolutionary events supposedly taking place, the maintenance of fertility is of paramount importance. We will consider this vital aspect in some detail in a future article.

Of course, there are also other genetic features that appear to be unique to the platypus. These include the possession of all the biology required for the exquisitely sensitive chemical and electrical detection systems in its leathery bill. In particular, researchers have discovered numerous genes coding for odour [vomeronasal] receptors. Similar genes are found in many other mammals that rely on a sense of smell, the dog being a classic example. The platypus, however, requires this sensitivity underwater. In 2007, Wendy Grus and her colleagues at the University of Michigan published a major article on these odour receptors in the platypus. In addition, John Pettigrew of the University of Queensland has written a wonderful review entitled “Electroreception in monotremes” in the Journal of Experimental Biology. According to Pettigrew:

Its complexity belies the common misconception that monotremes are in some way primitive. The close apposition of mechanoreception and electroreception systems in platypus cortex raises new questions about their relationship.


In other words, the brain of the monotreme is specifically wired to enable the creature to perform its remarkable abilities. It is not at all surprising therefore, following the publication of the platypus genome, that this uniqueness is reflected in the genes of this amazing creature. In fact, whatever the platypus does, it will require the genes to enable it to do so. It is like a bird as it lays eggs. It is like a reptile as it produces venom. It is a warm blooded fur-covered mammal producing milk to suckle its young. It has a unique electro-sensory system and can detect odours and pheromones underwater with unparalleled sensitivity. It is worth noting that the other main group of vertebrates that rely of electroreception are fish and sharks in particular!

Thus the platypus will remain a significant misfit in any Darwinian scheme. Is it from a sauropsid lineage which includes reptiles and birds? Is it from a synapsid lineage which supposedly led to the emergence of the mammals? Or is it derived independently from some unknown ancestral amniote? Or could it be that the Darwinian hypothesis, cladistic analysis or any other classification system for that matter is just far too restrictive? Without doubt, there are mammal-like reptiles as there are reptile-like mammals. The platypus is a Darwinian cautionary tale. Is it a bird or is it a plain … old platypus?

read more this article at http://www.truthinscience.org.uk/site/content/view/270/65/

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Training service for the owner of internet business

Written by eastern writer on Thursday, August 14, 2008

Are you running an internet business now? What kind of internet business do you have, are you selling product, what product did you sell? How much your internet business support your financial needs?

Ya, many people make money from their internet business, some of them have got their goal, but some of the rest fail to reach the goal. Running a business, besides require a hard work, in fact also need a technic. Many internet business owner failed reach their goal because lack of knwoladge, especially how to run an internet marketing.

www.storeonline.com provide interesting article which explore step by step to run eCommerce. The article are written by the expert in online marketing.

Storesonline Ecommerce Solution are highlighted by its training preview sessions and workshop conferences. From humble beginnings, this business has experienced impressively consistent growth. StoresOnline operates profitably, and is one of those rare Internet companies that has not only survived the whole dot com shakeout, but has seen its core business thrive while many other celebrated companies in this market have shut down operations. Much of this is due to the leadership of StoresOnline's experienced executive team.

StoresOnline serves the small business and entrepreneur marketplace with eServices designed to help make their customers in this market successful with their online businesses. Whether a company wants to extend an existing business to the Internet, or launch the next big idea, StoresOnline's eServices are there to help each step of the way. From education, to training, to eCommerce-enabled websites, StoresOnline is there.

StoresOnline's software platform has continuously developed over the past decade, evolving to fit the needs of the dynamic, global economy. Today, the development platform (StoresOnline Pro) sets the precedent as small business owners and entrepreneurs offer their products and services to the world.

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Naturalism in American Literature

Written by eastern writer on Thursday, August 14, 2008

The term naturalism describes a type of literature that attempts to apply scientific principles of objectivity and detachment to its study of human beings. Unlike realism, which focuses on literary technique, naturalism implies a philosophical position: for naturalistic writers, since human beings are, in Emile Zola's phrase, "human beasts," characters can be studied through their relationships to their surroundings. Zola's 1880 description of this method in Le roman experimental (The Experimental Novel, 1880) follows Claude Bernard's medical model and the historian Hippolyte Taine's observation that "virtue and vice are products like vitriol and sugar"--that is, that human beings as "products" should be studied impartially, without moralizing about their natures. Other influences on American naturalists include Herbert Spencer and Joseph LeConte.

Through this objective study of human beings, naturalistic writers believed that the laws behind the forces that govern human lives might be studied and understood. Naturalistic writers thus used a version of the scientific method to write their novels; they studied human beings governed by their instincts and passions as well as the ways in which the characters' lives were governed by forces of heredity and environment. Although they used the techniques of accumulating detail pioneered by the realists, the naturalists thus had a specific object in mind when they chose the segment of reality that they wished to convey.

In George Becker's famous and much-annotated and contested phrase, naturalism's philosophical framework can be simply described as "pessimistic materialistic determinism." Another such concise definition appears in the introduction to American Realism: New Essays. In that piece,"The Country of the Blue," Eric Sundquist comments, "Revelling in the extraordinary, the excessive, and the grotesque in order to reveal the immutable bestiality of Man in Nature, naturalism dramatizes the loss of individuality at a physiological level by making a Calvinism without God its determining order and violent death its utopia" (13).

A modified definition appears in Donald Pizer's Realism and Naturalism in Nineteenth-Century American Fiction, Revised Edition (1984):

[T]he naturalistic novel usually contains two tensions or contradictions, and . . . the two in conjunction comprise both an interpretation of experience and a particular aesthetic recreation of experience. In other words, the two constitute the theme and form of the naturalistic novel. The first tension is that between the subject matter of the naturalistic novel and the concept of man which emerges from this subject matter. The naturalist populates his novel primarily from the lower middle class or the lower class. . . . His fictional world is that of the commonplace and unheroic in which life would seem to be chiefly the dull round of daily existence, as we ourselves usually conceive of our lives. But the naturalist discovers in this world those qualities of man usually associated with the heroic or adventurous, such as acts of violence and passion which involve sexual adventure or bodily strength and which culminate in desperate moments and violent death. A naturalistic novel is thus an extension of realism only in the sense that both modes often deal with the local and contemporary. The naturalist, however, discovers in this material the extraordinary and excessive in human nature.

The second tension involves the theme of the naturalistic novel. The naturalist often describes his characters as though they are conditioned and controlled by environment, heredity, instinct, or chance. But he also suggests a compensating humanistic value in his characters or their fates which affirms the significance of the individual and of his life. The tension here is that between the naturalist's desire to represent in fiction the new, discomfiting truths which he has found in the ideas and life of his late nineteenth-century world, and also his desire to find some meaning in experience which reasserts the validity of the human enterprise. (10-11)


For further definitions, see also The Cambridge Guide to American Realism and Naturalism, Charles Child Walcutt's American Literary Naturalism: A Divided Stream, June Howard's Form and History in American Literary Naturalism, Walter Benn Michaels's The Gold Standard and the Logic of Naturalism, Lee Clark Mitchell's Determined Fictions, Mark Selzer's Bodies and Machines, and other works from the naturalism bibliography. See Lars Ahnebrink, Richard Lehan, and Louis J. Budd for information on the intellectual European and American backgrounds of naturalism.

Characteristics
Characters. Frequently but not invariably ill-educated or lower-class characters whose lives are governed by the forces of heredity, instinct, and passion. Their attempts at exercising free will or choice are hamstrung by forces beyond their control; social Darwinism and other theories help to explain their fates to the reader. See June Howard's Form and History for information on the spectator in naturalism.

Setting.
Frequently an urban setting, as in Norris's McTeague. See Lee Clark Mitchell's Determined Fictions, Philip Fisher's Hard Facts, and James R. Giles's The Naturalistic Inner-City Novel in America.

Techniques and plots. Walcutt says that the naturalistic novel offers "clinical, panoramic, slice-of-life" drama that is often a "chronicle of despair" (21). The novel of degeneration--Zola's L'Assommoir and Norris's Vandover and the Brute, for example--is also a common type.

Themes
Walcutt identifies survival, determinism, violence, and taboo as key themes.

2. The "brute within" each individual, composed of strong and often warring emotions: passions, such as lust, greed, or the desire for dominance or pleasure; and the fight for survival in an amoral, indifferent universe. The conflict in naturalistic novels is often "man against nature" or "man against himself" as characters struggle to retain a "veneer of civilization" despite external pressures that threaten to release the "brute within."

3. Nature as an indifferent force acting on the lives of human beings. The romantic vision of Wordsworth--that "nature never did betray the heart that loved her"--here becomes Stephen Crane's view in "The Open Boat": "This tower was a giant, standing with its back to the plight of the ants. It represented in a degree, to the correspondent, the serenity of nature amid the struggles of the individual--nature in the wind, and nature in the vision of men. She did not seem cruel to him then, nor beneficent, nor treacherous, nor wise. But she was indifferent, flatly indifferent."

4. The forces of heredity and environment as they affect--and afflict--individual lives.

5. An indifferent, deterministic universe. Naturalistic texts often describe the futile attempts of human beings to exercise free will, often ironically presented, in this universe that reveals free will as an illusion.

Practitioners
Frank Norris
Theodore Dreiser
Jack London
Stephen Crane
Edith Wharton, The House of Mirth (1905)
Ellen Glasgow, Barren Ground (1925)

John Dos Passos (1896-1970), U.S.A. trilogy(1938): The 42nd Parallel (1930), 1919 (1932), andThe Big Money (1936)
James T. Farrell (1904-1979), Studs Lonigan (1934)
John Steinbeck (1902-1968), The Grapes of Wrath (1939)
Richard Wright, Native Son (1940), Black Boy (1945)
Norman Mailer (1923- ), The Naked and the Dead (1948)
William Styron, Lie Down in Darkness (1951)
Saul Bellow, The Adventures of Augie March (1953)

Stephen Crane on Nature and the Universe
When it occurs to a man that nature does not regard him as important, and that she feels she would not maim the universe by disposing of him, he at first wishes to throw bricks at the temple, and he hates deeply the fact that there are no bricks and no temples.
--Stephen Crane, "The Open Boat"

A man said to the universe:
"Sir, I exist!"
"However," replied the universe,
"The fact has not created in me
A sense of obligation." --Stephen Crane (1894, 1899)

source: www.wsu.edu

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Poker review by poker players

Written by eastern writer on Thursday, August 14, 2008

Many people in around the world are now playing poker poker online both for fun and also for making money. There are tons of Poker sites to play. To find the best poker sites to play, which offer players with amazing bonuses and fair gaming, you can visit a lot sites that provide gaming review and information. Among those poker guide, PokerOwnage is one of the best one.

PokerOwnage is an Online Poker blog written by poker players that can relate to the grind. At Poker Ownage you will find current online poker rooms, poker room reviews and the latest poker bonus codes to boost your bankroll. Learn rules and advice foe Texas holdem, Omaha hi and other top poker games.

At PokerOwnage you can also find Poker Gossips and rumors and involve in poker discussion forum with other players. Reading this casino guide will save your time, since you do not need to spend your time to browse casino information on the net, and get the valid information.

Wether you are a newbie or experienced players, PokerOwnage dot com has been designed to bring useful information about online poker to the beginning, intermediate and advanced player. Visit PokerOwnage Online Casino Guide to find more about the casino reviews of the web's top ranked online casinos.

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Direct and Indirect interior monologue

Written by eastern writer on Thursday, August 07, 2008

Interior monologue is a tool through which a writer can exhibit the thoughts of the characters to the readers. Shakespeare used interior monologue in the form of a soliloquy (where a character speaks to himself, thus revealing his thoughts). Even now, many writer use interior monologue to show the mental state of a character, his doubts, fear, plans, secrets or anything that he may be feeling or thinking about.


Direct interior monologue

As its name suggests, direct interior monologue is directly spoken by a character without any authorial intervention. It is a part of the dialogue and is within inverted commas. A character can reveal his thoughts to the reader by directly reacting to a situation. It affords the writer greater freedom.

“I hate going to Myna’s Palace,” he thought, dragging his legs forward.

This dialogue demonstrates the contradiction between how a character acts and what is going on in his mind. He doesn’t want to go, but he still is going.

In direct interior monologue, there is no chance of intervention by the author. It is the character who is in focus, not the author. An advantage of direct interior monologue is that through it, a writer can show instant happenings as well as reminiscences. A character may pass on judgments about other characters, he may comment upon the situation, scenery, characteristics and so on.


Indirect interior monologue

When the author comments upon the thoughts of a character, then it is called indirect interior monologue.

Stream of consciousness is a form of free interior monologue where a character’s thoughts are presented as random as they occur in the brain. It should be used only when required. Here is an example of stream of consciousness from James Joyce’s Ulysses. It presents Molly Bloom’s thoughts.

. . . yes because theyre so weak and puling when theyre sick they want a woman to get well if his nose bleeds youd thing it was O tragic and that dyinglooking one off the south circular when he sprained his foot at the choir party at the sugarloaf Mountain the day I wore that dress Miss Stack bringing him flowers the worst old ones she could find at the bottom of the basket anything at all to get into a mans bedroom with her old maids voice . . .

Indirect interior monologue becomes exciting when the author’s voice creeps in just a bit to add a feeling to a sentence. It goes like this –

“You dipped it in!” Mira exclaimed, looking at the swollen pancake floating in the water with utter astonishment. Such megalomania could only be expected from Mira.

The sentence in bold is an indirect monologue, as the opinion about Mira is being hinted by the writer (and quite boldly), not by any of the characters. The reader might not have judged till now that Mira has a huge ego, but when the writer so forcefully dictates it in a sentence, the reader, at once, starts to see her in that light.

For me, the biggest advantage of indirect interior monologue is that it surprises the readers and shakes them out of the lull that narration causes. It works best when used while giving a forceful or a sharp opinion about somebody or something.

As it is part of the narration and not of a dialogue, it creates a strong impression, as the opinion is of the author and not a character. Because of this reason, it becomes much more believable. Sprinkling indirect interior monologue in writing is a good method to surprise and instruct the readers at the same time.

A drawback with indirect interior monologue is that the author can’t relate instant happenings or describe action. He has to rely upon general thoughts or opinions about characters or their situation.

source: http://literaryzone.com

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Stone Mountain Park

Written by eastern writer on Thursday, August 07, 2008

When you are planning to visit Atlanta, Stone Mountain Park offer a wide variety of fun family activities and things to do in that Georgia area. It's Georgia's number-one tourist attraction, and one of the 10 most-visited paid attractions in the United States. A lot of annual events such as the Yellow Daisy Festival, Stone Mountain Christmas, or the Indian Festival & Pow Wow would be great to see. Stone Mountain Park offers a variety of attractions, entertainment and recreation activities.

Get back to nature only minutes from downtown Atlanta. Relax in the great outdoors fishing on Stone Mountain Lake, playing golf at the award-winning Stone Mountain Golf Club's 36 holes or hiking one of Stone Mountain Park's many wooded trails. Or plan a romantic picnic or family get together at the world's largest granite rock.

Make your first stop the Discovering Stone Mountain Museum to get some perspective on the mountain's history. Exhibits take you through an intriguing chronological journey from the area's past into its present.

Stone Mountain Park Adventure Pass

Operating Times: Opens daily at 10:00am. Each Stone Mountain Park attraction has its own unique schedule and may not be open on a particular day due to weather, maintenance or crowd conditions. Please call Customer Service to check availability for the day of your visit to see which attractions are scheduled to be open. Details will be on your eTicket.

Booth Location: Stone Mountain Park
U.S. Highway 78 East- Exit 8
Stone Mountain, GA 30087

Nearest Intersection: U.S. Highway 78 East and Exit 8

Age Requirements: Child Ticket: 3-11 years old. 2 and under are free
learn more more about Atlanta tours the tour detail at

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Interior monologue, Stream of consciousness and Psychonarration

Written by eastern writer on Wednesday, August 06, 2008

Stream-of-consciousness narration is a variant of the limited third-person point of vew; the narrator relates only what is experienced by a character's mind from moment to moment, presenting life as thought process, or interior monologue. More precisely, "stream of consciousness" refers to any lengthy passages of introspection in literature; whereas "interior monologue" denotes a narrative entirely in a wandering, introspective style.

James Joyce's Ulysses (1922) experiments in types of stream-of-consciousness narrative, while Virginia Woolf's Mrs. Dalloway (1925) is an example of a series of interior monologues:


It seemed to her as she drank the sweet stuff that she was opening long windows, stepping out into some garden. But where? The clock was striking--one, two, three: how sensible the sound was; compared with all this thumping; like Septimus himself. She was falling asleep.


Interior monologue is the direct presentation of thought as in direct speech. One does not speak of a monologue unless the utterance has a certain length. Interior monologue is thus a longish passage of uninterrupted thought.

Consider an excerpt from Douglas Adams, The Hitch Hiker's Guide to the Galaxy. The situation is as follows: The spaceship is being attacked by two missiles. Only at the last moment does Arthur turn on the Improbability Drive and the two missiles are turned into a sperm whale and a bowl of petunias. The passage describes the thoughts of the sperm whale who has suddenly come into existence in free space and is trying to come to terms with his identity:

Er, excuse me, who am I?
Hello?
Why am I here? What's my purpose in life?
What do I mean by who am I?
Calm down, get a grip now ... oh! this is an interesting sensation, what is it? It's a sort of ... yawning, tingling sensation in my ... my ... well I suppose I'd better start finding names for things if I want to make any headway [...] so let's call it my stomach.
And hey, what about this whistling roaring sound going past what I'm suddenly going to call my head? Perhaps I can call that ... wind! Is that a good name? It'll do [...] Now - have I built up any coherent picture of things yet?
No.
Never mind, hey, this is really exciting, so much to find out about, so much to look forward to, [...] Hey! What's this thing suddenly coming towards me very fast? Very very fast. So big and flat and round, it needs a big wide sounding name like ... ow ... ound ... round ... ground! That's it! That's a good name - ground!
I wonder if it will be friends with me?
And the rest, after a sudden wet thud, was silence. (ch. 18)


Apart from the last sentence, which is clearly a remark by a heterodiegetic narrator, this passage attempts to recreate what passes through the whale's consciousness apparently without any interference from an agency that tries to put it into well-turned English. The thoughts are presented in the first person, several thoughts run into each other as perceptions of different things crowd into the whale's consciousness, syntax and punctuation are not those of conventional written language, but try to imitate spoken (or thought) language. This technique of presentation is now most commonly called interior monologue and it is intended to present a character's thoughts directly, imitating as much as possible the way this character might 'actually' have thought his thoughts.

One of the most famous examples for interior monologue, cited again and again, is James Joyce's last chapter in Ulysses (1922). Page after page this section presents Molly Bloom's consciousness to the reader entirely in interior monologue:

[...] if his nose bleeds youd thing it was O tragic and that dyinglooking one off the south circular when he sprained his foot at the choir party at the sugarloaf Mountain the day I wore that dress Miss Stack bringing him flowers the worst old ones she could find at the bottom of the basket anything at all to get into a mans bedroom with her old maids voice trying to imagine he was dying on account of her to sever see thy face again though he looked more like a man with his beard a bit grown in the bed father was the same besides I hate bandaging and dosing when he cut his toe with the razor paring his corns afraid hed get blood poisoning [...] (Joyce, Ulysses, 'Penelope')

Here, in contrast to the sperm whale's last thoughts, there is no punctuation and the current of thought is depicted as associative rather than strictly logical and coherent. The notion that one's thoughts are not in fact orderly and well-formulated but more of a jumbled-up sequence of associations, gained currency with a concept developed in psychology, called stream of consciousness. This term was coined by William James, the brother of the novelist Henry James (see James 1892). It is important to note, however, that for William James the stream of consciousness was not necessarily verbal but also included other sensual perceptions, especially visual representations. Interior monologue is one narrative technique – necessarily limited to verbal representation – that tries to reproduce non-orderly and associative patterns of thought. It is also possible to reproduce the stream of consciousness in narrated monologue (see further on). The term stream of consciousness thus refers to the way cognitive processes take place, it is not itself a narrative technique. Unfortunately, many critics use the term to denote a narrative technique, which confuses the issue.

Psychonarration

Obviously, interior monologue is a technique that puts a certain amount of strain on the reader. Thus, it is more common (outside avantgard fiction) to learn about a character's consciousness from the narrator, who takes it upon him- or herself, to report the character's thoughts to the reader. In the following passage our previous example of the whale has been rewritten as psychonarration:

The little sperm whale, suddenly finding himself in existence and in a place that did not seem entirely congenial to his faculties, was trying very hard to determine his place in life and in the universe, as others under more favourable circumstances had done before him. With increasing urgency he faced questions of his own identity and his relation to his surroundings. Despite his mounting confusion he also felt a growing excitement welling up inside him and irrepressible joy when he thought about the things to come. All this was cut tragically short when he hit the ground with a wet thud and ceased to think or feel at all.

In psychonarration the heterodiegetic narrator remains in the foreground throughout, even adds some general observations not originating in the character ("as others [...] had done before him"). While we certainly learn about the whale's thoughts and feelings, we hear it entirely in the narrator's voice, syntax and vocabulary. We do not hear the voice of the whale as in the rendering above in interior monologue (compare previous quotation). The difference in effect is quite marked, the reader remains much more distant from the character's consciousness and the level of mediation remains noticeable in the foreground.

from many sources:
http://www.anglistik.uni-freiburg.de/intranet/englishbasics/Consciousness01.htm
http://web.uvic.ca/wguide/Pages/LTStreamConNar.html
http://www.answers.com/topic/interior-monologue

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POS solution for your business

Written by eastern writer on Wednesday, August 06, 2008

Need powerful software for your retail business? Retail Pro is the most sophisticated point of sale software for retailers. Developed by Island Pacific, currently used in more than 55,000 stores in 73 countries and delivers a comprehensive range of streamlined retail management solutions. Available in 18 languages, Retail Pro is recognized worldwide for its ease of customization, from simple to sophisticated, and for its limitless scalability.

You can buy they software online at Canadian Retail Solutions (CRS). This website provides comprehensive retail management support for businesses in a wide variety of industries and merchandise categories. CRS specializes in Inventory Control and Point of Sale (POS) Systems for small to mid-sized Canadian retailers operating or planning to operate in multi-store environments.

Choosing the right POS solution for your business is a difficult decision to make. Canadian Retail Solutions (CRS) provides comprehensive retail management support for businesses in a wide variety of industries and merchandise categories. Contact us today to book your free consultation for POS software.

How to avoid the common mistakes made by retailers. Here are some tips:
1. Start your research EARLY & take your time
2. Gather information on the POS Systems that you are interested in
3. Establish a wants & needs list
4. Prepare for demos
5. Narrow down your list of POS Vendors to around 2–5, then further investigate these vendors
6. Make an informed decision

Learn more, and get free consultation at http://www.crsretailpro.com

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Quote on Art and Literature

    “Til the infallibility of human judgements shall have been proved to me, I shall demand the abolition of the penalty of death.”
Marquis De Sade quotes (French nobleman and Novelist whose perverse sexual preferences and erotic writings gave rise to the term sadism. 1740-1814)



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