Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy's production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and (...) bespoke silo - not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of "roiling" within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings - writing shored up by the very mechanisms that threaten its disappearance. Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte. Alan Sondheim is a new media artist, theorist, and writer concerned with the phenomenology of the virtual. He has collaborated with motion capture and virtual environment labs. His work is concerned with the inhabitation of the body in the virtual; with the textuality of the body; with the problematic of mixed reality and codework. His writing is known for its "somatic grit" and skeletal codes that partially appear within and determine the surface. This style embeds interferences among syntax, semantics, and formal systems. The textual body, body of text and writer, are deeply entangled. His current work is based on the psychogeography of real and virtual worlds and their modeling. Most recently he has focused on "semantic ghosting" - the body behind the virtual/symbolic body - and modes of viral dispersion in a series of videos and texts. Sondheim was born in Wilkes-Barre, Pennsylvania, attended Brown University, and has exhibited, taught, and lectured at a number of venues in the United States and abroad. (shrink)

A uniform analysis is offered for the source of the locations specified by all references in English to spatial properties including location and movement. This source is argued to be the location of events and states of affairs. These locations are specified by sets showing spaces momentarily occupied. Descriptions of motion are accounted for through a variety of ways of referencing these sets. Some classes of simple clauses are identified as requiring semantic analysis involving multiple events and states of affairs. (...) This importantly allows spatial references to be associated with different events and states of affairs. Identification of object location is accounted for by use of extra inference rules or meaning postulates. A number of other explanations are suggested for more limited and derivative phenomena. The analysis is developed within a Case-like notation presented in the first-order predicate calculus. It is supported by an extensive analysis of spatial reference phenomena and by identification of ancillary benefits. (shrink)

For the sake of clarity and brevity, this chapter uses binary language as regards gender. Chrisjen Avasarala's team is shoving her back into the modern equivalent of the role Aristotle established for women. Aristotle tried to explain why women could not be good politicians. Women were in a subservient position because, at least according to Aristotle, they were, rare to medium. Men were well done, which meant that the “courage of men lies in commanding, a woman's lies in obeying.” Surely (...) the women of the Romantic Era, immortalized so strikingly in paintings such as Frederic Leighton's Flaming June, Edmund Blair Leighton's The Accolade, and Sir John Everett Millais’ Ophelia. At a couple of points, Romantic‐Era philosophy intersects with Avasarala's treatment in The Expanse. (shrink)

Plato had a great deal to say about the nature and function of the soul, much of it inspired by Socrates’ death by hemlock. According to Plato, the body and soul are two separate entities. The soul, Aristotle hypothesized, is a sort of non‐corporeal nervous system that directs sensory perception, movement, and thought, a great blob of form that animates a matter, entirely useless without a vessel to fill. In direct opposition to Plato and Socrates, Aristotle believed the physical and (...) metaphysical comprised an integrated system, and, therefore, the soul could not exist separate from a body. Medieval theologian, and later saint, Thomas Aquinas, really, really tried to tint the stained‐glass windows rose by combining the Platonic and Aristotelian philosophies on the nature of our spiritual guts. Thomas leaned much more heavily on Aristotle than he did on Plato when formulating his own theory of post‐demise, body–soul logistics. (shrink)

This article offers a case study in how historians of science can use musical theater productions to understand the cultural reception of scientific ideas. In 1970, Stephen Sondheim and George Furth's musical Company opened on Broadway. The show engaged with and reflected contemporary theories and ideas from the human sciences; Company's portrayal of its 35-year-old bachelor protagonist, his married friends, and his girlfriends reflected present-day theories from psychoanalysis, sexology, and sociology. In 2018, when director Marianne Elliott revived the show (...) with a female protagonist, Company once again amplified contemporary dilemmas around human sciences expertise—this time, the biological fertility clock. Through Company, Sondheim and Furth—and later Elliott—constructed arguments about modern society that paralleled those put forth by contemporary human scientists, including psychoanalytic models of the mind, the lonely crowd phenomenon, and shifting conceptions of masculinity and femininity. Because of their wide popularity and potential for readaptation, musicals such as Company offer a promising source base for analyzing the relationship between contemporary society and scientific expertise in specific historical contexts. (shrink)

Abstractabstract:Being a parent is hard, particularly parenting adolescents, who need to be given choices and allowed the space to learn how to make choices for themselves, even when those choices result in negative consequences. This essay explores how Steven Sondheim and James Lapine's 1987 musical Into the Woods provides relatable stories of the challenges of being a parent, the challenges of parenting adolescents, and just how messy parents and families can be despite everyone trying their best. The stories of (...) Little Red Riding Hood, Rapunzel, Jack, and Cinderella show us various stages, trajectories, and occasional tragedies of adolescents' emerging autonomy, while the Baker's and the Witch's struggles becoming and being parents encapsulate how disorderly and untidy parenting often is. Pediatricians and clinical bioethicists, who are often in a position to scrutinize the choices of parents and teens, should remember that parents and adolescents are almost always motivated by good intentions and doing the best that they can. Perhaps the best we can do is accompany them on their journey "into the woods.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 107-115 [Access article in PDF] The Search for Narrative Laura Felleman Fattal The most cursory cultural investigator cannot help but notice that the visual arts have become a significant source and impetus for the narrative of contemporary books, theater, and dance. In recent memory, the following theatrical and dance performances "Contact" by Susan Stroman and John Weidman, "Art" by Yasmina Reza, "Sunday (...) in the Park with George" by Stephen Sondheim, book by James Lapine, "Les Miserables" by Claude-Michel Schfonberg/music and others, "Picasso at the Lapin Agile" by Steve Martin, and "The Sleep of Reason," by Antonio Buero-Vallego have taken the not-so-dead-life (natura morta) or still life of painting into the vital arena of the performing arts. The quest to seek intra-discipline aesthetics among dance, music, theater, and the visual arts is not the charge, but instead a turn to establish a narrative that has brought about this invasion of interactivity between the arts. Clearly defined boundaries between the arts have beenfading since Fluxus, Happenings, and Performance Art for over half a century. In the early part of the twentieth century, Marcel Duchamp's chess games and use of the fourth dimension of time in his numerous produced and pondered pieces all speak to the interrelatedness of the arts.Contemporary novels based on historical themes and subjects have created characters based on the lives and works of famous and intriguing artists such as Michelangelo Caravaggio, Georges de La Tour, and Jan Vermeer. The silence and pensive qualities of the figures of Jan Vermeer, the seventeenth-century Dutch painter, have been the catalyst for two books, The Girl in Hyacinth Blue by Susan Vreeland and the Girl with the Pearl Earring by Tracy Chevalier.1 Vreeland combines the mystic of the Vermeer paintings' characters with the impoverished history of the refugee status of its owners. In various parts of Vreeland's book the authenticity of the Vermeer painting becomes a subtext for describing the work. [End Page 107] Just the lament of some Dutch art historians. Where has such a treasure gone, or some such thing? He turned to pour us both a brandy. So why could this not be? It's his same window opening inward at the left that he has used so often, the same splash of pale yellow light. Take a look at the figures in the tapestry on the table. Same as in nine other paintings. Same Spanish chair with lion's head finials that he used in eleven canvases, same brass studs in the leather. Same black and white tiles placed diagonally on the floor.2A few pages later the interest in the authenticity of the painting continues: No, no signature. But that was not unusual. He often failed to sign his work. Besides, he had at least seven styles of signature. For Vermeer, signatures are not definite evidence. Technique is. Look at the direction of the brush's stroke, those tiny grooves of the brush hairs. They have their lighted and their shaded side. Look elsewhere. You'll find overlapping layers of paint no thicker than silk thread that give a minute difference in shade. That's what makes it a Vermeer.3In Girl with a Pearl Earring, Vermeer's slow and meticulous technique, obsessive involvement with his models and his assiduous composition of light over textures of both animate and inanimate surfaces in the painting become the core of the novel. He had come in and was standing in the studio, looking out a window. "Take a seat, please, Greit," he said, his back to me.I sat in the chair by the harpsichord. I did not touch it — I had never touched an instrument except to clean it. As I waited I studied the paintings he had hung on the back wall that would form part of the concert painting. There was a landscape on the left, and on the right a picture of three people — a woman playing a lute, wearing a dress that revealed much of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Iago’s Roman Ancestors JAMES TATUM Othello is that rare thing: a tragedy of literary types who half suspect they are playing in a comedy. —D. S. Stewart, 1967 In memoriam Bill Cook1 Shakespeare’s Othello is a drama created for a world where everyone was bound by “service,” a formal connection to someone else superior, in a hierarchy that linked all persons in court, theater, and society through unavoidable obligation. (...) Service could range from the lightest kind of tie, to indentured servitude. This meaning of “service” reflects its origin in Norman French, from the Latin word for slavery, servitium. It is Iago’s sense of the word in his comment to his dupe Roderigo: “Why, there’s no remedy, ’tis the curse of service.” The perceived color of Othello poses a perennial challenge which producers and directors in the United States have to consider every time Othello is performed. Jim Crow did not officially end in most parts of the former Confederacy until the Civil Rights Acts of the 1960s; and even then such legacies of slavery and segregation as color prejudice remain a challenge, alive if now not entirely well, and they haunt many a production. It is this more recent history that inspired Patrick Stewart’s “photo-negative” production of Othello in Washington, DC in 1997, in which the English actor himself played Othello while the rest of the cast were black. Given recent and not so recent history, it is important to realize that there actually is a slave hard at work throughout Othello, from opening scene to last: not Othello himself, but his “ancient” or ensign, Iago. arion 27.1 spring/summer 2019 the slave-playwright of shakespeare’s OTHELLO Lodovico: O, thou Othello, that was once so good, Fallen in the practice of a damnèd slave, What shall be said to thee? Othello, 5.2.289–91 the plot of Shakespeare’s Othello comes from the story “Disdemona and the Moorish Captain” in Giraldi Cinthio’s The Hundred Tales (1565), but the theatrical tradition he used to adapt it for the stage was not other tragedies. He went back to a classical theater he had used to write one of his earliest successes, The Comedy of Errors, one he knew as well as any other through his study of it in Latin grammar school and afterwards: Roman comedy. What resulted was something of a puzzle to his later critics. Since the 17th century some of Shakespeare’s readers have alternately complained or marveled at the way Othello has the fast pace and structure of a farce. This accounts for its exceptional power as a tragedy when it is intelligently performed; the double catastrophe of Othello’s murder of Desdemona and his own suicide come more quickly and more violently, for example, than the endings of Macbeth, King Lear, or Hamlet. All of Othello’s characters are cast in the stereotypical roles first created in Menander and other playwrights of Greek New Comedy, and then passed on to later European vernacular theater through Plautus and Terence’s adaptations. In performance, Shakespeare’s Iago is at once a reprise of his earlier stage villains and a reincarnation of the servus callidus or clever slave playwright of Plautus. It is as if Zero Mostel’s Pseudolus in Sondheim’s A Funny Thing Happened on the Way to the Forum were playing Richard III. Iago creates what he regards as a comedy, from its opening scene before Brabantio’s house to its catastrophic end in Cyprus, and to the bafflement of Christian interpreters and others, he seems incapable of recognizing the enormity of his evil. Unlike his resourceful Roman ancestors, who think up ingenious plots to help their less clever owners 78 iago’s roman ancestors in their love affairs, Iago’s scenario is demonic, designed to destroy his master Othello, not save him. As I’ve suggested, one comedy in particular may have played an important role in the making of Othello: Plautus’ Amphitryon, with its story of Jupiter’s adulterous affair with Alcmena, the wife of the heroic king Amphitryon of Thebes. To aid him in his schemes Jupiter calls on his son the trickster... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 125 to such a future contingent event, not only does such an event not exist now, it does not even exist in its causes now, and this for the reason that no sufficient causes of the event exist now. Accordingly, if someone were merely to make a guess to the effect that the sea-fight will occur tomorrow, and the fight actually does occur, it still could not (...) be maintained that the original guess at the time it was made was therefore true. It simply could not have been true, because at the time of its assertion there literally was no evidence of any kind that could have rendered it true. Nevertheless, modern logicians have generally been so dead set against the notion that the truth or falsity of a proposition could ever be relative to the time when the proposition was uttered that they seem scarcely to have taken account of a consideration such as the foregoing. Nor is it likely that with the publication of this excellent translation of St. Thomas's commentary, such critics will begin to take account of this Thomistic argument even now. Somehow, one is reminded of Dr. Johnson's purported remark, "Sir, I can only give a man a reason, not an intelligence!" HENRY VEATCtt Northwestern University Pascal e Nietzsche. Scritti di E. Castelli, H. Gouhier, A. del Noce, H. Birault, K. Takeno, K. LSwith, J. D~lhomme, G. Vattimo, R. Boehm, G. Morra. (Padova: Cedam; Casa Editrice Dott. Antonio Milani, 1962. Pp. 218. = Archivio di Filosofia. Organo dell'Istituto di Studi Filosofici. Anno 1962. No 3. L. 2000.) This issue of the Archivio di Filosofia offers essays by the various authors indicated in the title above. Pascal and Nietzsche are here brought together because of what they have in common, that is, suffering, restlessness, dissatisfaction with the human condition, the historical sorrow of post-Copernican man, a paradoxical and chaotic thought. Both Pascal and Nietzsche urge man to measure the real by the possible and not the possible by the real and to risk the present certainties for the uncertainty of the future. They dislodge man from his ordinary seat and launch him on the risky adventure and great experiment of real existence. PA~L T. FUHRMANN Columbia Theological Seminary Pierre Bayle and Voltaire. By H. T. Mason. (Cambridge: Oxford University Press, 1963. Pp. xv -k 163.) Pierre Bayle and Voltaire confronts the ideas of the two philosophers and formulates some prudent conclusions about their relationship. Since Bayle's works run to nine long folio volumes and Voltaire's come to fifty quartos in the Moland edition, one cannot help but be impressed by the magnitude of Professor Mason's undertaking and by his ability to reduce his findings to a book of just over one hundred and fifty pages. In the case of Bayle and Voltaire, the basic facts concerning influence are readily available. We know what works of Bayle's were in the library at Ferney; we can see the pages the Enlightenment philosopher marked as he read; we have almost two hundred references to Bayle in Voltaire's works and letters (listed chronologically by Mason in an appendix); and critical editions, such as Morize's Candide and Lanson's Lettres philosophiques, have disclosed how consistently Voltaire turned to the Dictionnaire historique et critique or other works from Bayle's pen for information. Yet, when dealing with passages that seem to rely on Bayle for factual content, a scholar runs into many hazards. Voltaire may draw his data from Bayle, from Bayle's source, from an intermediary, or from an outside source. We know that he consulted Richard Simon, Spinoza, Dora Calmet, and Dr. Astruc as well as Bayle for his Biblical criticism. Therefore, it is very frequently impossible to be sure just how much Bayle's thinking 126 HISTORY OF PHILOSOPHY contributed to the philosophe'~. Professor Mason, while continually aware of this Uncertainty, lists the numerous cases he has found where Voltaire's source may be Bayle. More significant, of course, are Bayle's seminal ideas and their role in the formation of Voltaire's intellect. The bulk of this book is devoted to chapters on "the... (shrink)

Historismus, verstanden als umfassende Historisierung kultureller Gegebenheiten, prägt seit annähernd 200 Jahren die europäische Kultur der Moderne. Gegen Ende des 19. Jahrhunderts mehrten sich Stimmen, die einem Zuviel an Geschichte eine schädigende Wirkung zusprachen. Namentlich die zweite 'Unzeitgemäße Betrachtung' Friedrich Nietzsches (1874) wird immer wieder als Initialzündung für die Krise des Historismus angesehen, die sich alsbald zur kritischen Reflexion der Erkenntnisgrundlagen überhaupt, zur gut fünfzig Jahre andauernden Krise der Wirklichkeit ausweitete.Johannes Heinßen interpretiert die Krise des Historismus als Folge der Erosion (...) geschichtsphilosophischer, sinnstiftender Ordnungsverfahren in der zweiten Hälfte des 19. Jahrhunderts. Über eine Vielzahl von Einzeldisziplinen (Theologie, Philosophie, Kunstgeschichte, Geschichtswissenschaft, Literaturwissenschaft, Soziologie, Naturwissenschaft) hinweg zeichnet er ein Bild zahlreicher, letztlich vergeblicher Rettungsversuche dieser Gedankenwelt. Auf der Grundlage der zeitgenössischen Kulturpublizistik entfaltet sich daneben ein Panorama heute vergessener Autoren wie Eduard von Hartmann, Moriz Carrière, Karl Christian Planck, David Friedrich Strauß und Karl Hillebrand, die als Epigonen des Idealismus oder des wissenschaftlichen Materialismus das Weltbild des Bildungsbürgertums dieser Jahre prägten.Zugleich wird hier eine Problemgeschichte der Klassischen Moderne geschrieben. Die Sicht auf das historische Denken um 1890 in seiner Breite erklärt wesentliche Strukturen der Geschichtskultur um die Jahrhundertwende: den Weg in die völkische Kulturkritik (Paul de Lagarde, Julius Langbehn) ebenso wie die Genese der Historischen Kulturwissenschaft. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 125 to such a future contingent event, not only does such an event not exist now, it does not even exist in its causes now, and this for the reason that no sufficient causes of the event exist now. Accordingly, if someone were merely to make a guess to the effect that the sea-fight will occur tomorrow, and the fight actually does occur, it still could not (...) be maintained that the original guess at the time it was made was therefore true. It simply could not have been true, because at the time of its assertion there literally was no evidence of any kind that could have rendered it true. Nevertheless, modern logicians have generally been so dead set against the notion that the truth or falsity of a proposition could ever be relative to the time when the proposition was uttered that they seem scarcely to have taken account of a consideration such as the foregoing. Nor is it likely that with the publication of this excellent translation of St. Thomas's commentary, such critics will begin to take account of this Thomistic argument even now. Somehow, one is reminded of Dr. Johnson's purported remark, "Sir, I can only give a man a reason, not an intelligence!" HENRY VEATCtt Northwestern University Pascal e Nietzsche. Scritti di E. Castelli, H. Gouhier, A. del Noce, H. Birault, K. Takeno, K. LSwith, J. D~lhomme, G. Vattimo, R. Boehm, G. Morra. (Padova: Cedam; Casa Editrice Dott. Antonio Milani, 1962. Pp. 218. = Archivio di Filosofia. Organo dell'Istituto di Studi Filosofici. Anno 1962. No 3. L. 2000.) This issue of the Archivio di Filosofia offers essays by the various authors indicated in the title above. Pascal and Nietzsche are here brought together because of what they have in common, that is, suffering, restlessness, dissatisfaction with the human condition, the historical sorrow of post-Copernican man, a paradoxical and chaotic thought. Both Pascal and Nietzsche urge man to measure the real by the possible and not the possible by the real and to risk the present certainties for the uncertainty of the future. They dislodge man from his ordinary seat and launch him on the risky adventure and great experiment of real existence. PA~L T. FUHRMANN Columbia Theological Seminary Pierre Bayle and Voltaire. By H. T. Mason. (Cambridge: Oxford University Press, 1963. Pp. xv -k 163.) Pierre Bayle and Voltaire confronts the ideas of the two philosophers and formulates some prudent conclusions about their relationship. Since Bayle's works run to nine long folio volumes and Voltaire's come to fifty quartos in the Moland edition, one cannot help but be impressed by the magnitude of Professor Mason's undertaking and by his ability to reduce his findings to a book of just over one hundred and fifty pages. In the case of Bayle and Voltaire, the basic facts concerning influence are readily available. We know what works of Bayle's were in the library at Ferney; we can see the pages the Enlightenment philosopher marked as he read; we have almost two hundred references to Bayle in Voltaire's works and letters (listed chronologically by Mason in an appendix); and critical editions, such as Morize's Candide and Lanson's Lettres philosophiques, have disclosed how consistently Voltaire turned to the Dictionnaire historique et critique or other works from Bayle's pen for information. Yet, when dealing with passages that seem to rely on Bayle for factual content, a scholar runs into many hazards. Voltaire may draw his data from Bayle, from Bayle's source, from an intermediary, or from an outside source. We know that he consulted Richard Simon, Spinoza, Dora Calmet, and Dr. Astruc as well as Bayle for his Biblical criticism. Therefore, it is very frequently impossible to be sure just how much Bayle's thinking... (shrink)

INDIAN THOUGHT AND ITS DEVELOPMENT by ALBERT SCHWEITZER.Originally printed in 1936. PREFACE: I HAVE written this short account of Indian Thought and its Development in the hope that it may help people in Europe to become better ac quainted than they are at present with the ideas it stands for and the great personalities in whom these ideas are embodied. To gain an insight into Indian thought, and to analyse it and discuss our differences, must necessarily make European thought clearer (...) and richer. If we really want to understand the thought of India we must get clear about the problems it has to face and how it deals with them. What we have to do is to set forth and explain the process of develop ment it has passed through from the time of the Vedic hymns down to the present day. I am fully conscious of the difficulty of describing definite lines of development in a philosophy which possesses in so remarkable a degree the will and the ability not to perceive contrasts as such, and allows ideas of heterogeneous character to subsist side by side and even brings them into connection with each other. But I believe that we, the people of the West, shall only rightly comprehend what Indian thought really is and what is its significance for the thought of all mankind, if we succeed in gaining an insight into its processes. Like every European who studies Indian philo sophy, I am deeply indebted to the scholars who have published the texts and been responsible for the fundamental work of research. I am specially grateful to Professor Moriz Winternitz of Prague, not only for what I have learnt from his great work on Indian Literature, but also because he has allowed me a share in the wealth of his knowledge by giving me a fund of information in response to my questions. I have also found it a great advantage to have been able to discuss the problems of Indian thought with my friend Mr C. F. Andrews. I found Romain Hollands penetrating studies on Ramakrishna and Vivekananda very inspiring. And I have to thank my friend Mr A. B. Ashby for valuable help in connection with the English edition. Indian thought has greatly attracted me since in my youth I first became acquainted with it through reading the works of Arthur Schopenhauer. From the very beginning I was convinced that all thought is really concerned with the great problem of how man can attain to spiritual union with infinite Being. My attention was drawn to Indian thought because it is busied with this problem and because by its nature it is mysticism. What I liked about it also was that Indian ethics are concerned with the be haviour of man to all living beings and not merely with his attitude to his fellow-man and to human society. But the closer my acquaintance with the docu ments of Indian thought the more I was assailed by doubts as to whether the view made familiar to us Europeans by the works of Arthur Schopenhauer, Paul Deussen and others the view namely that Preface vii Indian thought is completely governed by the idea of world and life negation is right. I was compelled to admit the fact that world and life affirmation is present at the back of this thought from the very dawn of its history, and that the existence and inter fusion within it of world and life negation and world and life affirmation constitute its special character istic and determine its development. I am not merely describing the thought of India, but at the same time I am making a critical examina tion of it... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 125 to such a future contingent event, not only does such an event not exist now, it does not even exist in its causes now, and this for the reason that no sufficient causes of the event exist now. Accordingly, if someone were merely to make a guess to the effect that the sea-fight will occur tomorrow, and the fight actually does occur, it still could not (...) be maintained that the original guess at the time it was made was therefore true. It simply could not have been true, because at the time of its assertion there literally was no evidence of any kind that could have rendered it true. Nevertheless, modern logicians have generally been so dead set against the notion that the truth or falsity of a proposition could ever be relative to the time when the proposition was uttered that they seem scarcely to have taken account of a consideration such as the foregoing. Nor is it likely that with the publication of this excellent translation of St. Thomas's commentary, such critics will begin to take account of this Thomistic argument even now. Somehow, one is reminded of Dr. Johnson's purported remark, "Sir, I can only give a man a reason, not an intelligence!" HENRY VEATCtt Northwestern University Pascal e Nietzsche. Scritti di E. Castelli, H. Gouhier, A. del Noce, H. Birault, K. Takeno, K. LSwith, J. D~lhomme, G. Vattimo, R. Boehm, G. Morra. (Padova: Cedam; Casa Editrice Dott. Antonio Milani, 1962. Pp. 218. = Archivio di Filosofia. Organo dell'Istituto di Studi Filosofici. Anno 1962. No 3. L. 2000.) This issue of the Archivio di Filosofia offers essays by the various authors indicated in the title above. Pascal and Nietzsche are here brought together because of what they have in common, that is, suffering, restlessness, dissatisfaction with the human condition, the historical sorrow of post-Copernican man, a paradoxical and chaotic thought. Both Pascal and Nietzsche urge man to measure the real by the possible and not the possible by the real and to risk the present certainties for the uncertainty of the future. They dislodge man from his ordinary seat and launch him on the risky adventure and great experiment of real existence. PA~L T. FUHRMANN Columbia Theological Seminary Pierre Bayle and Voltaire. By H. T. Mason. (Cambridge: Oxford University Press, 1963. Pp. xv -k 163.) Pierre Bayle and Voltaire confronts the ideas of the two philosophers and formulates some prudent conclusions about their relationship. Since Bayle's works run to nine long folio volumes and Voltaire's come to fifty quartos in the Moland edition, one cannot help but be impressed by the magnitude of Professor Mason's undertaking and by his ability to reduce his findings to a book of just over one hundred and fifty pages. In the case of Bayle and Voltaire, the basic facts concerning influence are readily available. We know what works of Bayle's were in the library at Ferney; we can see the pages the Enlightenment philosopher marked as he read; we have almost two hundred references to Bayle in Voltaire's works and letters (listed chronologically by Mason in an appendix); and critical editions, such as Morize's Candide and Lanson's Lettres philosophiques, have disclosed how consistently Voltaire turned to the Dictionnaire historique et critique or other works from Bayle's pen for information. Yet, when dealing with passages that seem to rely on Bayle for factual content, a scholar runs into many hazards. Voltaire may draw his data from Bayle, from Bayle's source, from an intermediary, or from an outside source. We know that he consulted Richard Simon, Spinoza, Dora Calmet, and Dr. Astruc as well as Bayle for his Biblical criticism. Therefore, it is very frequently impossible to be sure just how much Bayle's thinking... (shrink)