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Grobianus et Grobiana, a little-known but key Renaissance text, is the starting point for this examination of indecency, conduct, and subject formation in the early modern period. First published in 1549, Friedrich Dedekind's ironic poem recommends the most disgusting behavior-indecency-as a means of instilling decency. The poem, Barbara Correll maintains, not only supplements prior conduct literature but offers a reading of it as well; her analysis of the Grobianus texts (the neo-Latin original, the German vernacular adaptation, the 1605 English translation, and Thomas Dekker'sGuls Horne-booke) also provides a historical account of conduct during the shift from a medieval to a Renaissance sensibility. According to Correll, the effect of Dedekind's text is to establish normative masculine identity through the labor of aversion. The gross, material body must be subjugated and reconstituted in order to attain its status as the bearer of civil manhood. Correll shows how the virtual subject of civil conduct emerges in dominant yet necessarily beleaguered relation to colonized Others, whether in feminine, animal, or peasant guise. Referring to Renaissance courtesy literature from Castiglione to Erasmus, she identifies this double drama of early modern subject formation as central to conduct books as well as to their grobian extensions. Her work places Grobianus in the civilizing process that marked emerging bourgeois society in early modern Europe. Grobianus et Grobiana, a little-known but key Renaissance text, is the starting point for this examination of indecency, conduct, and subject formation in the early modern period. First published in 1549, Friedrich Dedekind's ironic poem recommends the most disgusting behavior-indecency-as a means of instilling decency. The poem, Barbara Correll maintains, not only supplements prior conduct literature but offers a reading of it as well; her analysis of the Grobianus texts (the neo-Latin original, the German vernacular adaptation, the 1605 English translation, and Thomas Dekker'sGuls Horne-booke) also provides a historical account of conduct during the shift from a medieval to a Renaissance sensibility. According to Correll, the effect of Dedekind's text is to establish normative masculine identity through the labor of aversion. The gross, material body must be subjugated and reconstituted in order to attain its status as the bearer of civil manhood. Correll shows how the virtual subject of civil conduct emerges in dominant yet necessarily beleaguered relation to colonized Others, whether in feminine, animal, or peasant guise. Referring to Renaissance courtesy literature from Castiglione to Erasmus, she identifies this double drama of early modern subject formation as central to conduct books as well as to their grobian extensions. Her work places Grobianus in the civilizing process that marked emerging bourgeois society in early modern Europe.

EBERHARD DOLL, Der Theologe und Schriftsteller Friedrich Dedekind (1524/25-1598). Eine Biographie. Mit einem Beitrag von britta-juliane kruse zu Dedekinds geistlichen Spielen und der Erstedition der 'Hochtzeit zu Cana in Galilea' (Wolfenbütteler Forschungen 145), Wiesbaden 2018. In Kommission bei Harrassowitz Verlag, 623 S. mit Abb., ISBN 978-3-447-10487-6, EUR 92.

\"The End of Conduct: 'Grobianus' and the Renaissance Text of the Subject,\" by Barbara Correll, is reviewed.

\"The End of Conduct: Grobianus and the Renaissance Text of the Subject\" by Barbara Correll is reviewed.

Deleuze's theory of time set out in Difference and Repetition is a complex structure of three different syntheses of time - the passive synthesis of the living present, the passive synthesis of the pure past and the static synthesis of the future. This article focuses on Deleuze's third synthesis of time, which seems to be the most obscure part of his tripartite theory, as Deleuze mixes different theoretical concepts drawn from philosophy, Greek drama theory and mathematics. Of central importance is the notion of the cut, which is constitutive of the third synthesis of time defined as an a priori ordered temporal series separated unequally into a before and an after. This article argues that Deleuze develops his ordinal definition of time with recourse to Kant's definition of time as pure and empty form, Hölderlin's notion of 'caesura' drawn from his 'Remarks on Oedipus ' (1803) and Dedekind's method of cuts as developed in his pioneering essay 'Continuity and Irrational Numbers' (1872). Deleuze then ties together the conceptions of the Kantian empty form of time and the Nietzschean eternal return, both of which are essentially related to a fractured I or dissolved self. This article aims to assemble the different heterogeneous elements that Deleuze picks up on and to show how the third synthesis of time emerges from this differential multiplicity.

Immanuel Kant's Critique of Pure Reason is widely taken to be the starting point of the modern period of mathematics while David Hilbert was the last great mainstream mathematician to pursue important nineteenth cnetury ideas. This two-volume work provides an overview of this important era of mathematical research through a carefully chosen selection of articles. They provide an insight into the foundations of each of the main branches of mathematics--algebra, geometry, number theory, analysis, logic and set theory--with narratives to show how they are linked. Classic works by Bolzano, Riemann, Hamilton, Dedekind, and Poincare are reproduced in reliable translations and many selections from writers such as Gauss, Cantor, Kronecker and Zermelo are here translated for the first time. The collection is an invaluable source for anyone wishing to gain an understanding of the foundation of modern mathematics.