This paper provides a living example of how close reading should be done and demonstrates that part of Levi's meaning is to teach his audience to read in this way. Reading "Reveille"-the epigraph of his Holocaust memoir La tregua-as far as possible as its author intended entails a close reading of the poem behind its allusions-Dante's Purgatorio and provides the context and means by which Levi asks whether the actuality of Auschwitz refutes the possibilities implicit in narrative constructions of the reimagined whole.

"'[C]onscience,'" Nietzsche suggests early in Essay Two of On the Genealogy of Morals, "has a long history and variety of forms behind it" (II.3). Glossing over the explicit equivocity and irony of such statements, most commentators presume that the primary ambition of GM is to reconstruct the emergence and in so doing denaturalize and denounce the reign of conscience, which is treated as equivalent to both bad conscience and slave morality. Such presumption has obscured the central claims, operations, and stakes of the text, indeed of Nietzsche's late work generally. Although they are intertwined, Nietzsche's genealogy of conscience is textually, substantively, and strategically distinct from his genealogy of bad conscience, which in turn is involved in but distinct from his genealogy of slave morality. Textually, it is not until Essay Two, section four of On the Genealogy of Morals that Nietzsche begins to ask after the emergence and psychosocial ("physiological") consequences of bad conscience, while the genealogy of conscience proceeds from the first essay. Substantively, the three genealogies are concerned with manifestly disparate objects. Strategically, the addressees of the three genealogies are diverse, thus are their modes of address: genealogy cannot be reduced to a uniform method.

In the era of Romanticism, certain authors sought to redefine man's place in nature as a response to industrialism. The German Natur-philosoph Friedrich Schelling published his treatise Of Human Freedom in 1809 that reveals traces of romantic notions of nature with an existential undercurrent that predated and influenced the philosophical movement known as Existentialism. The existentialist philosopher Martin Heidegger delivered a series of lectures on the treatise at the University of Freiburg in 1936. In his works, Heidegger stresses the importance of being actively involved in the world. His interpretation of the treatise, with its emphasis on the way humans and other creatures are engaged with their environment, calls to mind contemporary thinking in ecology. Through Heidegger's interpretation, I will show that Schelling's treatise could be construed as a proto-ecological study, which is to say a study in ecology before the development of the concept or field of study.

I interpret Heidegger's "Origin of the Work of Art" in terms of his contemporaneous lectures on Schelling's Philosophical Investigations into the Essence of Human Freedom. I uncover several connections and similarities between the two works, which make possible a new reading of the artwork essay: namely, as an "ontodicy." This term of Jean-Luc Nancy's denotes the readiness with which Heidegger's thinking on Being may be used to justify evil. I argue that Nancy's term may be applied legitimately to the artwork essay also, i.e., that it can be read as a silent justification of evil.

Kant's elevation of practical reason to a position of primacy in relation to theoretical reason is certainly well known. With this, though, comes also a new articulation of what the task of philosophy is. This paper addresses how Kant thinks that philosophy must actively promote and work to bring about the essential ends of human life, namely, moral goodness and a just society. This means that philosophers must direct the use of their reason to the public sphere. In this, the primary occupations of philosophy for Kant can be seen to be moral education, which aims at the moral goodness of individuals, and political critique, which seeks to bring about a society in accord with universal law.

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This paper analyzes two inauthentic approaches to the problem of boredom from Sartre's and Kierkegaard's perpectives. I maintain that their narratives-Nausea and "The "Seducer's Diary"-fit this problem perfectly, as it is through narratives that we appreciate and learn to avoid boredom. I also submit that their solutions are doomed to failure because they attempt to be the sole authors of their own stories, without making room for alterity.