An association between age-related hearing loss and Alzheimer's Disease has been widely reported. However, the nature of this relationship remains poorly understood. Quantification of hearing loss as it relates to AD is imperative for the creation of reliable, hearing-related biomarkers for earlier diagnosis and development of ARHL treatments that may slow the progression of AD. Previous studies that have measured the association between peripheral hearing function and AD have yielded mixed results. Most of these studies have been small and underpowered (...) to reveal an association. Therefore, in the current report, we sought to estimate the degree to which AD patients have impaired hearing by performing a meta-analysis to increase statistical power. We reviewed 248 published studies that quantified peripheral hearing function using pure-tone audiometry for subjects with AD. Six studies, with a combined total of 171 subjects with AD compared to 222 age-matched controls, met inclusion criteria. We found a statistically significant increase in hearing threshold as measured by pure tone audiometry for subjects with AD compared to controls. For a three-frequency pure tone average calculated for air conduction thresholds at 500–1,000–2,000 Hz, an increase of 2.3 decibel hearing level was found in subjects with AD compared to controls. Likewise, for a four-frequency pure tone average calculated at 500–1,000–2,000–4,000, an increase of 4.5 dB HL was measured, and this increase was significantly greater than that seen for 0.5–2 kHz PTA. There was no difference in the average age of the control and AD subjects. These data confirm the presence of poorer hearing ability in AD subjects, provided a quantitative estimate of the magnitude of hearing loss, and suggest that the magnitude of the effect is greater at higher sound frequencies.Systematic Review Registration:https://www.crd.york.ac.uk/prospero/, identifier: CRD42021288280. (shrink)

The purpose of this study is to take preliminary steps to unify psychoacoustic techniques with reaction-time methodologies to address the perceptual mechanisms responsible for the detection of one vs. multiple sounds. We measured auditory redundancy gains for auditory detection of pure tones widely spaced in frequency using the tools of Systems Factorial Technology to evince the system architecture and workload capacity in two different scenarios. We adopted an experimental design in which the presence or absence of a target (...) at each of two frequencies was combined factorially with two stimulus levels. Replicating previous work, results did not allow an assessment of system architecture due to a failure to observe factor influence at the level of distribution ordering for dual-target stimuli for both SOFT and LOUD scenarios. All subjects demonstrated very modest redundancy gains for the dual-target compared to the single-target stimuli, and results were similar for both LOUD and SOFT. We propose that these results can be predicted by a mental architecture that falls into the class of integrated subadditive parallel systems, using a well-supported assumption that reaction time is driven by loudness. We demonstrate that modeled loudness of the experimental sounds is highly correlated with mean reaction time, and we provide a proof-of-concept model based on Steven’s Power law that predicts both a failure of distributional ordering for dual-target stimuli and very modest redundancy gains. (shrink)

In the preface to the second edition of the Critique of Pure Reason Kant explicitly states that his motivation for writing this work is to make room for faith or the practical employment of reason . How does Kant accomplish this? The topics of God and the immortality of the soul do not arise until the conclusion of the antinomies. How does Kant get from the desire to make room for faith to its fulfilment in the latter parts of (...) the first Critique? A common response to this question is a discussion of the constitutive and regulative employment of the ideas of reason. It is this distinction that sustains Kant's attempt at reconciling empirical knowledge and moral discourse. The constitutive and regulative analysis, however, has its roots deep within the initial stages of the Critique of Pure Reason. It is, in fact, the mathematical/dynamical distinction, which Kant introduces early in the analytic, that makes possible the constitutive/regulative distinction. Not only has the mathematical/ dynamical distinction itself been disregarded, but the relation between the mathematical/dynamical and the constitutive/ regulative has been almost universally ignored by commentators. If a commentator does mention the mathematical/dynamical distinction, it is usually in a dismissive tone. Walsh, for example, calls the distinction ‘hard to interpret’ and ignores it for the rest of his commentary. (shrink)

In the Preface to his impressive and engaging new commentary on the Critique of Pure Reason, Jay Rosenberg informs us that the book is both a product of his own lectures and a “direct descendent of Wilfrid Sellars’ legendary introduction to Kant” . Its origins in the classroom give Accessing Kant a refreshingly pedagogical tone. Throughout, Rosen-berg—who was a student of Sellars’ at the University of Pittsburgh—makes felicitous use of clear examples, familiar problems and authors, and visual aids to (...) clarify “the Big Picture” operating in the first Critique. Mercifully, however, his style owes little to Sellars’ own brutally opaque prose.Rosenberg also shares his teacher’s enthusiasm for the history of philosophy. The reader will not find Rosenberg sloughing off Kant’s “lesser predecessors” in the manner of P. F. Strawson. However, the history on display in Accessing Kant has more to do with the curricular demands of English-speaking philosophy departments than with Kant’s own intellectual and cultural context. This means that his Kant argues across the ages with giants rather than with his peers in Halle and Berlin. Nor, despite the occasional reference to Kant’s handwritten marginalia, does Rosenberg devote any effort to. (shrink)

The provision of standardized hearing aids is now considered to be a crucial part of the UK National Health Service. Yet this is only explicable through reference to the career of a woman who has, until now, been entirely forgotten. Dr Phyllis Margaret Tookey Kerridge (1901–1940) was an authoritative figure in a variety of fields: medicine, physiology, otology and the construction of scientific apparatus. The astounding breadth of her professional qualifications allowed her to combine features of these fields and, later (...) in her career, to position herself as a specialist to shape the discipline of audiometry. Rather than framing Kerridge in the classic ‘heroic-woman’ narrative, in this article we draw out the complexities of her career by focusing on her pursuit of standardization of hearing tests. Collaboration afforded her the necessary networks to explore the intricacies of accuracy in the measurement of hearing acuity, but her influence was enhanced by her ownership of Britain's first Western Electric (pure-tone) audiometer, which she placed in a specially designed and unique ‘silence room’. The room became the centre of Kerridge's hearing aid clinic that, for the first time, allowed people to access free and impartial advice on hearing aid prescription. In becoming the guardian expert and advocate of the audiometer, Kerridge achieved an objectively quantified approach to hearing loss that eventually made the latter an object of technocratic intervention. (shrink)

Aims and hypothesesIn an environment of absolute silence, researchers have found many of their participants to perceive phantom sounds. With this between-subject experiment, we aimed to elaborate on these research findings, and specifically investigated whether–in line with the fear-avoidance model of tinnitus perception and reactivity–fear or level of perceived threat influences the incidence and perceptual qualities of phantom sound percepts in an anechoic room. We investigated the potential role of individual differences in anxiety, negative affect, noise sensitivity and subclinical hearing (...) loss. We hypothesized that participants who experience a higher level of threat would direct their attention more to the auditory system, leading to the perception of tinnitus-like sounds, which would otherwise be subaudible, and that under conditions of increased threat, narrowing of attention would lead to perceptual distortions.MethodsIn total, N = 78 normal-hearing volunteers participated in this study. In general, the study sample consisted of young, mostly female, university students. Their hearing was evaluated using gold-standard pure tone audiometry and a speech-in-noise self-test, which is a sensitive screening test to identify subclinical hearing loss. Prior to a four-minute stay in an anechoic room, we randomized participants block design-wise in a threat and no-threat condition. Participants in the threat condition were deceived about their hearing and were led to believe that staying in the room would potentially harm their hearing temporarily. Participants were asked whether they perceived sounds during their stay in the room and rated the perceptual qualities of sound percepts. They were also asked to fill-out standardized questionnaires measuring anxiety, affect and noise sensitivity. The internal consistency of the questionnaires used was verified in our study sample and ranged between α = 0.61 and α = 0.90.ResultsIn line with incidence rates reported in the literature, 74% of our participants reported having heard tinnitus-like sounds in the anechoic room. Speech-in-noise identification ability was comparable for both groups of participants. The experimental manipulation of threat was proven to be effective, as indicated by significantly higher scores on a Threat Manipulation Checklist among participants in the threat condition as compared to those in the no-threat condition. Nevertheless, participants in the threat condition were as likely to report tinnitus percepts as participants in the no-threat condition, and tinnitus percepts were not rated as being louder or more unpleasant as a function of level of threat. For participants who did experience tinnitus percepts, a higher level of threat was associated with a higher degree of experienced unpleasantness. These associations were absent in those who did not experience tinnitus. Higher negative affect was only slightly associated with higher ratings of tinnitus unpleasantness.ConclusionWhereas our threat manipulation was successful in elevating the level of fear, it did not contribute to a higher percentage of participants perceiving tinnitus-like sounds in the threat condition. However, higher levels of perceived threat were related to a higher degree of perceived tinnitus unpleasantness. The findings of our study are drawn from a rather homogenous participant pool in terms of age, gender, and educational background, challenging conclusions that are applicable for the general population. Participants generally obtained normophoric scores on independent variables of interest: they were low anxious, low noise-sensitive, and there was little evidence for the presence of subclinical hearing loss. Possibly, there was insufficient variation in scores to find effects. (shrink)

Hearing loss has been identified as a major modifiable risk factors for dementia. Adult candidates for cochlear implantation represent a population at risk of hearing loss-associated cognitive decline. This study investigated the effect of demographics, habits, and medical and psychological risk factors on cognition within such a cohort. Data from 34 consecutive adults with post-lingual deafness scheduled for CI were analyzed. Pure tone audiometry and Speech Discrimination Score were recorded. The Repeatable Battery for Assessment of Neuropsychological Status for Hearing (...) impaired individuals was used to measure cognition. Demographics, habits, and medical factors were evaluated. Depression was measured using the Hospital Anxiety and Depression Scale, and social inhibition with the Type D questionnaire. All participants suffered from severe to profound hearing loss. The mean RBANS-H total score was 83 ± 16. Participants reported a mean of years of formal education of 12 ± 5 years. The prevalence of habits and medical risk factors was: physical inactivity, body mass index >30, traumatic brain injury, hypertension, heavy alcohol consumption, smoking, and diabetes. Regarding psychological factors, the mean scores of social inhibition and depression were 10 ± 6 and 6 ± 5, respectively. The number of years of education was significantly correlated with the RBANS-H total score, and with the domains “Immediate memory”, “Visuospatial/constructional”, and “Attention”. The mean RBANS-H total score in participants who had university studies or higher level was 97 ± 9, with the remaining participants reporting a mean score of 75 ± 15. Men performed better in the “Visuospatial/constructional”. Physical inactivity was associated with lower scores in the “Delayed memory” ; hypertension correlated with lower RBANS-H total scores and “Attention”. Depression and social inhibition were negatively correlated with RBANS-H total score and with the “Immediate memory,” “Visuospatial/constructional,” and “Attention”. In adults with late-onset deafness scheduled to CI, educational level has a significant effect. Additionally, sex, physical inactivity, hypertension, and psychological traits of social inhibition and depression may also influence cognitive status. Long-term studies with more participants would enable us better understand the effects different risk factors on cognitive status. (shrink)

Summary The resonator and the tuning fork were major instruments in acoustics in the latter half of the nineteenth-century. In particular, the third Baron Rayleigh made extensive use of these instruments throughout his long career as an experimentalist. These instruments underwent a number of alterations during their use as central experimental tools in acoustics. Functional and structural alterations were introduced in the adaptation of these instruments to several major acousticians’ experimental settings. Rayleigh not only adopted the two instruments as objects (...) of mathematical and experimental investigation but also employed them ingeniously for various purposes. His continuing creation of a variety of uses and forms of these instruments contributed to focusing acoustics on pure tones and musical sounds until the early twentieth century. (shrink)

Helicopter cabin noise was simulated by combining a broadband signal (pink noise, or PN) with a triad of pure tones (PT) at 650,1900, and 5000 Hz. Each component was presented at four loudness levels (0,60,70, and 80 dB[A]), with all 16 combinations arranged in two unsystematic orders. Intelligibility was measured by means of sentences to be judged as true or false. A male speaker presented 10 sentences at each noise condition. One group of subjects heard the sentences at (...) 50 dB(A) and another group at 55 dB(A). The annoyance of each noise combination was rated by the same subjects on a 5-point scale. Both sources and their interaction were significantly related to reduced intelligibility and increased annoyance at both speech levels. In general, the PN component was more responsible for loss of intelligibility, and the PT component more responsible for annoyance. (shrink)

Auditory-guided vocal learning is a mechanism that operates both in humans and other animal species making us capable to imitate arbitrary sounds. Both auditory memories and auditory feedback interact to guide vocal learning. This may explain why it is easier for humans to imitate the pitch of a human voice than the pitch of a synthesized sound. In this study, we compared the effects of two different feedback modalities in learning pitch-matching abilities using a synthesized pure tone in 47 (...) participants with no prior music experience. Participants were divided into three groups: a feedback group receiving real-time visual feedback of their pitch as well as knowledge of results; an equal-timbre group receiving additional auditory feedback of the target note with a similar timbre to the instrument being used ; and a control group practicing without any feedback or knowledge of results. An additional fourth group of violin experts performed the same task for comparative purposes. All groups were posteriorly evaluated in a transfer phase. Both experimental groups improved their intonation abilities with the synthesized sound after receiving feedback. Participants from the equal-timber group seemed as capable as the feedback group of producing the required pitch with the voice after listening to the human voice, but not with the violin. In addition, only participants receiving real-time visual feedback learned and retained in the transfer phase the mapping between the synthesized pitch and its correspondence with the produced vocal or violin pitch. It is suggested that both the effect of an objective external reward, together with the experience of exploring the pitch space with their instrument in an explicit manner, helped participants to understand how to control their pitch production, strengthening their schemas, and favoring retention. (shrink)

Hearing loss in old age, which often goes untreated, has far-reaching consequences. Furthermore, reduction of cognitive abilities and dementia can also occur, which also affects quality of life. The aim of this study was to investigate the hearing performance of seniors without hearing complaints with respect to speech perception in noise and the ability to localize sounds. Results were tested for correlations with age and cognitive performance. The study included 40 subjects aged between 60 and 90 years with not self-reported (...) hearing problems. The subjects were screened for dementia. Audiological tests included pure-tone audiometry and speech perception in two types of background noise which was either co-located or spatially separated from the target speech. Sound localization ability was assessed and hearing performance was self-evaluated by a questionnaire. Speech in noise and sound localization was compared with young normal hearing adults. Although considering themselves as hearing normal, 17 subjects had at least a mild hearing loss. There was a significant negative correlation between hearing loss and dementia screening score. Speech perception in noise decreased significantly with age. There were significant negative correlations between speech perception in noise and DemTect score for both spatial configurations. Mean SRTs obtained in the co-located noise condition with amplitude-modulated noise were on average 3.1 dB better than with continuous noise. This gap-listening effect was severely diminished compared to a younger normal hearing subject group. In continuous noise, spatial separation of speech and noise led to better SRTs compared to the co-located masker condition. SRTs in MSNF deteriorated in modulated noise compared to continuous noise by 2.6 dB. Highest impact of age was found for speech perception scores using noise stimuli with temporal modulation in binaural test conditions. Mean localization error was in the range of young adults. Mean amount of front/back confusions was 11.5% higher than for young adults. Speech perception tests in the presence of temporally modulated noise can serve as a screening method for early detection of hearing disorders in older adults. This allows for early prescription of hearing aids. (shrink)

The question of what determines brain laterality for auditory cognitive processing is unresolved. Here, we demonstrate a swap of hemisphere dominance from right to left during semantic interpretation of Chinese lexical tones in native speakers using simultaneously recorded mismatch negativity response and behavioral reaction time during dichotic listening judgment. The mismatch negativity, which is a brain wave response and indexes auditory processing at an early stage, indicated right hemisphere dominance. In contrast, the behavioral reaction time, which reflects auditory processing (...) at a later stage, indicated a right ear listening advantage, or left hemisphere dominance. The observed swap of hemisphere dominance would not occur when the lexical tone was substituted with a meaningless pure tone. This swap reveals dependence of hemisphere labor division initially on acoustic and then on functional cues of auditory inputs in the processing from sound to meaning. (shrink)

ObjectiveThis study aimed to analyze the hearing improvement and prognosis factors of idiopathic sudden sensorineural hearing loss in different ages with initial total hearing loss.MethodsWe reviewed the medical records of 5,711 hospitalized patients with ISSNHL from 2016 to 2021 in our center. All of the patients had been treated with uniform combination drug therapy. After excluding the patients with initial partial hearing loss and those diagnosed with clear etiology, 188 patients were enrolled in this study and divided into six age (...) groups. In all groups, decreases in pure-tone average 1 month posttreatment, effective rate, and clinical characteristics were analyzed.ResultsAmong the 188 enrolled patients, 86% had vertigo. Complete recovery was seen in 0.5% of patients, and marked recovery was seen in 43% of patients. The mean 1 month posttreatment PTAs were as follows: 18–30 years: 80 ± 7.5 dB; 31–40 years: 100 ± 9.0 dB; 41–50 years: 99 ± 8.3 dB; 51–60 years: 101 ± 8.6 dB; 61–70 years: 96 ± 9.6 dB; and ≥ 71 years: 88 ± 13.0 dB. Compared with the other groups, the 18–30- years group showed better recovery of hearing threshold in five frequencies, and the recovery of hearing threshold at 0.25 and 0.5 Hz was better than the recovery at 1, 2, and 4 kHz. According to the results of the chi-square test statistical analysis, vertigo and comorbidities were associated with a poor prognosis of ISSNHL.ConclusionIn summary, the treatment outcomes of patients with ISSNHL with initial total hearing loss were poor. There was a significant age-related difference with respect to marked recovery 1 month posttreatment, and the 18–30- years group showed better recovery than the other age groups. (shrink)

Audiologic assessment of infants and young children with suspected hearing loss requires selection of differential diagnostic techniques that are age-appropriate and appropriate to the child’s developmental capabilities. Objective assessment includes electrophysiologic and electroacoustic methods: otoacoustic emissions, auditory brainstem response, auditory steady-state response, tympanometry and acoustic reflex. The use of behavioural methods in audiologic assessment requires a response from the patient. Depending on the child’s age, the following methods can be performed: visual reinforcement audiometry, conditioned play audiometry, pure tone audiometry, (...) and speech audiometry. Audiologic assessment in infants and children provides estimation of auditory sensitivity, evaluation of the integrity of auditory system andidentification of possible intervention options in case of existing hearing loss. Early detection and treatment of hearing loss in childhood is essential to ensure optimal speech and language development in the early years of life and optimal school performance for older children. (shrink)

Animal data suggest that jet fuels such as JP-8 are associated with hearing deficits when combined with noise and that the effect is more pronounced than with noise exposure alone. Some studies suggest peripheral dysfunction while others suggest central auditory dysfunction. Human data are limited in this regard. The aim of this study was to investigate the possible chronic adverse effects of JP-8 combined with noise exposure on the peripheral and central auditory systems in humans. Fifty-seven participants who were current (...) personnel from the Royal Australian Air Force were selected. Based on their levels of exposure to jet fuels, participants were divided into three exposure groups. Groups were also categorised based on their noise exposure levels. All participants were evaluated by tympanometry, pure-tone audiometry, distortion product otoacoustic emissions, auditory brainstem response, words-in-noise, compressed speech, dichotic digit test, pitch pattern sequence test, duration pattern sequence test and adaptive test of temporal resolution. All auditory tests were carried out after the participants were away from the Air Force base for a minimum of two weeks, thus two weeks without jet fuel and noise exposure. Jet fuel exposure was significantly associated with hearing thresholds at 4 and 8 kHz; average hearing thresholds across frequencies in the better ear; DPOAEs at 2.8, 4 and 6 kHz; ABR wave V latency in the right ear; compressed speech and words-in-noise. Further analyses revealed that participants with low exposure level to jet fuels showed significantly better results for the aforementioned procedures than participants with moderate and high exposure levels. All results were controlled for the covariates of age and noise exposure levels. The results suggest that jet fuel exposure, when combined with noise exposure, has an adverse effect on audibility in humans. Taking all the test results into consideration, jet fuel exposure combined with noise exposure specifically seems to affect the peripheral hearing system in humans. (shrink)

This study investigated whether age and/or differences in hearing sensitivity influence the perception of the emotion dimensions arousal (calm vs. aroused) and valence (positive vs. negative attitude) in conversational speech. To that end, this study specifically focused on the relationship between participants’ ratings of short affective utterances and the utterances’ acoustic parameters (pitch, intensity, and articulation rate) known to be associated with the emotion dimensions arousal and valence. Stimuli consisted of short utterances taken from a corpus of conversational speech. In (...) two rating tasks, younger and older adults either rated arousal or valence using a 5-point scale. Mean intensity was found to be the main cue participants used in the arousal task (i.e., higher mean intensity cueing higher levels of arousal) while mean F 0 was the main cue in the valence task (i.e., higher mean F 0 being interpreted as more negative). Even though there were no overall age group differences in arousal or valence ratings, compared to younger adults, older adults responded less strongly to mean intensity differences cueing arousal and responded more strongly to differences in mean F 0 cueing valence. Individual hearing sensitivity among the older adults did not modify the use of mean intensity as an arousal cue. However, individual hearing sensitivity generally affected valence ratings and modified the use of mean F 0. We conclude that age differences in the interpretation of mean F 0 as a cue for valence are likely due to age-related hearing loss, whereas age differences in rating arousal do not seem to be driven by hearing sensitivity differences between age groups (as measured by pure-tone audiometry). (shrink)

Ancient Greek music was purely or predominantly melodic; and in such music subtleties of intonation count for much. If our sources of information about the intervals used in Greek music are not always easy to interpret, they are at any rate fairly voluminous. On the one hand we have Aristoxenus, by whom musical intervals were regarded spatially and combined and subdivided by the processes of addition and subtraction; for him the octave consisted of six tones, and the tone was (...) exactly divisible into fractions such as the half and quarter, so that the fourth was equal to two tones and a half, the fifth to three tones and a half, and so on. On the other hand we have preserved for us in Ptolemy's Harmonics the computations of a number of mathematicians, who realized correctly that intervals could only be expressed as ratios , that the octave was less than the sum of six whole tones and that this tone could not be divided into equal parts. These authorities are Archytas, the Pythagorean of the early fourth century, Eratosthenes , Didymus and Ptolemy himself . To these we must add the scale of Plato's Timaeus and, closely related to it, the computations of the pseudo-Philolaus and of Boethius himself . Aristoxenus is less easy to understand than the mathematicians because of the unscientific nature of his postulates. His importance, however, is very great, not only from his comparatively early date but because he claims to champion the direct musical consciousness against the scientific approach of some of his predecessors and contemporaries. (shrink)

Chords are not pure sets of tones or notes. They are mainly characterized by their matrices. A chord matrix is the pattern of all the lengths of intervals given without further context. Chords are well-structured invariants. They show their inner logical form. This opens up the possibility to develop a molecular logic of chords. Chords are our primitive, but, nevertheless, already interrelated expressions. The logical space of internal harmony is our well-known chromatic scale represented by an infinite line (...) of integers. Internal harmony is nothing more than the pure interrelatedness of two or more chords. We consider three cases: chords inferentially related to subchords, pairs of chords in the space of major–minor tonality and arbitrary chords as arguments of unary chord operators in relation to their outputs. One interesting result is that chord negation transforms any pure major chord into its pure minor chord and vice versa. Another one is the fact that the negation of chords with symmetric matrices does not change anything. A molecular logic of chords is mainly characterized by combining general rules for chord operators with the inner logical form of their arguments. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

In an era marked by rapid information flows, search engine use often precedes online exploration. Search engines like Google function through reliance on over 200 signals that fine tune consumer behavior and provide ordered results. This process "adds a little something extra" to the idea of results ordered by pure conceptual relationships between keywords and phrases, and may stifle critical reflection. The search interface we test, ThoughtShuffler, designed using principles of Gordon Pask's cybernetics, reorders Google's results based on the (...) degree to which they contain varied co-occurring keywords both inputted by the user, and suggested by the tool; giving preference to sources that may pique the curiosity of the user to explore other sources and critically analyze them. We conducted an experimental mixed methods study to analyze argumentative essays written by 39 adult participants using ThoughtShuffler and Google, about universal and privatized healthcare models. We used the Linguistic Inquiry and Word Count (LIWC) tool to calculate word frequencies for emotional tone, and moralization/argumentation in the essays. We analyze these dimensions owing to the strong ties between morality, emotion, and critical thinking. Through t-tests of LIWC scores, and narrative inquiry of essays with high anger and moralization frequencies, we firstly found essays using ThoughtShuffler were marked by lower levels of anger-related words and less frustration related to the limitations of universal and privatized healthcare. Secondly, we found that the essays written using ThoughtShuffler contained more morality-related words, and featured more humanistic moral rationale about why a certain model of healthcare would be more viable. We suggest that tools like ThoughtShuffler, through their capacity to spur user's critical thinking and concept development, may contribute towards creating an informationally healthy society. (shrink)

The new methods, the tone, and new taste are clearly discernible first in the early articles and books of John Crowe Ransom, Allen Tate, R. P. Blackmur, Kenneth Burke, and Yvor Winters, and somewhat later in Cleanth Brooks, Robert Penn Warren, and William K. Wimsatt. . . . Still, something tells us that there is some sense in grouping these critics together. Most obviously they are held together by their reaction against the preceding or contemporary critical schools and views mentioned (...) before. They all reject the kind of metaphorical, evocative criticism practiced by the impressionists. Tate, Blackmur, Burke, and Winters contributed to a symposium highly critical of the neo-Humanists, and others voiced their rejection elsewhere. They all had no use for Mencken and Van Wyck Brooks, particularly after Brooks became a violent enemy of all modernism. Furthermore, they were almost unanimous in their rejection of Marxism, with the single exception of Kenneth Burke, who in the thirties passed through a Marxist phase and, anyhow, after his first book moved away from his neo-critical beginnings. What, however, in the American situation mattered most was that they were united in their opposition to the prevailing methods, doctrines, and views of academic English literary scholarship. There, in a way the younger generation may find it difficult to realize, a purely philological and historical scholarship dominated all instruction, publication, and promotion. I remember that when I first came to study English literature in the Princeton graduate school in 1927, fifty years ago, no course in American literature, none in modern literature, and none in criticism was offered. Of all my learned teachers only Morris W. Croll had any interest in aesthetics or even ideas. Most of the New Critics were college teachers and had to make their way in an environment hostile to any and all criticism. Only Kenneth Burke was and remained a freelance man of letters, though he taught in later years occasionally at Bennington College and briefly at the University of Chicago. But he very early deserted the New Criticism. It took Blackmur, Tate, and Winters years to get academic recognition, often against stiff opposition, and even Ransom, R. P. Warren, and Cleanth Brooks, established in quieter places, had their troubles. Ransom's paper "Criticism, Inc." pleaded for the academic establishment of criticism, and thanks to him and others criticism is now taught in most American colleges and universities. But it was an uphill fight. I still remember vividly the acrimony of the conflict between criticism and literary history at the University of Iowa, where I was a member of the English Department from 1939 to 1946. René Wellek, Sterling Professor Emeritus of comparative literature at Yale University, is the author of Theory of Literature and of A History of Modern Criticism, 1750-1950. He has contributed "Notes and Exchanges Between René Wellek and Wayne C. Booth" and "A Rejoinder to Gerald Graff" to Critical Inquiry. (shrink)

I must confess that I found [Calvin] Bedient’s account of Kristeva’s theories quite shocking. Since, on the whole, critical essays rarely upset me, my own reaction was quite puzzling to me. What is there in Bedient’s prose to unsettle me so? It certainly can’t be his style or tone: he has produced a perfectly even-tempered essay. Refraining from imputing selfish or dishonest motives to the theorist he wants to disagree with, Bedient never argues ad feminam, and takes much trouble lucidly (...) to explain why he disagrees with Kristeva. There is every reason to commend him for his honest style of argumentation. There can be no doubt that his essay is produced purely by his concern to take issue with a theory he truly believes to be incapable of accounting for the way in which poetry—and particularly modern poetry—actually works.What causes my unease must therefore be something else. It may of course be the fact that Bedient’s account of Kristeva’s theory of language in Revolution of Poetic Language is wrong. His is not a somewhat skewed, or slanted, or one-sided presentation of her views, but—as far as I can see—a total misreading. Briefly put, Bedient’s mistake consists in taking Kristeva’s account of the sentence process in language for a complete theory of poetic language. He does not seem to have noticed Kristeva’s account of the symbolic, her repeated insistence that language—the signifying process—is the product of a dialectical interaction between the symbolic and the semiotic, or even her definition of the “thetic.” Toril Moi, professor of comparative literature at the University of Bergen and professor at Duke University, is the editor of The Kristeva Reader and the author of Sexual/Textual Politics: Feminist Literary Theory . Her most recent book is Feminist Theory and Simone de Beauvoir. (shrink)

Immanuel Kant’s Religion within the Boundaries of Mere Reason (1793) is a formidably difficult book, which since its very inception was ripe for controversy. Part of the difficulty in understanding Kant’s text is thematic: in the idea of God and the questions surrounding faith in God’s existence, all interests of reason seem to converge –metaphysics, epistemology, morality, politics, the purposiveness of nature, and the destiny of the human species all unite in Kant’s view of religion and give it a distinctive (...) polyphonic tone. Part of the difficulty is ideological: Kant’s treatment of religious matters—relying on the assumption that a rational a priori core (identical to the principles of his morality) underlies and shapes all historical revelations—distances itself from both dogmatism and atheism. Those who accept religious orthodoxy, no less than those who are committed to a purely secular view of human affairs, are doomed to be displeased with the ambiguities of Kant’s approach, which preserves religion but subverts the meaning of this term so drastically as to make it unrecognizable in its traditional understanding. James DiCenso’s Commentary, “the first complete English language commentary on the work” (according to the dust-jacket), is thus a daring philosophical undertaking: it required not only comprehensive knowledge of Kant’s corpus but also the intellectual versatility to appreciate Kant’s innovative view. (shrink)

This article investigates the semantics and pragmatics of the ‘hortative’ aorist and the ‘tragic’ or ‘performative’ aorist. Lloyd argued in 1999 that the tragic aorist is a more polite alternative for the corresponding present. Recently, he has extended this view to the hortative aorist, suggesting that, for example, τί οὐκ ἐκαλέσαμεν; is a polite alternative for τί οὐ καλοῦμεν; Lloyd argues that the politeness value of the aorist derives from its being a past tense, comparing the so-called ‘attitudinal’ past. The (...) present article, building on work by Colvin, Bary and Nijk, argues instead that the semantic value of the aorist is purely aspectual in these cases: the hortative and tragic aorists serve to construe the designated event as bounded, while the corresponding present forms serve to construe the designated event as unbounded. An extensive discussion of the evidence for the hortative aorist and present is presented, as well as a case study concerning the aspectual behaviour of the verb ὄμνυμι. Moreover, I argue that the proposed semantic account of the hortative and tragic aorists in terms of aspect can be unified with Lloyd's pragmatic account in terms of politeness: the difference in tone between the present and the aorist can be derived from their respective aspectual values, rather than from their temporal values. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Religion a Threat to Morality: An Attempt to Throw Some New Light on Hume's Philosophy of Religion* Gerhard Streminger At the beginning ofhis Natural History ofReligion Hume writes that two questions in particular... challenge our attention, to wit, that concerning its foundation in reason, and that concerning its origin in human nature. The first challenge is taken up by Hume in the Dialogues ConcerningNatural Religion, and the second in (...) hisNatural History ofReligion. In this paper I will try to show that there is a third fundamental problem discussed by Hume with regard to religion, namely its relationship to and influence on morality. Although he never wrote on this topic in as systematic a way as on the above-mentioned two questions inparticular, I am convinced that his thoughts about it were not just casual. The passages in Hume relevant to this third central question about religion are to be found in "Of Superstition and Enthusiasm," in Essays Moral, Political, and Literary; in section 11 ofAn Enquiry Concerning Human Understanding; in Appendix 4 and "A Dialogue," in An Enquiry Concerning the Principles ofMorals; in the History ofEngland; in Part XII of the Dialogues Concerning Natural Religion ; and, in particular, in the Natural History ofReligion. Why Hume never wrote about the relationship between religion and morality in a more systematic way is not entirely clear. He may have decided not to provoke the orthodox any further than he already had. That Hume changed the title ofsection 11 ofhis first Enquiry from the original "Of the Practical Consequences of Natural Religion" to the rather non-committal "Of a Particular Providence and of a Future State" may support this conjecture. Before going into more detail as to Hume's view on the relationship between religion and morality, I want to make a few remarks about Hume's opinion of religion in general. Hume made a distinction between one 'true' and two forms of 'false' religion. His most explicit description of true religion is to be found in a preface to the second volume of his History ofEngland: Volume XV Number 2 277 GERHARD STREMINGER Theproper Office ofReligion, Hume wrote in terms which have a Quakerish flavour, is to reform Men's Lives, to purify their Hearts, to inforce all moralDuties, & to secure Obedience to the Laws & civil Magistrate. While it pursues these useful Purposes, its Operations, tho' infinitely valuable, are secret & silent; andseldom come under the Cognizance ofHistory... The Idea ofan Infinite Mind, the Author ofthe Universe seems... to require a Worship absolutely pure, simple, unadorned; without Rites, Institutions, Ceremonies; even without Temples, Priests, or verbal Prayer & Supplication. This preface, however, was not printed in the words quoted above. Instead it was reduced by Hume to a footnote at the end of the second volume of his History of England in a shortened and toned-down version. Even this footnote was removed in later editions ofthe History ofEngland. But in the Dialogues Hume repeated his idea of the effect of true religion on morality almost verbatim: The proper office of religion is to regulate the heart of men, humanize their conduct, infuse the spirit oftemperance, order, and obedience; and as its operation is silent, and only enforces the motives of mortality and justice, it is in danger of being overlooked, and confounded with these other motives. This form ofreligion, however, although without anypernicious consequences with regard to society (D 223), is extremely rare. Religion, as it has commonly been found in the world (D 223), is a threat to morality. The corruptions of true religion, namely superstition and enthusiasm, are the popular forms of religious worship. Whenever Hume talks about religion without qualifications, he has this false religion in mind. Coming back to my original thesis, Hume, I think, sees three main negative influences of false religion: (1) The clergy has an interest in setting bounds to human knowledge; (2) The God offalse religion is no moral authority; (3) False religion corrupts the natural moral sentiments and promotes an 'artificial, affected' life. I. False Religion and Human Knowledge To see the force of Hume's argument concerning the threat of false religion to morality, one has to take into account some general assumptions of Hume... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From the Front NICOLAS ALIFERIS (Translated by Avi Sharon) The poems in Nicolas Aliferis’s 1998 collection “From the Front” offer a panorama of postcard views and epistolary voices from across the Greek oikoumene during the years 1897 through 1922. While the title has military tones, they are not all soldier’s letters. In point of fact, this was a period when the territorial limits of Greece, “the Front,” were (...) undergoing near constant alteration—“like the ink drunk in by blotting paper” as Seferis wrote in a poem about Europe at the beginning of the Second World War. The front, therefore, could be almost anywhere during this period, and certainly in the minds of almost every Greek. The Greco-Turkish War of 1897, stemming from irredentist forces in Crete, was the earliest outbreak, and put that island on a path toward union with the mainland. After that came the string of Balkan conflagrations before, during, and after ww i, that would more than double the land mass and population of Greece. The sequence of Treaties that, one by one, concluded each stage in these disputes (from that of Constantinople in 1897, to Sevres in 1920) brought Crete, Epirus, much of Macedonia, and then Thrace and the Dodecanese islands within the limits of Greece proper. The “front” was therefore more an idea than a line on a map, and the experience of it was not limited to actual soldiers in real trenches. The distinct personae that animate each poem range from conscripts in training camps to villagers turned mercenaries to city-bound merchants and other figures, high and low. The poems themselves are drawn from various sources: some were personal letters in the poet’s own family archive, others were drawn from written history arion 28.2 fall 2020 124 from the front and newspaper scraps, while some are more purely hypothetical. They present an imaginary memento of the experiences and voices of that period, and the struggle, personal and national, that helped inform the shape and meaning of what Greece is today. Nicolas Aliferis 125 the death of chakalarov We did away with Chakalarov and Popov, those terrors to the villages. They’d collect our lira then make their way to the north. When word reached Macedonia it was a huge relief. Now we’re in the mountains, all sixteen of us, walking the trails covered in fog, holed up in the rocks, always on lookout. The cold is fierce: ice, snow, gnashing teeth. Our enemies raging and the Bulgarians wild as bears. So much blood, deep red. Beyond to the east, gleaming peacefully, the lakes, Ostrovou and Sorovitz. 126 from the front dombro betser I received your letter. With so much happening here there was little time to write. But we haven’t forgotten you; every day there’s some mention of your name. How are you finding Macedonia— her mountains, her rivers? You were not joking with our neighbors, I see. Where will this story end for us? The teacher from the Monastery, she asks about you: “And Mr. Pelopidas...” she begins, then lowers her eyes. Here the knives are out. Oh Lord, will we ever get over it? Nicolas Aliferis 127 adrianople 1920 I am well and wish you the same. Living is cheap here— a chicken costs just two and a half drachmas. Lately I’ve gotten to know all the upper level subordinates and quite a few merchants, Turks and Jews. In the evening there’s either study or cards. As for what you write: I say we should learn from the Belgians, Pantelis, just a little. Otherwise, I’m afraid, our race is finished! 128 from the front training camp, 1918 I’ve sent three letters and received none. Only yesterday I heard news from the trenches: the deeds of Yanni and Bicha, how they died. It rained today and is raining still. I sit alone (it’s been a while...) and write you. My comrades are outside, their eyes glued to the open spaces. How necessary for the soul— amid this solitude— to feel human. The need to hear the breath of a comrade, to stand above his gaze, to half close your... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:284 HISTORY OF PHILOSOPHY Although this is not the first time that Gentile has been translated into French (a major work of his, L'esprit, acte pur, was published in Paris in 1925), the fact remains nevertheless that his neo-Hegelian system of philosophy fell on deaf ears originally in France, due to the predominance then of Bergsonism and positivi.sm in different areas of French thought. However, as Michele F. Sciacca (...) (another commentator on Gentile) notes in the Preface, the Gentilian system of "actual idealism" should get a better hearing in France from now on, because the widespread interest in Hegel there since 1925 has prepared the ground for its proper reception. The Bibliography, for which Sciacca himself is responsible, includes a section on Gentile's own writings "concerning the national and political formation of Italy" (p. 14); but, significantly enough, those dealing directly with Fascism are all omitted. This omission seems a deliberate attempt to separate Gentile the philosopher from Gentile the Fascist. No matter how understandable psychologically and politically may be the motive here--to have French readers forget that Gentile was the philosopher of Fascism--the attempt itself at bibliographical expurgation, ironically, runs completely counter to the very accent of the Gentilian theory of "pure act" on the unity of thought and action in human experience and history. Rightly or wrongly, Gentile (in sharp contrast to Croce) saw in Fascism the political expression of that unity. As to the secondary sources, the Bibliography again is unnecessarily incomplete, citing as it does only one work in English on Gentile. The anthology closes with a critical note on Gentile's transcendental conception of immortality by the translator (Joseph Moreau), who argues that the "actualistic" philosophy, despite its "religious tone," defeats itself by ending up with an "Epicurean attitude" (p. 324) toward death and the afterlife. PATRICK ROMANELL University o/ Oklahoma Die Tragik in der Existenz des modernen Menschen bei G. Sirnmel. By Isadora Bauer. (Berlin: Duncker und Humblot, 1962. Pp. 94. DM 12.60.) Miss Isadora Bauer's book lends a salutory touch to contemporary philosophical literature, so much of which is abstract and removed from experience. Her treatise, on the other hand, has for its subject matter the human condition, its finitude, and its inescapable tragedy. Georg Simmel, an early twentieth-century philosopher, is less known in this country than he deserves to be. His "Lebensphilosophie," as Miss Bauer points out, although it was influenced by Schopenhauer and Nietzsche, found an original expression through him and foreshadowed in many ways the work of Husserl and the contemporary existential thinkers. Miss Bauer's presentation of Simmel's concept of the tragic is lucid and thorough and manages in a wonderful way to let us see through this one aspect the broad outlines of Simmel 's philosophy as a whole. In Simmel's formulation, life itself, unfolding in tragic antinomy of flux and form, of becoming and being, is the ultimate ground of all tragic conflict. The dynamic life process brings forth all forms and also endangers and destroys them over and over again. The human being encounters these opposites in all aspects of his experience: his existence is tragic at its core. "Moira," the ancient goddess who confronted the Greek hero as an alien power, is in Simmel's modern view of tragedy within man himself. She is the opposition between continuity and discontinuity, the mere stream of events and their form or meaning broken in tragic conflict. At this point, Simmel's dialectics leads to a "third realm," a "more BOOK REVIEWS 285 than" which is both immanent and transcendent, a kind of "coincidentia oppositorum" beyond logic and definition. It is the realm of the "person" within which, although the tragic conflict is not resolved, there arises the free self from whose non-dual perspective the unity and eternity of life are seen. Within this realm the individual gains an illumination the result of which is "amor fad," his free decision to affirm his being. In this act of decision lies the "meaning" and "value" of life. The substance and point of Miss Bauer's book is to show the connection between the metaphysical ground of Simmel... (shrink)

U tekstu se traga za vezom između Descartesovih životnih obrata i razloga zbog kojih filozof u Raspravi o metodi i Meditacijama o prvoj filozofiji primjenjuje ispovjednički način pisanja. Takvo nastojanje otkriva posebnu ulogu maske pod kojom se Descartes namjerava prvi put pojaviti pred javnošću. Iako masku spominje još u dnevničkim bilješkama, on je konačno oblikuje, i to kao ‘osobu’, tek s otkrićem cogito, dakle, u vrijeme dok piše Raspravu o metodi. U tom mu djelu ‘osoba’, shvaćena kao čist razum, daje (...) mogućnost svoje filozofsko preobraćanje ispovijediti kao obrazac intelektualnog preobražaja čovječanstva, čime se njegova ispovijest pretvara u propovijed. U Meditacijama, međutim, Descartes ide korak dalje. Njegova vještina služenja maskom, te njegovo iskustvo koje je u snovima imao sa zloduhom i Bogom, dovode ga do toga da se u ovom spisu pojavljuje kao glumac sa tri lika: kao »ja«, kao zli genije i kao istinoljubivi Bog. Iza sva tri lika, naravno, stoji Descartesov ratio; ali bitno je primijetiti da zloduh nije samo maska kojom filozof prikriva grijeh skeptičke aktivnosti u koju uvlači čitaoca. Na osnovu Descartesovih snova može se tvrditi da postoji još jedan zloduh u Meditacijama, ovoga puta stvarni, koji stoji nasuprot meditirajućem subjektu. Taj je oličenje općeprihvaćenih stavova, predrasudnog mišljenja i lijenosti ljudskog uma.The text explores the connection between Descartes’ life conversions and the reason why in the Discourse on the Method and Meditations on First Philosophy he utilizes a confessional tone to his writing. Such an endeavour exposes a specific role of the mask under which the philosopher intends to present himself to the public for the first time. Although the mask is already mentioned in his Private thoughts, Descartes gives it a form of persona only after the discovery of cogito, as he is writing the Discourse. The mask of persona, conceived as a pure reason, allows him to confess his philosophical conversions as a paradigm of intellectual conversion of humanity, transforming his confession into a sermon. However, in the Meditations, Descartes takes a step further. His ability to utilize the mask, combined with his experience in dreams with a malicious demon and God, enable him to appear in this work as a multi-faced actor: as »I«, as a malicious genius and as a truthful God. Behind all three masks is evidently Descartes’ ratio, however it is important to recognize that the malicious genius is not only the mask the philosopher uses to hide the sins of the sceptical activity in which he involves the reader. On the basis of Descartes’ dreams, we can argue that there is one more malicious genius in the Meditations, this time a real one, standing opposite the meditating subject. This one is the embodiment of widely accepted opinions, prejudices and laziness of human intellect. (shrink)

An account of what Michael Krausz refers to as “a three tiered structure” within the interpretative process is defended. Starting with the employment of Peircian nomenclature, as employed by Joseph Margolis, artworks and persons - cultural entities - are distinguished from physical entities as tokens of types. But even if culturally emergent entities con be attributed to certain physical atributes in relation to their materiality at the first level of interpretation - the elucidatory - in which such culturally emergent properties (...) are embodied, cultural entities possess certain distinctive Intentional attributes, at a second level of interpretation - thc intentional - not assignable to purely physical properties nor, in the case of artworks such as Van Gogh’s The Potato Eaters, their creator’s intentions. But in order to make sense of Krausz’s notion of “aspectual reverberation” for an individual appreciator, a third level of interpretation is required - the elaborative - in order to make sense of Peirce’s notion not only of the type and token status of a work of art, but its tone, This third elaborative sense of interpretation is then considered in two ways: experientially in terms of what the spectator can bring to an appreciation of an artwork and performatively with respect to an artist’s interpretation of the work in performance, as in dance for example. Possible attacks on this position are then considered. (shrink)

In the preceding pages, Husserl's objections to the content of Descartes'Meditations on First Philosophy have been reconstructed over the line ofargument in that work. The tone of his interpretation moved from ambivalence to outfight rejection. Husserl's ambivalence manifested itself intwo of the three meditations to which he pays significant attention. We sawthe much heralded methodological strategy of the First Meditation, uponclose examination, is not endorsed by Husserl, that he finds reason toprotest against the content of each individual skeptical argument and (...) seesthere in general a subjectivistic doctrine of consciousness already at work.Nevertheless, Husserl clearly wanted to preserve the essential intent of theCartesian method of doubt if not its letter, namely, the move toward callinginto question naive presuppositions about the world, raising the possibilityof its non-existence, thereby resuscitating sheer wonder about the world,and rendering it problematic in its relation to subjectivity. Historically, thisstrategy has precedent in the ancient Greek sophists, who, however unintentionally, Husserl claims were the first to manifest a transcendental im-pulse. Moving into the Second Meditation and the so-called discovery ofthe ego cogito, we found a stronger ambivalence on Husserl's part. Whileapplauding Descartes for uncovering the truth that lay hidden at the basis ofskepticism, the subsequent interpretation of the ego as soul and substantialentity clouds this inchoative insight into pure transcendental subjectivity.By the Third Meditation Husserl's ambivalence moved to out right rejection. There are a number of reasons why: the circularity of Descartes'theological theory of evidence ; the epistemologicalcommitment to a subjectivistic theory of consciousness; hisScheinprobleme along with the assumption of an objectivein-itself forever remote from intuition; the ontological commitment to twofinite substances; and the attempt to deductively redress the cognitiveschism created by these commitments through appeal to the principle ofcausality and the goodness of God. All these gave Husserl decisive occa-sion to take leave of the Cartesian path of meditation.A further reason why Husserl's meditations consistently break off in theThird Meditation is suggested by noticing the textual moment whereHusserl's silence begins. It is that moment where Descartes dips into theScholastic tradition for the concepts of objective and formal reality in orderto prove the existence of God. The problem, I suggest, is that here Des-cartes insufferably compromises his radicalness. More specifically, with theconcepts of objective and formal reality Descartes installs on the metaphysi-cal level the distinction between image and original already operative allalong in the earlier Meditations. Now, through the concepts of objective andformal reality, the image /original distinction is given ex-planatory power and raised to a truth so evident as to be beyond the reach ofmethodic doubt. The fact that this distinction is employed to deduce theexistence of God is not so much the phenomenological offense as themetaphysical naivete of positing a formal reality, an in itself, to account forthe very matters in question. (shrink)

I am grateful for Mr Bagger's thoughtful remarks, as well as those of Professors Cousins, Smith, Katz, and Gimello at a recent American Academy of Religion panel devoted to The Problem of Pure Consciousness . But I cannot help but be struck by the tone of Mr Bagger's notice. As one colleague communicated to me after reading the piece, this is one of the most gratuitously rude pieces he had ever seen! If our book is really as bad as (...) all this, it makes one wonder why Religious Studies , or Mr Bagger, would bother to give it such attention, and whether it indicates how deeply we have touched a nerve in the contemporary debate. (shrink)

In The Art of Humane Education, Donald Phillip Verene presents a new statement of the classical and humanist ideals that he believes should guide education in the liberal arts and sciences. These ideals are lost, he contends, in the corporate atmosphere of the contemporary university, with its emphasis on administration, faculty careerism, and student performance. Verene addresses questions of how and what to teach and offers practical suggestions for the conduct of class sessions, the relationship between teacher and student, the (...) interpretation of texts, and the meaning and use of a canon of great books.In sharp contrast to the current tendency toward specialization, Verene considers the aim of college education to be self-knowledge pursued through study of all fields of thought. Education, in his view, must be based on acquisition of the arts of reading, writing, and thinking. He regards the class lecture as a form of oratory that should be presented in accordance with the well-known principles of rhetoric. The Art of Humane Education, styled as a series of letters, makes the author's original and practical ideas very clear. In this elegant book, Verene explores the full range of issues surrounding humane education.On the humanities: "Despite Descartes, the study of humane letters has remained, but it is always in danger of passing out of the curriculum. It remains a beggar who will not quite leave the premises."On teaching: "Like oratory, teaching requires a natural gift, but it is also an art which, like all the other humane arts, can be learned only mimetically.... As some are born tone-deaf and cannot be musical, there are those who can never teach. But most if they wish have some aptitude for it, and this aptitude can be developed into an art."On teachers: "Teachers motivated by eloquence attempt to speak wholly on a subject, since the whole is where its life is. Teachers not motivated by eloquence tend to be either dull or comedic. The dull teacher may have knowledge but have no true language for it.... The comedic teacher is shallow and a menace to the subject matter."On administrators: "Administration is never content simply to concern itself with the pure business of the university, paying its bills, maintaining its buildings. It sees itself as necessary in order for the process between teacher and student to go on. But it is a process that it constantly interrupts.... Administrators, however, should not be taken too seriously."Although sharply critical of many aspects of the modern university and of many currents within the humanities, The Art of Humane Education remains at heart a ringing endorsement of the high humanist tradition and its continuing relevance to the institutions of teaching and learning. (shrink)

The article examines the politicization of fear following the 11 September 2001 attacks on the World Trade Towers. It analyzes the role of mass media imagery in the wide-spread production of fear, focusing on the color-code « Terror Alert System » put in place by the Bush administration. It is argued that the recentering of governmental action on the preemptive response to threat has introduced a new time structure into politics which effectively renders futurity present. Through signs of fear conveyed (...) in mass media imagery this present futurity strikes the body at the level of affect, triggering the unfolding of a process bifurcating onto a number of self-differentiating but interconnected levels of experience. That process is construed in the essay as a « collective individuation » in Gilbert Simondon’s sense. A new vocabulary for the understanding of affective unfolding is proposed involving a four-fold distinction between « vitality affect », « pure affect », « emotion », and « affective tone ». (shrink)

Why, despite his enormous influence in the latter part of the twentieth century, has Kuhn left no distinctively Kuhnian legacy? I argue that this is because the development of Kuhn’s own thought was in a direction opposite to that of the mainstream of the philosophy of science. In the 1970s and 1980s the philosophy of science took on board the lessons of externalism as regards reference and knowledge, and became more sympathetic to a naturalistic approach to philosophical problems. Kuhn, on (...) the other hand, started out with a strong naturalistic streak, employing non-philosophical disciplines, primarily psychology, in order to build his accounts of scientific change and the nature of observation and scientific thought. But by the 1970s Kuhn’s work had taken on a much more purely philosophical, a priori, tone. His explanation of incommensurability moved from a psychological explanation to one embedded in the philosophy of language. Increasingly he gave his outlook a Kantian gloss. I suggest, nonetheless, that Kuhn’s most valuable contribution is to be found in The Structure of Scientific Revolutions and not in his later work, and that the naturalistic direction of the former has important links with connectionist research in cognitive science that deserve further study.Author Keywords: Kuhn; Scientific revolutions; Empiricism; Naturalism; Incommensurability; Reference. (shrink)

In 1920 Bignone published an Italian translation of the writings and fragments of Epicurus in Laterza's library of Ancient and Mediaeval Philosophers which in many respects added to and improved upon Usener's classic collection, of Epicurea. He has since then zealously prosecuted these studies, and arrived at some very interesting conclusions which he has given out in two volumes published lately.1 His starting-point is the observation that the writings of Epicurus often have a polemical tone, and not only rebut the (...) accusations of adversaries who misinterpret the new doctrine, but are often directed also against those preceding philosophers who denied to pleasure a stable and certain nature on which a system of ethics could be based. Bignone has set himself the task of particularizing these anonymous predecessors, and thereby bringing the Epicurean polemic into more striking relief. I t was easy and safe to start from the standpoint that Epicurus in his rehabilitation of pleasure had to oppose Plato and the Platonists, but at what Platonists in particular did he take aim? In answering this question Bignone has been able to make use of recent Aristotelian studies, especially those of Jaeger, which have thrown much light on the first phase of the Stagirite's philosophy, of a purely Platonic inspiration. As is well known, some exoteric dialogues belong to this phase, such as the Eudemos, the Protrepticon, and On Philosophy, which have to a large extent disappeared, though it has been found possible to reconstruct a few scattered fragments of them. The great scholastic works which reveal the full independence and maturity of Aristotle's genius have eclipsed them in the memory of posterity. But originally there were only these dialogues, the only ones published, to make Aristotle's thought known to the public outside the peripatetic school. The scholastic writings on the other hand remained unknown until the time of Sulla. What wonder, then, if Epicurus, in combating Platonism, had in mind these dialogues, which give out the fundamental conceptions of Platonism in a more decisive and dogmatic form than that of the Platonic dialogues? (shrink)

Many scholars claim that Frege's theory of colouring is committed to a radical form of subjectivism or emotivism. Some other scholars claim that Frege's concept of colouring is a precursor to Grice's notion of conventional implicature. I argue that both of these claims are mistaken. Finally, I propose a taxonomy of Fregean colourings: for Frege, there are purely aesthetic colourings, communicative colourings or hints, non-communicative colourings.

Woman and Authority in Ian McEwan's "Conversation with a Cupboard Man" and Its Film Adaptation The paper analyzes Ian McEwan's short story "Conversation with a Cup-board Man" and its film adaptation made in Poland by director Mariusz Grzegorzek in 1993. In many works McEwan shows women in more positive light than men. This short story, however, deals with a mother's total domination of her son's life. The text is in the form of first-person narration of the son but it is (...) the figure of the mother that is of utmost importance.The protagonist describes his life from his childhood. His mother wanted him to remain a baby as long as possible, depriving him of free will and leaving him totally dependent on her. Her attitude changed when she found a partner. The protagonist, now seventeen, had rapidly to grow up from a baby into an adult. Childhood and total passivity remain for him ideals to be pursued, and a cramped cupboard becomes his favourite environment. The influence of his upbringing remains with him for ever. After analyzing the short story the paper explores parallels to other works by McEwan and other writers. The importance of the use of the indeterminate article in the title is discussed. Attention is given to the issue of defamiliarization. And the ambivalent attitude of the protagonist towards his mother is examined.The second part of the paper deals with the film adaptation. Grzegorzek has imaginatively developed the short story into a full-blown feature film. It preserves most of the important elements of the short story, at the same time providing new material largely in keeping with the original's tone. The director not only extrapolates, inventing new scenes to fill in the short story's unspoken gaps but also skilfully changes the narrator's comments into scenes, and this is not purely a change from telling into showing. The paper discusses the imagery of the movie, especially Oedipal motifs, references to Christ, and the impression of blood-red lips. It stresses the stronger role of the teacher from the home and his influence on the only independent action of the protagonist—the revenge on Pus-face. It is also important that the film omits any verbal expression of the protagonist's hatred towards his mother. (shrink)

The unpleasantness of pain motivates action. Hence many philosophers have doubted that it can be accounted for purely in terms of pain’s possession of indicative representational content. Instead, they have explained it in terms of subjects’ inclinations to stop their pains, or in terms of pain’s imperative content. I claim that such “noncognitivist” accounts fail to accommodate unpleasant pain’s reason-giving force. What is needed, I argue, is a view on which pains are unpleasant, motivate, and provide reasons in virtue of (...) possessing content that is indeed indicative, but also, crucially, evaluative. (shrink)