The Greek Polis and the Creation of Democracy

Castoriadis, Cornélius

doi:10.5840/gfpj1983927

Cited by 43 publications

(42 citation statements)

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“…Analytically, careful genealogical work on sovereignty -like that of Talal Asad whose 1972 essay 'Market Model, Class Structure and Consent: A Reconsideration of Swat Political Organization', though not much read today, is a powerful critique of Hobbesian assumptions in anthropological writing (2002[1972], 2003) -remains very much the exception. Politically, nothing in anthropological scholarship has approached the importance of Arendt's work in On Revolution (1990[1963]) and The Human Condition (1998[1958]) (or Castoriadis [1979Castoriadis [1988, Skinner 2000, Tully 1995, or the late Schmitt 2003. 27.…”

Section: Conclusion: the Sovereignty Effectmentioning

confidence: 99%

Sovereignty and political modernity: A genealogy of Agamben’s critique of sovereignty

Jennings

2011

Anthropological Theory

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This essay is an examination of the implications of the largely uncritical taking up of the ascendant Agambenian paradigm in recent scholarship. Following Arendt, it is argued that the most important reason for the success of the polemical redefinition of political community as subjecthood by those who elaborated the project of political modernity (esp. Bodin and Hobbes) has been its success at getting its opponents (e.g. Locke,

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Section: Conclusion: the Sovereignty Effectmentioning

confidence: 99%

Sovereignty and political modernity: A genealogy of Agamben’s critique of sovereignty

Jennings

2011

Anthropological Theory

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“…He notes that, for the Greeks, kosmos, "order", arises out of chaos, which for them initially meant "nothingness". 45 But as he also says, this sense of the void (chainō) was combined with the sense of "a jumble defying all definition." 46 It is this latter meaning that Castoriadis intends to endorse, and it is this meaning which he sees as gradually predominating in the developing Greek philosophical conception of the emergence of the world and its order.…”

Section: The Vacuum and The Abyssmentioning

confidence: 99%

The Guise of Nothing

Klooger

2013

Critical Horizons

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Castoriadis's radical ontology of indeterminacy postulates a third term (or rather, an indeterminable continuum of terms) between the complete determinacy of the traditional conception of being and the absolute indeterminacy of the traditional conception of nothingness. Castoriadis himself made considerable efforts to demonstrate how ontological conceptions which equate being with determinacy fail to grasp the reality of being in all ontological regions and contexts. He did somewhat less in regard to the opposite pole of the ontological dichotomy, the identification of indeterminacy with nothingness, though he certainly recognized this identification as equally suspect.This article examines the use and interpretation of the concept of nothingness in two of the most important and exemplary employments of this concept in twentieth century philosophy. Nothingness is a key concept for both Heidegger and Sartre, however they may differ in regards to its meaning and significance. In both, the concept of nothingness disguises indeterminate modes of being which both perceive but which they refuse to accord the status of being, preferring instead the stark and absolute opposition between being, which continues to be understood in traditional terms as determinacy, and nothingness, a catch-all category which absorbs and homogenizes anything falling short of the absolute determinacy predicated of true being.

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“…204–205), for political praxis that occurs ‘first, “without foundations” ... and second, without the “authority” or credentials of traditional institutions or theory’ (Naranch, 2002, p. 72). This germ has been located at various historical moments, from Athenian democracy (Castoriadis, 1991b) to the open discussions held in Sorbonne auditoriums during the events of May 1968 (Castoriadis, 1987b). 7 This is what permits us to proceed into examining the possibility of viewing the process of musical creativity as emerges through composing and improvising as a potential locus of the germ of autonomy.…”

Section: Conflicting Trajectories That Permeate Modernitymentioning

confidence: 99%

“…Rather, he preferred talking about musical work as the prime example of his notion of creation, emphasising the composer's magnificent ability to instantly create and sustain large musical forms in his imagination (see Castoriadis, 2007f, p. 52) and therefore to posit new legitimacies (ibid., pp. 87–88)—Castoriadis followed a Kantian apprehension of the work of art (as evidenced in Castoriadis, 1991b, pp. 92–101), seeing it as creating new and closed worlds.…”

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confidence: 99%

Envisioning Autonomy through Improvising and Composing: Castoriadis visiting creative music education practice

Kanellopoulos

2012

Educational Philosophy and Theory

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Do psychological perspectives constitute the only way through which the role of musical creativity in education can be addressed, researched and theorised? This essay attempts to offer an alternative view of musical creativity as a deeply social and political form of human praxis, by proposing a perspective rooted in the thought of the political philosopher and activist Cornelius Castoriadis (1922–1997). This is done in two steps. First, an attempt is made to place the pursuit of the concept of musical creativity within a larger educational and societal context of conflicting trajectories that run through (a) Modernity and (b) Education. Then, I revisit the issue of educational value of improvising and composing through creating conceptual links between the process of music‐making through improvisation and composition and the project of political autonomy as conceived by Castoriadis. By foregrounding instituting imaginary over instituted imaginary, improvising and composing become active processes of positing new legitimacies, and of creating a music‐making context that searches for its own foundations. It is in and through creative musical praxis that we can think about issues of hierarchies, musical values, social dimensions of different music‐making processes, our relationship to past values and to historical dimensions of music. By arguing that improvisation and composition might be seen as ways of positing the issue of political autonomy in musical terms, this paper emphasises the role of improvisation and composition as a mode of potentially transformative educational practice that may foster the development of critical consciousness, linking music education to a larger project of re‐discovering and at the same time re‐defining democracy.

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The Greek Polis and the Creation of Democracy

Cited by 43 publications

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Sovereignty and political modernity: A genealogy of Agamben’s critique of sovereignty

Sovereignty and political modernity: A genealogy of Agamben’s critique of sovereignty

The Guise of Nothing

Envisioning Autonomy through Improvising and Composing: Castoriadis visiting creative music education practice

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