Goethe's ‘Wilhelm Meister’ and Spinoza

Abstract

A strong case is made in this review that Spinoza greatly influenced Goethe in his much-studied Wilhelm Meister novels, a fact not hitherto recognized, although Goethe himself acknowledged the inspiration he derived from Spinoza's work. Goethe's Werther, and his Faust, are the mythical figures of modern times with the two Wilhelm Meister novels the critical countertheme in which the voice of Spinoza is here considered the cantus firmus of outstanding significance.     

Lincoln's Reflective Patriotism

Abstract

In speech and deed, Lincoln's statesmanship manifests the possibility of an honorable, reasonable, and just love of country—that is, a reflective patriotism imbued by a republican love of liberty under God's Providence. In his speeches and writings, Lincoln consistently underscored that love of country must be governed by “reason,” “wisdom,” and “intelligence.” Thus, in his First Inaugural, March 4, 1861, he characteristically appealed to the combined forces of “Intelligence, patriotism, Christianity, and a firm reliance on Him, who has never yet forsaken this favored land.” Lincoln's reflective patriotism was nurtured by his gratitude to the Founders and measured by his fidelity to a national Union dedicated to the universal moral principles of the Declaration under the particular rule of law established by the Constitution. Historically, it was articulated as an alternative to rival forms of allegiance that Lincoln opposed as both unjust and unreasonable during the Civil War era—namely, sectionalism, nativism, and the imperialism of Manifest Destiny. Each of these disordered forms of love threatened the inseparable moral and fraternal bonds of liberty and Union that Lincoln sought to perpetuate through an ordinate love of country guided by wisdom and critical self-awareness. Lincoln's Eulogy to Henry Clay, June 6, 1852 provides the most cogent expression of his reflective patriotism.     

Mongrel nation: animality and Empire in the novels of J.G. Farrell

The novels of J.G. Farrell (1935–79), reveal a writer preoccupied with the cultural representation of Britain in an era of post-imperial decline. Farrell's ‘Empire trilogy’ illustrates a national consciousness examining its chequered past through focus on Ireland in Troubles (1970), the Indian Rebellion of 1857 in The Siege of Krishnapur (1973) and the fall of Singapore in The Singapore Grip (1978). In doing so, Farrell's novels feature a notable proliferation of flora and fauna, particularly his use of dogs as representative of national character and the changeable state of British society under attack. This article argues that Farrell's novels explore the state of post-imperial Britain through a sustained focus on dogs and animality. In situations marked by degradation and decline, Farrell gradually collapses the boundaries of order and disorder, obedience and disobedience and man and beast, inviting comparisons between the animal instincts of the dogs that populate his novels and those of Britons fighting for survival.     

The Reward of a King: Machiavelli,Aquinas, and Shakespeare's Richard III

Abstract

Richard III centers on the rise and fall of a man who claims that he will “set the murderous Machiavel to school” and proceeds to seize the crown of England, only to lose his grip on that coveted prize in his own sudden personal and political unraveling. Insofar as we see Richard as a genuine but failed Machiavellian, it remains difficult to determine the extent to which Shakespeare's critique of Richard is a critique of Machiavelli. Yet Shakespeare's account of Richard's hopes, successes, and failures, examined in light of relevant classical texts, points to fatal flaws in Machiavelli's account of reason, conscience, and the end of human actions, demonstrating that the concept of the objective good is an essential component of any meaningful and coherent account of human action. Thus, Richard's ultimate descent into madness is a sign of the fate that even the “best” Machiavellian statesman or society is destined to share.     

A Thematic Analysis of “Love” and “Truth” in Caritas in Veritate

Abstract

The encyclical Caritas in veritate uses love as its guiding theological theme, and this innovation exposes the encyclical to critical reflections from some of the greatest theological minds of the mid-twentieth century. This article attempts to revive these critiques in order to analyze Benedict XVI’s use of caritas. Does Benedict’s use of love differ from his predecessors, and is it in any way more adequate? Are the critiques leveled against a social ethic of love merely the product of a hopelessly cynical age, or is love merely a species of interpersonal amity-inapplicable to broader social contexts? Does the fusion of love with the fundamentally contested notion of truth clarify what the Pope means by caritas, or is this conceptual marriage fraught with imprecision and inconsistencies?     

Philosophy,Eros, Judaism

Abstract

A careful reading of Caritas in Veritate shows it to be framed and permeated by two principles. The first is that human persons in their consciences and deeds are the principal agents of economic and political life, whether directly in interpersonal relations or mediated through their work in and for institutions. The second is that human persons as citizens are best prepared to promote “integral human development” and “the common good” when they are urged on by charity or love that is lived in truth. In these respects Caritas in Veritate is a clear continuation of the line of thought that Benedict developed in his earlier encyclicals Deus Caritas Est and Spe Salvi, and before that in his theological writings as Joseph Ratzinger. Benedict's work thus underscores the need modern societies and political communities have for charity, and thus for faith and for hope. We explicate this aspect of Benedict's political vision throughout this essay, anticipating and beginning to respond to some objections to the thesis that politics even in a secular age requires theological virtues to flourish.     

Max Pulver’s Himmelpfortgasse: Fictionalizing the 1920s Cocaine Craze in German-Speaking Europe

Abstract

In the years following the end of the First World War, cocaine achieved unprecedented popularity in Europe, a development reflected in the number of novels dealing with cocaine use by writers from across the Continent. One such is Max Pulver’s Himmelpfortgasse, first published in 1927, which tells of a Munich-based intellectual torn between his respectable bourgeois existence and his cocaine-fuelled passion for a young Viennese painter. After a brief interlude in Berlin, the protagonist follows his new love to Vienna, but their relationship soon deteriorates. The plot of the novel is unremarkable, but its depiction of three separate cocaine-using cliques, each based in a different city and each with a distinct social position and political orientation, vividly illustrates the extent to which recreational use of cocaine spread across geographical, socio-economic, and ideological divides in the period in question. Moreover, the narrator’s essayistic reflections on the function, effects, and social practice of cocaine use allow for productive cross-reading with contemporary toxicological sources. Pulver’s novel also occupies a curious position in literary history. As well as being one of several European cocaine novels of the inter-war period, it shows substantial thematic and stylistic links to the treatment of cocaine in the writings of Expressionist poet Gottfried Benn dating to the previous decade. Himmelpfortgasse’s Expressionist elements add to its distinctiveness, but have probably also contributed to the novel’s relative lack of commercial and critical success.     

Papadiamandis and Homer: A Note

Abstract

Meaningful allusion to the classics in Papadiamandis's work is not a matter of the text's being stuffed with overt classical references. In his early novels we find a large number of, as it were, classical one-liners: essentially undigested – or at best opportunistic – allusions. The technique is a less focused form of Roidis's in Pope Joan; perhaps a closer comparison is Kalligas's Thanos Vlekas, which is replete with Homeric allusions and puns, none of them integral to the narrative. Similarly, we find in early Papadiamandis a disorderly collection of allusions: Byron, Milton, Aesop, Sophocles, Juvenal, Homer et al.; and sometimes we see his allusiveness to be a mere tic of style rather than fully purposive. In other words, .it is as true here as elsewhere in Greek literary tradition that we need to sift meaningful from more or less chance allusion.     

The English Patient and the Italian Risorgimento: Medical Tourism and the Body Politic in Giovanni Ruffini's Doctor Antonio (1855)

Doctor Antonio (1855), Giovanni Ruffini's novel of therapeutic travel, cross-cultural love and Risorgimento propaganda, pairs an English patient's quest for renewed health in Italy in the 1840s with the concurrent resurgence of the Italian nation through political action. An Italian revolutionary activist turned man of English letters, Ruffini wrote seven novels in English, of which the second, Doctor Antonio, was his greatest critical and popular success. Employing the popular Victorian practice of recuperative travel as a key plot device, and using this device to convey Italian political messages to nineteenth-century English readers, the novel offers a context-specific variation of the rhetorical tradition of representing the ‘body politic’ as a site of health, disease and medical management. This essay investigates Doctor Antonio's relation to Anglo-Italian literary, political and medical contexts in the mid-nineteenth century. More specifically, it analyses how the novel's medical plot supports Ruffini's aims of challenging negative stereotypes of Italians and advancing the cause of Italian liberalism. A reading of Lucy Davenne's illness and treatment as an allegory for the condition of the ailing, but potentially resurgent, Italian nation is developed and critically reflected upon. The intersection of medical and political frames of meaning in the text is further explored by interpreting the space and community of Lucy's convalescence as the model of an ideal society to which both English and Italians might aspire. Finally, the essay considers the novel's material impact on the development of medical tourism in northern Italy, and the political significance of this impact.     

Gender and Translation: Writing as Resistance in Primo Levi's Se questo è un uomo

This essay argues that translation in Se questo è un uomo (If This is a Man) (1947), as well as in related pieces, functions for Primo Levi as a key means for claiming and potentially repairing manhood. In its capacity to reposition meaning, translation functions as a powerful vehicle for affirming agency, particularly gendered agency. What emerges in Levi's writings, particularly in Se questo's “Canto of Ulysses” chapter, is the figure of the translator as resistance fighter: the man who uses his intellect, his love of languages and other men, and his desire to communicate in order to combat the assault on humanity perpetrated by Nazism and sustained by its legacy. In this Levi's writing exists on a continuum with the cultural work of the founding members of Giustizia e Libertà and, accordingly, complicates Italy's postwar understanding of partisan activity. Throughout Se questo è un uomo and related works, translation proves a vital if imperfect means for reclaiming manhood and for asserting the possibility of friendship across cultural, regional, ethnic, and gender boundaries.     

Warfare and propaganda: the portrayal of Andronikos II Palaiologos (1282–1328) as an incompetent military leader in the Histories of John VI Kantakouzenos (1347–54)

Abstract

The Histories of Kantakouzenos is the main source for the civil war between Andronikos II and Andronikos III which was fought intermittently from 1321 until 1328. This article examines how Kantakouzenos remodelled and fabricated events, conversations and deliberations in order to depict Andronikos II as an incompetent military leader. By criticizing Andronikos II's military abilities and by blaming him for the military failures of the period, Kantakouzenos diverts suspicion of his personal responsibility and Andronikos III's mistakes that led to the advance of Byzantium's enemies and demonstrates that the elder Andronikos was not worthy of being on the throne.     

Poetry as Thought and Action: Mazzini's Reflections on Byron

Summary

This article opens with a brief introduction to Giuseppe Mazzini, with particular reference to his commitment to republicanism, an ideal that would be fulfilled in Italy only after considerable time and with great difficulty. It then focuses on Mazzini's critical reception of Byron. Although Giuseppe Mazzini and Percy Bysshe Shelley would have allowed a more obvious comparison, it was Byron who really attracted Mazzini's attention and criticism. Mazzini uses Byron, on the one hand, as a means to demonstrate that Italians could discuss European poetry without putting at risk their national identity, or, as the classicists maintained, that fragile and fragmented profile of a nation that contemporary Italy offered to the minds and hearts of thousands of young people. On the other hand, however, Mazzini questions Byron's authority by subverting and converting his value, in a very personal way: he gradually substitutes Byron's with a different authority and credits him with new values. Mazzini could not accept Byron as the emblem of elitism and isolation: Byron's solipsism needed to be purified, and his renowned cynical attitude tempered; eventually Byron's myth needed to be connected to the destiny of peoples and nations.     

Symbolism and Irony in Three Novels by Kosmas Politis

Abstract

In a recent book, Mario Vitti has described Kosmas Politis as ‘emotionally the most highly charged novelist’ of the Generation of 1930. Vitti also points out that Eroica is ‘compositely organized down to the minutest detail’, despite the author's assertion that he wrote each instalment ‘on the presses’. In an attempt to account for the ‘magical’, ‘Poetic' quality of Politis’ writing as pointed out by Greek critics, Vitti investigates Politis' use of irony and of the interior monologue. My purpose in this article is to examine further Politis' ironical approach and to make some preliminary remarks about his use of symbols and imagery (a subject on which far more work has to be done), in the hope that, in so doing, I shall shed some light on the ‘emotionally charged’ and ‘highly organized’ nature of Politis' writing. For reasons of space and time I must confine myself to his first three novels, Lemonodasos (1930), Hekate (1933) and Eroica (1937).     

‘Feeling the rhythm of the waves: “castaway rhetoric” in John Eugenikos’ Logos eucharisterios’

Abstract

In September 1438 John Eugenikos decided to quit the council of Ferrara and sail back to Constantinople. Off Italy's Adriatic coast his vessel experienced a terrible shipwreck, whereby many of John's fellow-passengers perished. John decided then to retell his almost deadly experience in a thanks-giving logos, allegedly compiled on the basis of notes written down soon after the shipwreck. The logos stands out as a unique document in the landscape of Byzantine travel literature. This paper offers the first comprehensive literary analysis of Eugenikos’ account, shedding new light on the narrative patterns chosen by the author to recount his own experience and stage his public persona.     

Bradley Holt,Thirsty for God: A Brief History of Christian Spirituality

Abstract

In this essay, I consider the relationship between more radically open conceptions of democracy and the recent "return of religion" as the return of distinct, particular religions. The radical democracy of figures such as Derrida, Badiou, and Hardt and Negri is found to be not radical enough to be open to the particular religious other. Derrida's "religion without religion" does violence to the particularity of concrete religious traditions, Badiou appropriates Paul's universalism while abandoning the particularity and difference in his conception of collective identity, and Hardt and Negri advocate a "politics of love" while severing that love from its ground— namely, God. I then show a way of rethinking both society and Christianity so that Christianity finds a place in society and society makes room for Christianity. A radical Christianity devoid of self-privilege and triumphalism provides a model for an intersubjectivity of love in which the other really comes first. Paul's radical conception of membership in the body of Christ accomplishes precisely what radical democracy fails to do: it allows for heterophony as well as polyphony, and incoherence as well as commonality. It is only when church and society allow the possibility of incoherence and heterophony that they are truly open to the other, and it is only when they are truly open to the other that they satisfy the demands of a truly radical democracy and radical Christianity.     

Politics and Public Policy

Abstract

In the figure of Judge Holden, Cormac McCarthy has crafted perhaps the most haunting character in all of American literature. The antagonist of McCarthy's Blood Meridian, Holden is a richly composed portrait of human evil responsible for a litany of wicked deeds. This essay attempts to expound the character of judge Holden, to the end of clarifying McCarthy's definition of evil. It argues that McCarthy, with the judge, lays bare the contours of soul of the evil man, focusing especially on the tension between his ambitious repudiation of justice, on the one hand, and his steadfast, if unwitting, adherence to it, on the other. It is the evil man's conception of the purpose of knowledge, together with his desire to acquire boundless knowledge, that is the key to this tension in his soul.     

Some Literary Cafes of the Late Nineteenth Century

A concern with the use and abuse of power, how it is exercised, by whom, and to what ends runs throughout the fiction of Catalan writer Jaume Cabré. His 1984 novel Fra Junoy o l'agonia dels sons, which was awarded the Premi Prudenci Bertrana, Crítica Serra d'Or, and Nacional de la Crítica, dramatizes the intransigence of ecclesiastical authorities in conflict with the desire for tolerance of a friar. Cabré employs different temporal and spatial planes, shifting points of view, and one of his favorite strategies, that of beginning his novels in medias res and showing the consequences of actions before narrating the actions themselves. A contrapuntal technique contrasts not just characters, but differing concepts of religion and religious life, and sets quotations from the Bible against passages from the governing documents of the convent where Fra Junoy serves as confessor. The clash between his doubts and the certitude of the convent's rigid abbess calls to mind the contest between Sister Aloysius and Father Flynn in John Patrick Shanley's Doubt: A Parable (2005).     

The Tragedy of Politics: Shakespeare's Antony and Cleopatra

Abstract

In Antony and Cleopatra, Shakespeare uses the story of the two lovers to dramatize the tragedy of politics. The excessive love of self that characterizes the two serves as a metaphor for the larger story of Rome's descent into tyranny. Unless love of country, that is, love of one's fellow-citizens, tempers self-love, a state loses its capacity to sustain even that degree of freedom that belongs to kingly rule. But Shakespeare also depicts the love of Antony and Cleopatra for each other as something noble; there is something worthy of our love that is higher than freedom. The tragedy of politics lies in the opposition of these two loves.     

“The Pull of Love”: Mutual Love as Democratic Virtue in Niebuhrian Political Theology

Although Reinhold Niebuhr's account of democracy aims to protect marginalized communities by restraining sin through the diffusion of power, the conceptions of sin and love that inform his political theology have anti-democratic consequences for members of these communities. I address this inconsistency by revisiting his under-developed idea of mutual love and clarifying his account of sin. Mutual love occupies crucial terrain between agape and justice for Niebuhr, and therefore enables moral agents to achieve democratic goals. Given the nature and importance of mutual love, I clarify Niebuhr's account of sin by making his position on “self-love” more moderate than it often appears.     

Notes on contributors

Abstract

There are at least two options or approaches available to those who seek to evaluate Garibaldi's life in its entirety. The first option envisages Garibaldi as a revolutionary figure firmly devoted to the cause of the people and the advancement of human rights. The second sees him as putting his popularity in the service of a sovereign monarch, but managing nevertheless to salvage something of the ideals of his youth. There are indeed double aspects to Garibaldi, who was both republican and monarchist, simultaneously a rebel and a man of order. As a rebel he fought against kings, popes and emperors; as a man of order he relied on the effectiveness of temporary dictatorship (his own in Rome in 1849 and the king's dictatorship in 1860). He broke with Mazzini when he chose to pursue national unification in collaboration with the monarchy. That choice limited his freedom of action, and he felt betrayed when he became aware of the consequences in the last years of his life. Paradoxically, it is Mazzini's death in 1872 that released Garibaldi from his subjection to King Victor Emmanuel II, and allowed him to live out the last years of his life more or less at peace with himself as a socialist who put the well being of the people ahead of everything else.