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[For more information, please email BrianSinger, Graduate Programme Director, or Judith Hawley, Graduate ProgrammeAssistant. Individual names are clickable to obtain email addresses and homepages ofuniversities are linked, all where available.]
Presentations presented in order by panel, as well as moreinformation about a welcome wineand cheese and the Saturday evening dinner, are also available on this website. Or return tothe main 25th Anniversarywebpage.
This panel will be constructed with a number of facultymembers and will discuss and review 25 years of the Graduate Programme in Social &Political Thought. It will include faculty from SPT who may provide insight regarding thedirections SPT has taken in the past, and comment on changes within academic interests,philosophical directions and even programme changes.
After setting the stage by placing critical theory within the context ofintellectual history, with specific attention to Kant, Hegel, Marx, Habermas and theneo-Marxists, the paper examines case study co-authored with Astri Surke on the Rwandangenocide in which we undertook a normative analysis - not as an ideal of reason as thefoundation for analysis, nor as an expression of power relations, but as a demonstration ofimpotence. Rights are shown to be, not a unifying idea of reason in law. Nor are thenorms simply an expression of power interests. What we found were imperfect or negative normsthat were revealed to be contradictory. Thus, the explanatory methodology of the critical theoryemployed still focussed on contradictions, but among norms rather than between norms andempirical reality. Instead of power interests, historical handovers and reified self-identities werecritical. These wee not just exclusionist ethnic identities characteristic of the perpetrators of thegenocide, but the moral self-identities of those charged with preventing the genocide in the firstplace, self-identities which not only made them impotent, but obsessed with morally"scapegoating" others. Further, others were caught up in the inability to reconcile their moralversus amoral (realpolitik) identities. The emphasis of the critical theory depended on diachronicrather than the synchronic factors of both Habermas and neo-Marxists. And instead of thesubstantive agents being the civil society versus the state (Habermas, for example) or the classesof various species of Marxists, the key elements were located in the politics of identity, widelydefined, which were responsible both for the heinous acts themselves as well as the impotence ofthose who held the power of prevention in their hands. This version of critical theory points to adifferent fracture in the connection of knowledge and will than has been historically prevalent.After documenting the revealing force of this use of critical theory and its premises, the paperthen focuses on some of the serious limitations.
In recent years, there has been an embarrassed turn away from the concept oftotality, often simply equating it with totalitarianism. Starting from the obvious point that theconcept of totality cannot be merely rejected, since a part can only be a part insofar as it isdistinguished from the whole, this paper will argue for a revised concept of totality compatiblewith new social movements. In particular, I will argue against the Hegelian legacy of the conceptin favor of the concept of totality as a "world" thought through the metaphors of "horizon" and"border" within phenomenology.
In Centuries of Childhood, Philippe Aries put forward theprovocative claim that childhood did not exist in the Middle Ages and Renaissance, and was"discovered" in Western societies during the sixteenth and seventeenth centuries. Whereas Aries'argument opened up a site for often heated scholarly debate, no one could dispute the progress ofchildhood from non-existence or relative obscurity to what might be construed as a veritablecultural obsession as effected through its discursive inscription and accompanied by an ongoingproject of knowledge-production. This paper attempts to chart this progress, by addressing twoquestions: What are the main theories formulated since the end of the eighteenth century asmeans to understand and explain the child? And what is the contemporary status of the child intheory? The final section of the paper engages with a crucial element in the contemporaryconfiguration of discourses on children: the lack of a sustained theoretical or philosophicalreflection on childhood, on the state of being a child, on the difference between children andadults, on how the state of being a child affects the experience of being human. What is thestanding of childhood and children in critical theory and in contemporary philosophy?
If there is a systematizing narrative available for the study of WalterBenjamin's oeuvre, it must revolve around his concept of the "dialectical image." This notion,which was once to be evidenced in the concrete historical artifacts that were initially to form thebasis of Benjamin's Passagenwerk, or "Arcades Project," expanded after his five yearhiatus from the project to include what can best be described as the concrescence of present andpast moments into a Leibnizian monad. These monads explode the continuum of history as it isviewed by historicists, viz. the progress of humanity through homogenous, empty time and arethus, according to the "Theses on the Philosophy of History," the only materials appropriate forthe study of the historical materialist (I 261).
The present study attempts an understanding of the manner in which these monads functionas a basis for historical study in Benjamin, especially as their particular incarnate form asdialectical images formed through works of art or cultural artifacts. It begins by situatingBenjamin, somewhat uncomfortably, as a contextual literary critic whose distaste for the l'artpour l'art movement is explicit and, it is argued, justified. It is then argued that the dialecticalimage has its basis in these, fundamentally aesthetic, explorations. This in turn poses problemsfor the dialectical image as a tool for historical interpretation. The question of critical subjectivityis chief among these and is posed as the following: does the critic simply "read" the monads as(s)he encounters them, or is her/his explication of them necessarily susceptible to ideologicalinfluence. After a direct discussion of the particular constitution of the dialectical image, itsprefiguration and development is traced through Benjamin's work of Proust and Baudelaire. Thequestion of subjectivity is constantly kept present throughout this discussion in order to trace itsimplications for Benjamin's methodology in general and its influence of such seeminglydisparate aspects of his oeuvre as the flaneur and his tendency toward theologicalreadings of history .
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