This third book in the GRIT collection of stories will inspire readers to deliberately navigate life's challenges. Each chapter captures a dynamic woman's authentic story of how they have lived with intention--either personally or professionally. Intention helps us define our personal purpose, teaches us to trust our internal compass, and helps us to master self-discipline. Intention brings clarity to chaos and helps us overcome obstacles as they arise on our journey.--Publisher.

This article examines a number of philosophical concepts that are at stake in the visual culture of the nude. It particularly focuses on Aphrodite’s appearance, or rather, what I call her exposed concealment, in Jean-Luc Godard’s 1963 Le Mépris. A film, I argue, which is not only concerned with Aphrodite and the figure of the female nude via Brigitte Bardot, but which also explores the very idea of the sex goddess in cinema. In the first section I introduce arguments (...) from T.J. Clark about the changing status of the nude in nineteenth-century France. In the second section, having introduced Kenneth Clark’s work on Aphrodite, I outline Michael Williams’ work on the archaeology of divine stardom and discuss my disagreement with the way Ginette Vincendeau and Colin Gardner interpret Bardot in the film. In the longest section, the third, I examine several shots in Le Mépris in conversation with Stanley Cavell and argue that the nude scenes both invoke and rework the pictorial language of nudity found in the history of painting and sculpture, as well as Bardot’s film back catalogue, and I conclude by suggesting the film provides an indirect critique of what Hegel says about female nudity. (shrink)

In temporal counteridenticals like ‘Ian is imagining that it is 2030 and Sally is rich’, the subject locates themself at a time other than (what they believe to be) the current time. In such reports, tense in the embedded clause can denote the time that the attitude holder imagines herself to be located at, or the time that she believes herself to be located at. I show that these two interpretations are subject to systematic constraints. The observed pattern is parallel (...) to that discovered in Pearson (in prep.) for personal counteridenticals, such as Lakoff’s famous Brigitte Bardot sentence. I propose an analysis of these findings that depends on two key assumptions: (1) there is a mechanism of ‘de nunc binding’ that encodes the ‘subjective now’ of the attitude holder; and (2) this mechanism is constrained by a principle of the grammar called ‘Condition CW’, originally proposed for personal counteridenticals in Pearson (in prep.). These findings support the view that attitudes de se and de nunc constitute a special class, not reducible to de re. They further suggest that there is a dedicated linguistic mechanism for encoding such attitudes that is subject to systematic grammatical constraints. (shrink)