The subtlety of the novel lies in its unrelieved tension of flesh and spirit, exclusion and invitation, the social self and the deeper impersonal self. At one extreme are the caricatures caught in the social grid - the Turtons and Burtons. At the other are the characters who slip out of the meshes of social responsibility through despair or obliviousness. We move from the elaborate rituals of Anglo-Indian to Mau, where the only aspects of life we are shown are ecstasy (...) and neglect. Where does the mind rest? The difficulty with looking at reality directly is that reality will tend to dissolve: "not now, not here, not to be apprehended except when it is unattainable." Transcendence dehumanizes, the deeper self is a source rather than a habitation, we cannot see the unseen. We only glimpse it through paradox, violence, or farce; and each of these contributes something to Forster's conception of character. Martin Price, Thomas E. Donnelly Professor of English at Yale University, is author of To the Palace of Wisdom and the recently reprinted Swift's Rhetorical Art, editor and coeditor of the Oxford Anthology of English Literature, and coeditor of Poetry Past and Present. He is currently working on a book on character in the novel. (shrink)

This book is about the ways in which modern enlightenment, rather than liberating humanity from tyranny, has subjected us to new servitude imposed by systems of mass manipulation, electronic vigilance, compulsive consumerism, and the horrors of a seemingly unending global war on terror. In a time when national democracies seem an imperial farce, it is not enough for intellectuals faced with all this destruction to blithely recommend resistance. Enlightenment in an Age of Destruction challenges resistance theory, providing a cosmology of (...) enlightenment that regards it as an unstable epiphenomenon. The authors outline the current "English" enlightenment of Pax Americana, and provides an epistemological theory and demonstration: a derivative of Adorno's negative dialectics in a positive dialectic based upon intellectual participation in civil society. The book thus ties American, British, French and German theoretical traditions into a reflexive challenge to the notion of intellectual as critic, and argues instead for a trespassive tradition of cultural leadership. (shrink)

Baudrillard's unsettling coda: previously unpublished texts written just before the visionary theorist's death in 2007. History that repeats itself turns to farce. But a farce that repeats itself ends up making a history.—from The Agony of Power In these previously unpublished manuscripts written just before his death in 2007, Jean Baudrillard takes a last crack at the bewildering situation currently facing us as we exit the system of “domination” and enter a world of generalized “hegemony” in which everyone becomes both (...) hostage and accomplice of the global market. But in the free-form market of political and sexual liberation, as the possibility of revolution dissipates, Baudrillard sees the hegemonic process as only beginning. Once expelled, negativity returns from within ourselves as an antagonistic force—most vividly in the phenomenon of terrorism, but also as irony, mockery, and the symbolic liquidation of all human values. This is the dimension of hegemony marked by an unbridled circulation—of capital, goods, information, or manufactured history—that is bringing the very concept of exchange to an end and pushing capital beyond its limits: to the point at which it destroys the conditions of its own existence. In the system of hegemony, the alienated, the oppressed, and the colonized find themselves on the side of the system that holds them hostage. In this paradoxical moment in which history has turned to farce, domination itself may appear to have been a lesser evil.This book gathers together three essays—“From Domination to Hegemony,” "The White Terror of World Order," and "Where Good Grows"—and a 2005 interview with Baudrillard by Sylvère Lotringer. Semiotext launched Baudrillard into English back in the early 1980s; now, as our media and information infested “ultra-reality” finally catches up with his theory, Semiotext offers The Agony of Power, Baudrillard's unsettling coda. (shrink)

This paper is a brief introduction to and interpretation of the work of Joe Orton, an English playwright of the 1960s who achieved notoriety through the violent and obscene content of his plays, his scandalous homosexual lifestyle and brutal death at the hands of his lover. Orton’s work is presented as a dramatic exemplification of distinctive themes pertaining to a radically materialistic strain in philosophy anticipated in Machiavelli and Spinoza but finding its fullest expression in Deleuze’s thought : the (...) radical immanence of the political, the critique of self-identity and clinical concepts of madness, and the anarchic and impersonal force of sexual desire. Orton achieves this aim through comic experimentation with language and a radicalisation of farce that serve to produce a laughter that is both destructive and affirmative : destructive of the boundaries artificially erected by reason , and affirmative of this process of destruction and the pre-subjective desire through which it is accomplished. (shrink)

History that repeats itself turns to farce. But a farce that repeats itself ends up making a history.--from The Agony of PowerIn these previously unpublished manuscripts written just before his death in 2007, Jean Baudrillard takes a last crack at the bewildering situation currently facing us as we exit the system of "domination" and enter a world of generalized "hegemony" in which everyone becomes both hostage and accomplice of the global market. But in the free-form market of political and sexual (...) liberation, as the possibility of revolution dissipates, Baudrillard sees the hegemonic process as only beginning. Once expelled, negativity returns from within ourselves as an antagonistic force--most vividly in the phenomenon of terrorism, but also as irony, mockery, and the symbolic liquidation of all human values. This is the dimension of hegemony marked by an unbridled circulation--of capital, goods, information, or manufactured history--that is bringing the very concept of exchange to an end and pushing capital beyond its limits: to the point at which it destroys the conditions of its own existence. In the system of hegemony, the alienated, the oppressed, and the colonized find themselves on the side of the system that holds them hostage. In this paradoxical moment in which history has turned to farce, domination itself may appear to have been a lesser evil.This book gathers together two essays--"The Agony of Power" and "From Domination to Hegemony"--and a related interview with Baudrillard from 2005, "The Roots of Evil." Semiotext launched Baudrillard into English back in the early 1980s; now, as our media and information infested "ultra-reality" finally catches up with his theory, Semiotext offers The Agony of Power, Baudrillard's unsettling coda. (shrink)

Jules et Jim by François Truffaut or the Unbearable Lightness of the Feminine. Truffaut’s movie Jules et Jim (« Jules and Jim ») is an intimist movie but also a fresco of Europe throughout the first half of the 20th century, as it was torn apart by the two world wars and Nazism. At the same time, the film tells the story of the friendship that began during the Belle Epoque between two intellectuals, a French (Jim) and a German (Jules), (...) both madly in love with an English teacher (Catherine). In the insular tradition of the Elizabethan theatre, this is a story about love, treason, jealousy, hate, and finally murder and suicide. In its structure, it is a mix of farce, sentimental drama turned into tragedy, and which in the end reveals itself as a comedy of errors, with, nevertheless, very serious themes: love and war, desire and drives, femininity, maternity and semblance, competition between men for a woman etc. This movie brilliantly represents the Nouvelle vague and is a proof that Freud and Lacan were right when they established once and for all that the unconscious is a fundamental and necessary scene. Human destiny is set and its mysterious scripts are played out - from sexuality to death, from Eros to Thanatos - as the subject’s fantasy, the window through which he or she tackles reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Iago’s Roman Ancestors JAMES TATUM Othello is that rare thing: a tragedy of literary types who half suspect they are playing in a comedy. —D. S. Stewart, 1967 In memoriam Bill Cook1 Shakespeare’s Othello is a drama created for a world where everyone was bound by “service,” a formal connection to someone else superior, in a hierarchy that linked all persons in court, theater, and society through unavoidable obligation. (...) Service could range from the lightest kind of tie, to indentured servitude. This meaning of “service” reflects its origin in Norman French, from the Latin word for slavery, servitium. It is Iago’s sense of the word in his comment to his dupe Roderigo: “Why, there’s no remedy, ’tis the curse of service.” The perceived color of Othello poses a perennial challenge which producers and directors in the United States have to consider every time Othello is performed. Jim Crow did not officially end in most parts of the former Confederacy until the Civil Rights Acts of the 1960s; and even then such legacies of slavery and segregation as color prejudice remain a challenge, alive if now not entirely well, and they haunt many a production. It is this more recent history that inspired Patrick Stewart’s “photo-negative” production of Othello in Washington, DC in 1997, in which the English actor himself played Othello while the rest of the cast were black. Given recent and not so recent history, it is important to realize that there actually is a slave hard at work throughout Othello, from opening scene to last: not Othello himself, but his “ancient” or ensign, Iago. arion 27.1 spring/summer 2019 the slave-playwright of shakespeare’s OTHELLO Lodovico: O, thou Othello, that was once so good, Fallen in the practice of a damnèd slave, What shall be said to thee? Othello, 5.2.289–91 the plot of Shakespeare’s Othello comes from the story “Disdemona and the Moorish Captain” in Giraldi Cinthio’s The Hundred Tales (1565), but the theatrical tradition he used to adapt it for the stage was not other tragedies. He went back to a classical theater he had used to write one of his earliest successes, The Comedy of Errors, one he knew as well as any other through his study of it in Latin grammar school and afterwards: Roman comedy. What resulted was something of a puzzle to his later critics. Since the 17th century some of Shakespeare’s readers have alternately complained or marveled at the way Othello has the fast pace and structure of a farce. This accounts for its exceptional power as a tragedy when it is intelligently performed; the double catastrophe of Othello’s murder of Desdemona and his own suicide come more quickly and more violently, for example, than the endings of Macbeth, King Lear, or Hamlet. All of Othello’s characters are cast in the stereotypical roles first created in Menander and other playwrights of Greek New Comedy, and then passed on to later European vernacular theater through Plautus and Terence’s adaptations. In performance, Shakespeare’s Iago is at once a reprise of his earlier stage villains and a reincarnation of the servus callidus or clever slave playwright of Plautus. It is as if Zero Mostel’s Pseudolus in Sondheim’s A Funny Thing Happened on the Way to the Forum were playing Richard III. Iago creates what he regards as a comedy, from its opening scene before Brabantio’s house to its catastrophic end in Cyprus, and to the bafflement of Christian interpreters and others, he seems incapable of recognizing the enormity of his evil. Unlike his resourceful Roman ancestors, who think up ingenious plots to help their less clever owners 78 iago’s roman ancestors in their love affairs, Iago’s scenario is demonic, designed to destroy his master Othello, not save him. As I’ve suggested, one comedy in particular may have played an important role in the making of Othello: Plautus’ Amphitryon, with its story of Jupiter’s adulterous affair with Alcmena, the wife of the heroic king Amphitryon of Thebes. To aid him in his schemes Jupiter calls on his son the trickster... (shrink)

Hegemonic masculinity, a framework where stereotypically masculine traits are over-emphasized, plays a central role in sport, partly due to an excessive focus on winning. This type of masculinity marginalizes those that do not possess specific traits, including many women and men. I argue sport reform focused on mitigating hypercompetitive attitudes can reduce this harmful and marginalizing hegemonic masculinity in sport. I make this argument first by challenging the dichotomous nature of sport, especially in recognizing that all outcomes are a blend (...) of winning and losing, that ties are relevant and informative outcomes to contests, and that winning and losing do not always tell accurate stories of the outcome. Secondly, I contend that expanding the potential outcomes in sport can help broaden the emphasis of competitive sport to take into account playing well and improving, in terms of both the test and the contest. I conclude that these reforms decrease hegemonic masculinity, making sport better for all. (shrink)

Wittgenstein said in the Investigations, ‘A philosophical problem has the form: “I don't know my way about”’ (§ 123). The problem of mirror reversal—specifically the twentieth-century transatlantic controversy between the psychologist Richard Gregory, the mathematical columnist Martin Gardner, the physicist Richard Feynman and various analytic philosophers, including David Pears, Ned Block and Don Locke—is presented here as an instructive case of our not knowing our way about. ‘Why do mirrors reverse left and right but not up and down?’ We discover (...) that our perplexity disappears as we get clearer about the employment of the familiar oppositions left and right, up and down, back and front, and others. Finding our way about in these logico-grammatical fells, we see connections with our troubles in more vertiginous landscapes. Our disquietude may not be deep (§ 111) but the ‘battle against the bewitchment of our intelligence’ (§ 109) is surprisingly severe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 126.1 (2005) 127-133 [Access article in PDF] Aristophanes' Frogs: Brek-kek-kek-kek! on Broadway Mary English Montclair State University e-mail: [email protected] Aeschylus: Answer me—why should the dramatic poet be admired? Euripides: For cleverness and sound advice, and because we make the men of the cities better. Aristophanes, Frogs, 1008-1010 Thirty years ago, Robert Brustein, the dean of the Yale School of Drama, commissioned Burt Shevelove to (...) restage a production of Aristophanes' Frogs that Shevelove wrote during his graduate school days at Yale in 1941.1 The performances were to be held in the Olympic-size swimming pool of the Payne Whitney Gymnasium. Shevelove asked Stephen Sondheim, with whom he had collaborated on A Funny Thing Happened on the Way to the Forum, to compose the lyrics for the musical numbers and Carmen de Lavallade to choreograph the dance pieces. The cast included students at the Yale School of Drama (among the chorus were Christopher Durang, Meryl Streep, and Sigourney Weaver), and, as in 1941, members of the Yale swim team were assembled for the frogs. In addition to stripping the original Greek script of most of its topical allusions, Shevelove updated the comic agōn by replacing Aeschylus with Shakespeare and Euripides with George Bernard Shaw, whose detractors, much like Euripides' opponents, characterized him as "subversive" and "unpatriotic" and believed that his plays favored criticism over commitment. Broadway columnists traveled to New Haven to review the [End Page 127] performances, and, for the most part, the response was positive.2 Despite this acclaim, however, only a few other directors in the intervening years have dared to stage this imaginative adaptation.3The Lincoln Center Theater decided to mark its twentieth anniversary with a revision of this script that poses an answer to Aeschylus' question in Frogs, "Why should the dramatic poet be admired?" The production owes its very existence to the advocacy of Nathan Lane,4 who shrewdly decided to employ the talents of Tony Award-winning Susan Stroman as choreographer and director. Lane updated the original script, and he and Stroman convinced Sondheim to write additional songs for the libretto. In an interview with John Guare, Lane revealed that he saw Aristophanes' Frogs as speaking directly to challenges of our times: "There's something idealistic about the notion of someone believing that the arts can make a difference, that you can effect a change. Dionysos' dream to go down to Hades and bring back this great writer who could actually have an effect on the world, it's noble and touching and crazy—all at the same time. I found it moving, in light of what was going on in the world."5 Stroman, too, believed that Frogs could offer comfort not only to fifth-century Athenians embroiled in a thirty-year civil conflict but also to those trying to rebuild their lives after the recent terrorist attacks: "And when Nathan first brought this [script] to me, it was only a [End Page 128] year after September 11th. We were all still reeling. I think that's another reason I was attracted to the play immediately. Usually, when one grieves, you can go somewhere and have a little relief from it. But when September 11th happened, the entire city of New York was grieving. There was nowhere to go, and there would be nowhere to go for a very long time. No one was stepping forward who could truly speak about what just had happened. No one could find words to comfort us or explain these images we were overwhelmed with daily. There was no one to ease our hearts."6 Although the links that Lane and Stroman draw between fifth-century Athens and New York often work well—the topical jokes about George Bush elicited veritable "hooting and hollering" from the typically reserved Broadway theatergoers—the play's final message, that a dramatic poet, in this case Shakespeare, can save the world from its present woes (or at least help it along), seems unlikely to satisfy an audience whose... (shrink)

In the current climate of high-stakes testing and performance-based accountability measures, there is a pressing need to reconsider the nature of teaching and what capacities one must develop to be a good teacher. Educational policy experts around the world have pointed out that policies focused disproportionately on student test outcomes can promote teaching practices that are reified and mechanical, and which lead to students developing mere memorisation skills, rather than critical thinking and conceptual understanding. Philosophers of dialogue and dialogic teaching (...) offer a different view of teaching, one that counters mechanical, transmissive or ‘monologic’ teaching. In this paper, I seek to extend the notion of dialogic teaching as a method of supporting social and moral learning processes. Specifically, my focus is on answering the question: What capacities must a teacher have to engage students dialogically? Drawing on Paulo Freire and other contemporary philosophers, I examine dialogic interaction as involving a way of ‘being with learners’ and put forth three teacher capacities necessary for dialogic teaching: self-critique, narrativity and building community. I then examine further what is concretely entailed in the practice of dialogic teaching using research in educational psychology. I aim to highlight how dialogic teaching, unlike monologic teaching, involves the teacher's active ability to support learners’ identification and exploration of their own blind spots—that is, the limits of knowledge and ability—and those of others. Following this, I consider implications of my discussion for international policy on teacher assessment. I close the paper with considerations for future research on teacher capacity and teacher evaluation. This paper contributes to our understanding of teacher capacity and the nature and aims of good teaching. (shrink)

In Absent Minds: Intellectuals in Britain, Stefan Collini deploys a fiercely skeptical wit against what he calls the "absence thesis": the cliché view of England as a land peculiarly lacking in intellectuals. The brio and aggression with which he demolishes this longstanding myth serve a paradoxical double function, marking his own claim to a place in the specifically English and male tradition of writing that he so effectively deconstructs.

The mathematical prowess of pure mathematician J. E. Littlewood (1885-1977), and of his elder cousin the mathematical educator Philippa Fawcett (1868-1948), is illustrated in the context of the Mathematical Tripos examination at Cambridge. Littlewood’s brilliant though highly condensed treatment in his splendid Miscellany (1953) of a perplexing problem from an old Tripos paper – familiar to some as “The Paradox of the Second Ace” – is then expanded with reference to Coxeter’s treatment of it in his revision of Rouse Ball’s (...) Mathematical Recreations (1939) and ultimately explained in the light of Wittgenstein’s later philosophy. The discussion touches on the nature of mathematical supposition. (shrink)

On several occasions in his work, R. S. Peters identifies a difficulty inherent in teaching that underscores the complexity of this relationship: the teacher has the task of passing on knowledge while at the same time allowing knowledge that is passed on to be criticised and revised by the learner. This inquiry asks: first, how does Peters envisage these two tasks coming together in teaching, and, second, does he go far enough in developing what it means for the teacher to (...) recognise the difference and otherness of the learner? At the heart of the matter in answering these questions is how to conceive of the connection between learning and the transformation of the individual. Before turning to Peters, this inquiry begins by discussing connections between transformation and learning in classical and contemporary philosophical discourse. In this context, notions of discontinuity and interruption are shown to be central to understanding transformational learning processes. Peters' thought is then located within this discourse and taken up in three central ways: (1) by analysing his notion of teaching (2) by examining the ideas of learning and transformation embedded in his concept of teaching, and (3) by inquiring into how these issues relate to his idea of philosophy of education as a central part of teacher education. (shrink)

After a unilateral focus on medical professional obligations to patients in most of the 20th century, there is a growing, if modest, interest in patient responsibility. This article critiques some public assertions, explores the ethics literature, and attempts to find some consensus and moral grounds for positions taken on the question, "Does a patient have moral obligations in the process of interactions with medical and other professional caregivers?" There is widespread agreement on a few responsibilities, such as "truth telling" and (...) "avoiding harm to others," but no apparent consensus either on the list of duties or on the appropriate justification for such duties. The context and clinical realities of patient interactions are noted to suggest that feasibility is important in making judgments of patient obligations. (shrink)

This article reports on a study of children's deductive reasoning in solving novel relational problems. Detailed protocols were obtained from 264 children (aged 9- 12 years) who verbalised their thinking as they solved the problems. The study included the development of a three-phase theory based on Johnson-Laird and Byrne's mental models perspective, but with some distinct modifications. These include a focus on the relational complexity entailed in model construction and in premise integration, and the advancement of four reasoning principles that (...) are applied throughout problem solution (in contrast to Johnson-Laird's falsification processes as the hallmark of deductive reasoning). The reported case studies and the results of statistical analyses supported predictions arising from the proposed theory, including the key role of the reasoning principles. The results also showed that problem difficulty is a function of relational complexity, not of the number of models to be constructed, as argued by Johnson-Laird and Byrne. (shrink)

Wittgenstein’s ‘ethnological approach’ to the philosophy of mathematics, in particular his discussion of calculation as an experiment and the limits of empiricism in mathematics, is presented against three interrelated backdrops: (1) James’ critique of Spencer’s evolutionary empiricism, specifically regarding necessary truths; (2) the Cambridge Anthropological Expedition to Torres Straits, led by Haddon and Rivers, whose Reports implicitly confuted Spencer; and (3) the subsequent work of Malinowski, especially his supplement to Ogden and Richards’ The Meaning of Meaning, a book sent to (...) Wittgenstein upon its publication in 1923. String figures as mathematics is a main illustrative example. (shrink)

In this paper we describe the development and initial psychometric evaluation of a new measure, the values in scientific work. This scale assesses the level of importance that investigators attach to different VSW. It taps a broad range of intrinsic, extrinsic, and social values that motivate the work of scientists, including values specific to scientific work and more classic work values in the context of science. Notably, the values represented in this scale are relevant to scientists regardless of their career (...) stage and research focus. We administered the VSW and a measure of global values to 203 NIH-funded investigators. Exploratory factor analyses suggest the delineation of eight VSW, including autonomy, research ethics, social impact, income, collaboration, innovation and growth, conserving relationships, and job security. These VSW showed predictable and distinct associations with global values. Implications of these findings for work on research integrity and scientific misconduct are discussed. (shrink)

The abortion debate rages on. Yet the two most popular positions seem to be clearly mistaken. Conservatives maintain that a human life begins at conception and that therefore abortion must be wrong because it is murder. But not all killings of humans are murders. Most notably, self defense may justify even the killing of an innocent person.Liberals, on the other hand, are just as mistaken in their argument that since a fetus does not become a person until birth, a woman (...) may do whatever she pleases in and to her own body. First, you cannot do as you please with your own body if it affects other people adversely. Second, if a fetus is not a person, that does not imply that you can do to it anything you wish. Animals, for example, are not persons, yet to kill or torture them for no reason at all is wrong. (shrink)

Parents influence the development of their offspring in many ways beyond the transmission of DNA. This includes transfer of epigenetic states, nutrients, antibodies and hormones, and behavioural interactions after birth. While the evolutionary consequences of such nongenetic inheritance are increasingly well understood, less is known about how inheritance mechanisms evolve. Here, we present a simple but versatile model to explore the adaptive evolution of non-genetic inheritance. Our model is based on a switch mechanism that produces alternative phenotypes in response to (...) different inputs, including genes and non-genetic factors transmitted from parents and the environment experienced during development. This framework shows how genetic and non-genetic inheritance mechanisms and environmental conditions can act as cues by carrying correlational information about future selective conditions. Differential use of these cues is manifested as different degrees of genetic, parental or environmental morph determination. We use this framework to evaluate the conditions favouring non-genetic inheritance, as opposed to genetic determination of phenotype or within-generation plasticity, by applying it to two putative examples of adaptive non-genetic inheritance: maternal effects on seed germination in plants and transgenerational phase shift in desert locusts. Our simulation models show how the adaptive value of non-genetic inheritance depends on its mechanism, the pace of environmental change, and life history characteristics. (shrink)

It is argued that cultural attitudes of a speciesist nature are background to the current practice of animal use in teaching medical students and residents. The scope of this activity is estimated, and educational theory is enlisted to suggest that many assumptions about the effectiveness of the practice are not valid. An assessment of one course used for ob-gyn training is presented. Since it is clear that animal suffering should be avoided when possible, the case is made that alternatives to (...) animals may be used to replace animal use in much of current medical education. Medical educators should routinely question and offer adequate justification for any use of animals in medical education. (shrink)

Hard direction, e.g.: Universalese to Organicese. Suggestion: ‘Some chairs wobble’ should become something like ‘If composition were universal, some chairs wobble’ or ‘Assuming that composition is universal, some chairs wobble’ or ‘According to the fiction that composition is universal, some chairs wobble’.

v. 1. The scientific basis for reading character ...

From philosophy to theology -- Structure -- Mystery -- Power.