This chapter examines some of the philosophical literature on idealizations in science and the epistemic challenges idealizations potentially pose for astrophysical methodology, particularly its use of computer simulations. We begin by surveying philosophical literature on idealization connected to (1) kinds of idealizations deployed in science, (2) the aims of idealization in science, and (3) various strategies for de-idealization. Using collisional ring galaxy simulations as a case study, we examine how these three themes play out in the context of astrophysical computer (...) simulations. Ultimately, we argue that deploying deidealization strategies is central to bolstering epistemic confidence in simulations in astrophysics. We conclude with some remarks on the role of idealization in the context of astrophysical computer simulations more generally. (shrink)

Introduction : reinterpreting landscapes in an evolving world -- The pastoral tradition as inherited motives -- From classical pastorals to pastoral landscapes : rebirth of the landscape idea through analytical narration -- Instances of pastoral motivation in contemporary landscape analytical practice -- Articulating analytical narratives of contemporary pastoral landscapes -- The landscape analyst's pastoral action.

Through the use of some purposeful anachronisms, Tom Stoppard uses his 1993 play Arcadia to explore the effects on man's psyche of the transition from Newton's Laws to the laws of thermodynamics and from thermodynamics to chaos theory. However, remarkably similar reactions to these changes are also reflected in works from the actual time periods following these shifts in scientific understanding. Modernist literature is believed by many to reflect a sense of depression about the implications of the second law (...) of thermodynamics, which is exemplified in T. S. Eliot's 1922 poem The Waste Land. Likewise, the comfort provided by the revisions to thermodynamics made by chaos theory are reflected frequently in contemporary popular culture, such as in the current television series Numb3rs. Through the invocation of science, all three works suggest that man is uncomfortable with too much predictability and that comfort can instead be found in chaos and unpredictability. (shrink)

Preceding his Arcadia with a non-existing quotation, Jim Crace proves to be no Arcadian innocent: challenging the shrewdness of his readers, the contemporary novelist seems to take pleasure in inviting them to an intellectual game which begins before the novel unfolds. The highly evocative title and the bogus quotation are bound to evoke associations which become the subject of minute examination in the novel. Its result turns out to be as astounding as the uncommon aphoristic trap laid for the (...) readers. This article examines the significance of the bogus quotation as a part of the novel’s message and a key to its interpretation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Gildersleeve Prize for the Best Article Published in the American Journal of Philology in 2014 Has Been Presented toWilliam Josiah Edwards Davis, University of Toronto Faculty of LawWilliam M. Breichnerfor his contribution to scholarship in “Terence Interrupted: Literary Biography and the Reception of the Terentian Canon,” AJP 135.3:387–409.Building on the serious and sophisticated attention that has been devoted to literary biography in recent years, Davis shows what can (...) be elicited from the conflicting ancient accounts of Terence’s death. As others have argued, ancient scholarship found biography to be a useful receptacle for literary history and criticism. In Davis’ reading, the mutually incompatible accounts of Terence’s death yield insights into critical debates about the role of literature in republican Rome and the scholarly practices that underpinned it.Terence’s prologues give us a lively sense of the literary debates of his own day, but his biographers, writing in the period when scripts became texts, asked a different set of questions. Did Terence die at sea, or in Arcadia, far from the sea? Was the destination of his final journey Greece, or Asia? Did he die in poverty and neglect, or was he returning to Rome with a literary treasure, a hundred and eight newly adapted Menandrian plays? And who wrote his plays, anyway? Davis analyses ancient responses to these and other questions, teasing out traces of the scholarly argument and cultural polemic surrounding Roman literature in the late second and first centuries BCE and thereby making sense of the questions themselves. Reading Terence’s biography against other literary biographies, for example, he shows how Terence’s fatal journey was exploited to establish a Terentian canon free of the authenticity problems that dogged the Plautine tradition. The story that Terence died in Ambracia, by contrast, pits him against another poet associated with Ambracia, Ennius, and stages their rivalry. Finally, Davis shows, in writing the death(s) of Terence, scholar-poets such as Porcius Licinus and Volcacius Sedigitus and others less well known now but cited by Suetonius or ancient scholiasts inscribed a role for the literary historian, too, as caretaker of the playwright’s literary legacy. By reading the contradictions in the biographical tradition against one another instead of trying to produce a historically plausible version by selection, Davis gives us access to the script, fragmentary but fascinating, of Terence’s earliest reception.Judges for The Johns Hopkins University PressCynthia Damon (Chair) Andrew Ford Sara MyersThe Twenty-seventh Annual Gildersleeve Prize of $1,000 will be awarded for the best article to appear in the Journal in 2015. The Press would like to thank the members of the committee for their time and effort.William M. Breichner Journals Publisher Johns Hopkins University Press [End Page 1]William M. BreichnerJournals Publisher Johns Hopkins University PressCopyright © 2015 Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Sexual Symmetry: Love in the Ancient Novel and Related GenresAndrew WalkerDavid Konstan. Sexual Symmetry: Love in the Ancient Novel and Related Genres. Princeton: Princeton University Press, 1994. xiii + 270 pp. Cloth, $35.“Thus there begins to develop an erotics different from the one that had taken its starting point in the love of boys.... This new erotics organizes itself around the symmetrical and reciprocal relationship of a man (...) and a woman, around the high value attributed to virginity, and around the complete union in which it finds perfection.” So Michel Foucault asserts in a concluding chapter of his three-volume History of Sexuality (III, The Care of the Self [1984, trans. 1986] 232), a history that began as an effort to describe the emergence of sexuality as the subject of a distinct science in the late nineteenth century (I, An Introduction [1976, trans. 1978]) and that later broadened into “a genealogy of desiring man, from classical antiquity through the first centuries of Christianity” (II, The Use of Pleasure [1984, trans. 1985] 12). Here Foucault is commenting on the transition from pederasty to heterosexual love as the subjects of philosophical reflection on the nature of desire and its proper management. It is to this “new erotics” of heterosexual reciprocity that David Konstan’s title Sexual Symmetry refers: the notion that a new construction of sexuality emerged in the Common Era, a sexuality structured, not hierarchically as in the relationship between the erasts and the ermenos (with its predatory dynamic of subject and object, active and passive partners), but symmetrically, with an emphasis on the subjectivity of both partners who, although of opposite sex, are alike in age, social standing, and measure of amatory attachment, culminating in the Christian ideal of conjugal love and heterosexual fidelity. Konstan’s subtitle, Love in the Ancient Novel and Related Genres, provides an index to the book’s focus on literary genres and to Konstan’s generic approach to his subject matter, first locating the ideal of erotic reciprocity in the five Greek romances that survive (chaps. 1 and 2) and then showing how this type of relationship differs markedly from the representation of desire in the (roughly contemporaneous) Latin novels of Petronius and Apuleius (chap. 3), as well as in a wide variety of related literary genres that antedate the novel and contributed to its emergence as a literary form (chap. 4). In none of these, Konstan argues, do we find the type of erotic reciprocity enjoyed by the hero and heroine of the standard Greek romance. In later chapters, Konstan contrasts further still this idea of erotic reciprocity, as represented in the ancient texts, with the representation of desire in modern fiction (from Sidney’s Arcadia and Richardson’s Pamela to the contemporary Harlequin Romance, chap. 5), and he attempts (however briefly) to identify those aspects of the social milieu that might account for the emergence and appeal of “sexual symmetry” in Greek fiction (chap. 6).Konstan’s argument is summarized in his introduction, and the progression of each chapter is aided by subheadings which are listed in the table of contents. All Greek is transliterated, and all foreign-language texts, including modern [End Page 165] scholarship, are translated to make the work accessible for the nonspecialist. A single index collects words, themes, topics, and authors—both ancient and modern—discussed. The list of works cited runs for nearly thirty pages and contains more than seven hundred items. The book is suitable for comparativists curious about the antecedents of modern romance, and especially useful for classicists who desire a synoptic view of gender studies in the context of classical literature and culture. Few scholars, I suspect, will complete this book without encountering something new in the way of ancient text or modern scholarship—a fact which in itself is testimony to the impressive breadth of Konstan’s own reading and depth of his erudition.This is not to say that the work is without problems of its own, both of a technical nature and of a theoretical sort. For one thing, Konstan’s argument by its very nature demands a large measure of plot summary of the detailed... (shrink)

Medieval literature inherited from the Latin pastoral tradition exemplified by Virgil and others the motif of an ideal landscape, a paradise of shepherds. The Arcadia of classical tradition, inhabited by nymphs, satyrs and the heathen gods, became for the medieval mind a garden of love, where Amor held council (as developed by the French allegorists, for example), or a philosophical paradise, where man was recreated and restored. At the same time, medieval historians and theologians found themselves confronted by a (...) different kind of pagan paradise, namely the famous fairy hill of Romano-Celtic origin, which was inhabited not by fictional, but by real creatures such as elves and fairies. The Church Fathers condemned the fairy hill as a demonic illusion and the fairies as diabolical phantasms. This article will demonstrate that the literary description of the fairy hill in Latin tradition was strongly influenced by the idea of bucolic landscape, although it changed its character significantly: what once had been a literary model, now became a metaphysical reality and a concrete alternative to the contemporary world. (shrink)

_Meaning and Mystery_ offers a challenge to the way Philosophy has traditionally approached the issue of belief in God as a theoretical problem, proposing instead a form of reflection more appropriate to the practical nature of the issue. Makes use of abundant illustrative material, from both literature, such as _Les Misérables_, Edwin Abott’s _Flatland_, Yann Martel’s _Life of Pi_ and Leo Tolstoy’s _A Confession_, and popular culture, such as advertisements, the television series _Joan of Arcadia_ and the film _Stranger Than (...) Fiction_ Uses imaginative scenarios to offer explanations of central concepts Incorporates theories on human thought and behavior in exploring the formation of religious belief Written in a style that is accessible to readers with little background knowledge of philosophy. (shrink)

La novela griega, género polifacético de ficción en prosa, que floreció del siglo I al IV d.C., tuvo su continuación en la literatura bizantina. La trascendencia de la novela llegó al Renacimiento con Longo y su Dafnis y Cloe, que influenció obras como la Arcadia de Sanazzaro, en Italia, o la Diana, de Jorge de Montemayor, en España; y tuvo cierto influjo en la Galatea de Cervantes e incluso en El Quijote. También la Arcadia de Sidney es tributaria (...) del tema y la Astrea de Honoré d' Urfé, en Francia, refleja también este efecto. En esta comunicación quiero destacar la influencia de la novela griega en La Tempestad, comedia en cinco actos de Shakespeare, que revela gran afinidad con la novela de amor y aventuras, así como con la novela utópica. The Greek novel, a multifaceted fiction genre in prose, flourished between the first and the fourth Century A.D., had its continuation into the Byzantine literature. The significance of the Greek novels reached the Renaissance with Longus and his Daphnis and Chloe, that influenced Sanazzaro's Arcadia in Italy, or Jorge de Montemayor's Diana, in Spain. It also had a certain influence in Cervantes' Galatea and even in his Quijote. Sidney's Arcadia is also tributary to the theme, such as Honoré d' Urfé's Astrea, in France. In this paper I want to point out the influence of the Greek novel in Shakespeare I will focus in The Tempest, comedy in five acts, that reveals great affinity with the Greek novel of love and adventures of Longus, Xenophon of Ephesus and Achilles Tatius, as well as in the utopian novel. (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

This collection emphasizes a cross-disciplinary approach to the problem of scale, with essays ranging in subject matter from literature to film, architecture, the plastic arts, philosophy, and scientific and political writing. Its contributors consider a variety of issues provoked by the sudden and pressing shifts in scale brought on by globalization and the era of the Anthropocene, including: the difficulties of defining the concept of scale; the challenges that shifts in scale pose to knowledge formation; the role of scale in (...) mediating individual subjectivity and agency; the barriers to understanding objects existing in scalar realms different from our own; the role of scale in mediating the relationship between humans and the environment; and the nature of power, authority, and democracy at different social scales. (shrink)

Objective Apeiron was founded in 1966 and has developed into one of the oldest and most distinguished journals dedicated to the study of ancient philosophy, ancient science, and, in particular, of problems that concern both fields. Apeiron is committed to publishing high-quality research papers in these areas of ancient Greco-Roman intellectual history; it also welcomes submission of articles dealing with the reception of ancient philosophical and scientific ideas in the later western tradition. The journal appears quarterly. Articles are peer-reviewed on (...) a double-blind basis. Topics ancient philosophy ancient science reception of ancient philosophical and scientific ideas in the later western tradition Article formats Original Articles. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

Introduction: Adorno and Barthes on the question of the right (di)stance -- The pathos of distances in "a world of banished people" -- George Orwell's critique of sincerity and the obligation of tactlessness -- The inferno of saviors: notes in the margin of Elias Canetti's lifework -- A socialism of distances, or on the difficulties of wise love: Iris Murdoch's secular community -- "The world in me": the distantiality of everyday life -- In search of a whole self: Benjamin's childhood (...) fragments -- Annie Ernaux's diaries of the outside -- Gunter Grass's century -- Damon Galgut on emptying oneself for sleep -- Conclusion. (shrink)

_The Child That Haunts Us_ focuses on the symbolic use of the child archetype through the exploration of miniature characters from the realms of children’s literature. Jung argued that the child archetype should never be mistaken for the ‘real’ child. In this book Susan Hancock considers how the child is portrayed in literature and fairytale and explores the suggestion from Jung and Bachelard that the symbolic resonance of the miniature is inversely proportionate to its size. We encounter many instances where (...) the miniature characters are a visibly vulnerable ‘other’, yet often these occur in association with images of the supernatural, as the desired or feared object of adult imagination. In _The Child That Haunts Us_ it is emphasised that the treatment by any society, past or present, of its smallest and most vulnerable members is truly revealing of the values it really holds. This original and sensitive exploration will be of particular interest to undergraduate and postgraduate students as well as academics engaged in Jungian studies, children’s literature, childhood studies and those with an interest in socio-cultural constructions of childhood. (shrink)

In this article we take the use of examples as a means to explore the processes of persuasion and consensus-construction involved in the legitimation of popular management knowledge. Examples, as concrete instances or events used to substantiate a wider argument, have been variedly regarded in different research traditions. Classical logic and rhetoric have considered them an inferior form of argument, useful for pedagogic or public debate but inadequate for higher forms of thought. This spirit still permeates much psychological research on (...) communication, where the great persuasive import of examples has been contrasted with more scientific and formal resources for argumentation. Considered in this light, the contingent and episodic nature of examples seems to make them cognitively inferior to explicit statements of general rules. However, various strands of research on the nature of scientific knowledge have shown that implicit forms of knowledge are an integral part of scientific expertise. Examples may thus be more central to disciplinary thought than the conventional normative view seems to allow. In this spirit, we explore the use of examples in a hotly contested field, that of popular discourse on business and management. The profusion of examples in this kind of writing has been often noted, and almost as often criticized. We seek to explore more fully how these examples are deployed, examining the discursive devices that mark examples within the development of the text, their function as rhetorical moves, and their role in presenting arguments that are never otherwise made explicit. (shrink)

The article explores the possibilities of literary studies as a hermeneutics of the social by focusing on intermediations of literary and social studies in the present and in the early days of the DVjs, i.e. in the 1920s. It first investigates, how sociology interrogates itself by reading detective stories (Kracauer, Boltanski). As a testing ground for the productivity of the proposed orientation the article then takes a closer look at German crime fiction of the interwar years (Perutz, Jacques) and demonstrates (...) how these novels problematize the workings of a social imaginary in the »time of monsters«. (shrink)

Volume 23, Issue 2, June 2019, Page 120-123.

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference - including, as a special case, metareference (the self-conscious reflection on music, literature and other medial concerns) (...) - is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies. (shrink)

(1996). Surprise in literature. Angelaki: Vol. 1, No. 1, pp. 58-68.

This book reconstructs fundamental assumptions on weak thought, a crucial tendency in contemporary hermeneutics. Some motifs of weak thought serve to reinterpret the concept of mimesis and that of the textual subject as a trace. The book also describes tendencies in modern literature in which weak being is expressed by the motif of the trace.

An abrupt break in the prevailing modes of artistic expression, for many, marks the advent of modernism in the early twentieth century, but revisionary attempts to pin down a precise moment of its emergence remain disputed. History of a Shiver proffers a different approach, tracing the first inkling of modernism instead to the nineteenth century's fascination with music.As Jed Rasula deftly shows, melomania--the passion for music--gave rise to concepts like Richard Wagner's "endless melody" and the Gesamtkunstwerk, or total work of (...) art, which in turn infused the arts of the fin de siècle with an aura of expectancy, challenging them to induce musical effects by their own means. With each art aspiring to produce the effects of another artistic medium, a synesthetic yearning ran like a shiver through the body of art that would emerge over the next half century. Rasula traces this pan-arts polyphony from German Romantic theory to early experiments in "visual music," encompassing such diverse phenomena as American fixation on Arcadia, early film theory, and the lure of the fourth dimension. All the while, he keeps focus on the paramount historical consequence in elevating music to a new universal aesthetic standard, arguing that Wagnerism was first among modern "isms."In surveying this momentous interplay among arts, History of a Shiver ranges from literature, music and painting to theatre, cinema, dance, photography, and civic pageantry. It retells the story of modernism by recovering not an idea, but a feeling--the hair-raising potential for each painting, literary text, or musical composition to herald an unprecedented domain of human enterprise. (shrink)

Cover -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction -- Chapter One: Writing against Theodicy: Secularization in Baudelaire's Poetry and Critical Essays -- Chapter Two: The Mourning of God and the Ironies of Secularization in Baudelaire's Le Spleen de Paris -- Chapter Three: Sublimation and Conversion in Zola and Huysmans -- Chapter Four: The Staging of Doubt: Zola and Huysmans on Lourdes -- Chapter Five: Religious and Secular Conversions: Transformations in Céline's Medical Perspective on Evil -- Conclusion -- (...) Notes -- Bibliography -- Index -- About the Book. (shrink)

The semiotic model that disregards the normative context represented by the protagonist examines how we can distinguish the three conceptions of heroism, namely hero, semi-hero, and anti-hero. What are the methodological criteria whereby we can follow the protagonist in the text from beginning to end? To answer them, this article tries to present a model made up of five stages/criteria which constitute a semiotic model by means of which the connection to heroism can be determined. These are: (1) motivation, (2) (...) will, (3) ability, (4) execution, and (5) outcome. These stages can be logically classified into three categories: 1) Pre-action (the first three stages), 2) Action (the fourth stage), 3) Post-action (the fifth stage). The model proposed here suits all types of narrative and drama and all performance and film production arts. (shrink)

Chapter 14. Andrea Timár engages with literary representations of the experience of perpetrators of dehumanization. Her chapter focuses on perpetrators of dehumanization who do not violate laws of their society (i.e., they are not criminals) but exemplify what Simona Forti, inspired by Hannah Arendt, calls “the normality of evil.” Through the parallel examples of Dezső Kosztolányi’s Anna Édes (1926) and Doris Lessing’s The Grass is Singing (1950), Timár first explores a possible clash between criminals and perpetrators of dehumanization, showing literature’s (...) exceptional ability to reveal the gap between ethics and law. Second, she examines novels focalized through perpetrators and the difficult narrative empathy they provoke, arguing that only the critical reading of these novels can make one engage with the potential perpetrator in oneself. As case studies, Timár examines Daniel Defoe’s Robinson Crusoe (1719), which may potentially turn its reader into an accomplice in the process of dehumanization, and J.M. Coetzee’s Foe (1986), which puts on critical display the dehumanizing potentials of both aesthetic representation and sympathy as imaginative violence. Third, she reads Jonathan Littell’s The Kindly Ones [Les Bienveillantes, 2006], which can make the reader question, through the polyphony of the voice of its protagonist, the notions of narrative voice and readerly empathy, only to reveal that the difficulty involved in empathizing with perpetrator characters lies not so much in the characters’ being perpetrators, but rather in their being literary characters. Eventually, Timár briefly touches upon the problem of the aesthetic and the comic via Nabokov’s Lolita (1955) to ask whether one can avoid some necessarily dehumanizing aspects of humor. (shrink)