Robert Gooding-Williams

The Souls of Black Folk is Du Bois’s outstanding contribution to modern political theory. It is his still influential answer to the question, “What kind of politics should African Americans conduct to counter white supremacy?” Here, in a major addition to American studies and the first book-length philosophical treatment of Du Bois’s thought, Robert Gooding-Williams examines the conceptual foundations of Du Bois’s interpretation of black politics. For Du Bois, writing in a segregated America, a politics capable of countering Jim Crow had to uplift the black masses while heeding the ethos of the black folk: it had to be a politics of modernizing “self-realization” that expressed a collective spiritual identity. Highlighting Du Bois’s adaptations of Gustav Schmoller’s social thought, the German debate over the Geisteswissenschaften, and William Wordsworth’s poetry, Gooding-Williams reconstructs Souls’ defense of this “politics of expressive self-realization,” and then examines it critically, bringing it into dialogue with the picture of African American politics that Frederick Douglass sketches in My Bondage and My Freedom. Through a novel reading of Douglass, Gooding-Williams characterizes the limitations of Du Bois’s thought and questions the authority it still exerts in ongoing debates about black leadership, black identity, and the black underclass. Coming to Bondage and then to these debates by looking backward and then forward from Souls, Gooding-Williams lets Souls serve him as a productive hermeneutical lens for exploring Afro-Modern political thought in America.

Arthur Danto invokes his philosophy of history to authorize a reading of Nietzsche that his philosophy of history nevertheless undermines. Danto's Nietzsche was a system builder, for, “if only tacitly,” he submitted his thinking to the demands of the philosophical “discipline,” “where there is no such thing as an isolated solution to an isolated problem”. In his Analytical Philosophy of History, Danto invents a character he dubs “the Ideal Chronicler.” Danto's notion of a narrative sentence clarifies his idea that historical understanding is retrospective; that it is a matter of assigning significance to earlier events in light of later ones – thus, a matter of placing earlier events within a story we wish to tell. Danto attributes the structural coherence of Nietzsche's writings both to historical understanding and to the systematizing tendencies of philosophical inquiry.

This paper considers W.E.B. Du Bois’s short story, “Jesus Christ in Texas,” in the perspective of his analysis of the concept of beauty in Darkwater (1920); his exposition of the idea that “all art is propaganda” in “Criteria of Negro Art” (1926); and his moral psychology of white supremacy. On my account, Du Bois holds that beautiful art can help to undermine white supremacy by using representations of moral goodness to expand the white supremacist’s ethical horizons. To defend this thesis, he relies on an image of “the cross and the lynching tree” to revise imagery that he draws from Albrecht Dürer’s 1504 painting, “The Adoration of Kings.”

In arguing that Nietzsche's _Thus Spoke Zarathustra_ is a philosophical explanation of the possibility of modernism—that is, of the possibility of radical cultural change through the creation of new values—the author shows that literary fiction can do the work of philosophy. Nietzsche takes up the problem of modernism by inventing Zarathustra, a self-styled cultural innovator who aspires to subvert the culture of modernity (the repressive culture of the "last man") by creating new values. By showing how Zarathustra can become a creator of new values, notwithstanding the forces that hinder his will to innovate, Nietzsche answers the skeptic who proclaims that new-values creation is impossible. _Zarathustra_ is a story of repeated clashes between Zarathustra's avant-garde, modernist intentions and figures of doubt who condemn those intentions. Through a close reading of _Zarathustra_, the author reconstructs Nietzsche's explanation of the possibility of modernism. Showing how parody, irony, and plot organization frame that explanation, he also demonstrates the central significance of Zarathustra's speeches on the body and the will to power. The author argues that Nietzsche's critique of the modern philosophy of the subject revises Kant's concept of the dynamical sublime and makes allegorical use of the myth of Theseus, Ariadne, and Dionysus. He also proposes an original interpretation of the thought of eternal recurrence (according to Nietzsche, the "fundamental conception" of _Zarathustra_). Breaking with conventional Nietzsche scholarship, the author conceptualizes the thought not as a theoretical or a practical doctrine that Nietzsche endorses, but as a developing drama that Zarathustra performs.