The orthodox way of Mass Communication and Journalism education is to letstudents undergo three years of lecture and have their internship on the fourth orlast year of their college life. The process is effective, but there is a faster and a moreeffective way to learn news writing. The phenomenological Approach to writing newswould allow students to learn the rudiments of writing news article through thereverse process of immersion to the field and later expound the phenomena (...) thatthey went through during their exposure in the context of journalistic discipline. The Phenomenological Approach to writing news article is the fastest and mosteffective way to teach students write news article because they would be exposedto the phenomena of identifying the topic to write about, interviewing of sources,weeding out of non-essential details and putting together the information into onecoherent article. Expounding the phenomena that the students went through allowsthe students to absorb journalistic values easily by relating their experience to thetheories of good journalism during the workshop. Keywords: Mass Communication, newswriting, phenomenological approach, journalism,news-writing workshop, news writing internship, descriptive-qualitative design,Philippines. (shrink)

Discourse on the sciences and the arts -- Discourse on the origin and foundations of inequality among men -- Discourse on political economy -- On the social contract -- The state of war.

This volume contains new translations of the essential philosophical writings of Thomas Aquinas, from the _Summa Theologiae_ and _The Principles of Nature_. The included texts represent the breadth of Aquinas’s thought, addressing causality, the fundamental principles of nature, the existence of God, how God can be known, how language can be used to describe God, human nature, happiness, ethics, and natural law. The goal of these translations is twofold: to allow Aquinas to speak for himself, but also to make his (...) thought accessible to the contemporary reader without the burden of unnecessary adherence to convention. A thorough introduction to Aquinas and his ideas is included, as is a series of useful appendices connecting Aquinas’s arguments to those of Anselm, Scotus, Ockham, and others. (shrink)

This work offers a selection of the philosophical writings of Karl Jaspers.

Emmanuel Levinas has exerted a profound influence on 20th-century continental philosophy. This anthology, including Levinas's key philosophical texts over a period of more than forty years, provides an ideal introduction to his thought and offers insights into his most innovative ideas. Five of the ten essays presented here appear in English for the first time. An introduction by Adriaan Peperzak outlines Levinas's philosophical development and the basic themes of his writings. Each essay is accompanied by a brief introduction and (...) notes. This collection is an ideal text for students of philosophy concerned with understanding and assessing the work of this major philosopher. (shrink)

This substantially revised new edition of _Rousseau: The Basic Political Writings_ features a brilliant new Introduction by David Wootton, a revision by Donald A. Cress of his own 1987 translation of Rousseau's most important political writings, and the addition of Cress' new translation of Rousseau's _State of?War_. New footnotes, headnotes, and a chronology by David Wootton provide expert guidance to first-time readers of the texts.

This volume contains new translations of the essential philosophical writings of Thomas Aquinas, from the Summa Theologiae and The Principles of Nature. The included texts represent the breadth of Aquinas's thought, addressing: the fundamental principles of nature; causality; the existence of God; how God can be known; how language can be used to describe God; human nature (including the nature of the soul, free will, and epistemology); happiness; ethics; and natural law. The goal of these translations is twofold: to allow (...) Aquinas to speak for himself, but also to make his thought accessible to the contemporary reader without the burden of unnecessary adherence to convention. A thorough introduction to Aquinas and his ideas is included, as are a series of useful appendices connecting Aquinas's arguments to those of Anselm, Scotus, and others. (shrink)

Plagiarism is one of the most severe academic integrity issues. This study examined students’ knowledge of and attitudes towards plagiarism, tested their ability to recognize plagiarism, and explored the association of study levels and attendance in courses dealing with referencing rules and plagiarism with students’ attitudes and knowledge. A cross-sectional online survey was conducted at the University of Split, comprising the students of all schools and study levels. Overall, results indicate the students were not very familiar with referencing rules and (...) did not perform well on either theoretical questions or practical examples. However, they demonstrated positive attitudes towards plagiarism avoidance as well as towards compliance with academic integrity with respect to the correct use of research publications. Students’ self-reported attendance in courses dealing with referencing rules and plagiarism avoidance was not associated with their knowledge of and attitudes toward plagiarism. These findings are important for a general understanding of students’ attitudes, and the relation of practical and theoretical knowledge of plagiarism. Furthermore, the academic community addresses plagiarism not only as an ethical and regulatory violation but also as a direct consequence of a lack of knowledge, and of academic illiteracy. Study programs should be adjusted and long-term policies developed at all academic levels to promote a positive climate among students towards responsible academic writing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:84 Reviews THE WAYS OF THE WITTGENSTEINS ACCORDING TO A WAUGH Richard Henry Schmitt U. of Chicago Chicago, il 60637, usa [email protected] AlexanderWaugh. TheHouseofWittgenstein:aFamilyatWar. London: Bloomsbury, 2008. Pp. 366. isbn: 0-7475-9185-7. £20.00 (hb). New York: Doubleday, 2009. Pp. 333. isbn: 0-385-52060-3. us$28.95 (hb). Ezach family is happy and unhappy in its own ways. This is hardly surprising zgiven that the family lies at the crossroad of so much human (...) experience. It is the scene for playing out genetics and for working through the rearing and civilizing of children, both nature and nurture. In economic life it constitutes the primary unit, the household. Despite Tolstoy’s ideal, none can ever be com­ pletely happy for every member all the time. And, there is no reason to think that basically happy families are any more the same than unhappy ones. But then none can ever be completely unhappy; or rather, when a family is com­ pletely unhappy it is unlikely that it will remain one. One other factor, however, intrudes on this picture: we tend to be more interested in bad or scandalous news than good. Vicarious experience brings catharsis, possibly helpful in a way. Yet, as the German language recognizes with the word “Schadenfreudez”, we can experience joy at someone else’s sorrow, despite the questions it raises about our empathy. Alexander Waugh is himself the member of a famous family. He has written December 2, 2009 (5:28 pm) E:\CPBR\RUSSJOUR\TYPE2901\russell 29,1 060 red.wpd E:\CPBR\RUSSJOUR\TYPE2901\russell 29,1 060 red.wpd Reviews 85 its “autobiography” in Fathers and Sons,1 where he is principally concerned with his father Auberon (“Bron”), his grandfather Evelyn, his great-uncle Alec, and his great-grandfather Arthur. Given the family documentation at his disposal and the span of generations, that book covers enough territory, in enough detail, to give us some sense of Waugh family character. You learn what it was like to grow up in the family, down to the odour of Uncle Auberon Herbert’s cologne, “smelling like Cleopatra in her barge on her way to meet Antony for the Wrst time” according to Bron (p. 370, paperback ed.), and the family suspicion that this uncle may have been the illegitimate son of Hilaire Belloc (p. 276). The fathers and sons, from Arthur down to Alexander, all wrote for a living, witty, stylish prose, and sometimes poetry. They especially liked writing about each other in letters, essays, and novels, often to each other in public letters and dedications; and as a consequence Alexander’s book is rich, amusing, intimate, and a bit indiscrete. Arthur’s turn-of-the-century avoidance of emotion in sentimentality grew outmoded, but it was replaced in the family business with newer models, with more Xash and cynicism. When it came to Alexander’s fa­ ther Bron, he was known for his talent at vituperation, and got into verbal and legal scrapes with C. P. Snow and Bertrand Russell among others (p. 407), which led to his getting sacked but only made his journalism more widely read and more valuable to publishers. In Alexander’s disclosure of his family history, there is a sureness of touch that comes from working within his ken. Waugh studied music, and worked as a music critic. In his easy, self-depreci­ ating way, he told an interviewer for The Wall Street Journalz that he got the idea to write this book because of “the most appalling boil on my right index Wnger”. This curtailed his routine enjoyment at the piano, “But then as I sat down and pressed a chord with my left hand I thought of Paul Wittgenstein. I knew about the concerto that Ravel composed for him and I knew that he was Ludwig’s brother. He was bound to have an interesting story.”2 With access to some Witt­ genstein family papers through one of Paul Wittgenstein’s daughters, he began. But a biography of the one-armed pianist soon turned into this “family history”, in part because of the author’s previous success with his own family, but also... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scriptural AuthorityA Christian (Protestant) PerspectiveReinhold BernhardtThe Sola Scriptura Principle in the Reformation MovementIn curbing the authority of the ecclesiastical Magisterium the Reformation movement brought the authority of the Holy Scripture to the forefront as the normative foundation of Christian theology. One of its basic axioms is the sola scriptura principle, meaning that all one needs to know in order to live in a salvific relation to God can (...) be acquired “by scripture alone.” This constitutes the formal, epistemological principle of Protestant theology up to today, and complements the material principles solus Christus, sola gratia, and sola fide. Whereas these material principles refer to the manifestation of salvation in Christ (alone), to the eternal ground of salvation through the grace of God (alone), and to the gift of salvation by faith (alone), the formal principle of sola scriptura calls upon the Christian to realize that these three principles of material truth are made known to us (only) by the formal principle—by Holy Scripture. “The whole counsel of God concerning all things necessary for his own glory, man’s salvation, faith and life, is either expressly set down in Scripture, or by good and necessary consequence may be deduced from Scripture.” 1On the one hand, the Reformers taught that Holy Scripture not only offers testimony to the Word of God but also is itself of divine origin since the authors wrote under the immediate influence of God. In view of this, God is ultimately the principal author, while the writing humans are only instrumental scribes. It follows from that that the Bible possesses divine authority.On the other hand the Reformers distinguished between the Bible as the Word of God and the Word of God in the Bible. Furthermore they made a distinction between the written word of the biblical books and the “Logos,” the eternal word of God, which speaks through the words of the Bible and addresses the reader here and now, existentially. As a testimony to and a medium of the Word of God the Holy Scripture for Luther is “Christ’s spiritual body,” 2 and thus the authority of the biblical scriptures is a derived and secondary authority. This authority does not rest simply on the sacred text as such but rather on the proclamation of God’s grace-filled Lordship over nature [End Page 73] and history in general and over the individual life in particular. It is not the text as such which is to be regarded as Word of God, but the text’s message. “Message” does not refer primarily to the semantic focus of the text as intended by the human author and as understood by the reader, but to the kerygma, the living and effective word of God. The Reformers stressed the soteriological efficacy of the “Word of God” as witnessed in the Scripture. Not only does this Word bear a specific significance and lead to insight and knowledge, but it also heals the broken relationship between the human and God, imparts forgiveness, incorporates into the community of saints, creates faith, and renews life. The Bible is the instrument of God through which God reveals Godself and opens the way to salvation through faith (which signifies existential incorporation) in Christ.Let us now take a closer look at the differences among the three branches of the Reformation movement—the Lutheran, the Calvinist-Reformed, and the Spiritualist—with regard to their understanding of scriptural authority.LutheranFor Luther there is a normative core message in the New Testament, a gospel within the gospels. It consists in the “good news” of the justification of the sinner sola gratia in Christ, without any contribution on the part of the one justified. God is the author of that “good news,” though it is not expressed in all of the biblical scriptures with equal clarity. As a consequence of this difference between the gospel and the scriptures Luther assesses the relative worth of the various books of the Bible, using the gospel of unmerited and unconditionally granted grace as the criterion for interpreting and evaluating the various biblical texts. The Epistle of James, for instance, he dismissed as a stroherne Epistel—a... (shrink)

"Chicana Feminist Thought" recovers the historical contributions of a generation of Chicana feminists whose activism forged a collective struggle to overcome the gender contradictions, tensions, and conflicts within the Chicano Movement. Organized thematically and chronologically, these writings explore such topics as sexual politics within the Chicano cultural nationalist movement, the multiple sources of Chicana oppression, and the relationships between Chicana feminists and white feminists.

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 177 Amsterdam, appears in the series of the International Archives of the History of Ideas, published under the direction of P. Dibon of Nijmegen and R. Popkin of the University of California at San Diego and a distinguished international editorial committee. Other volumes demonstrate the philosophical respectability of the collection: three on Descartes and Cartesianism, one on Berkeley's immaterialism, three on Pierre Bayle, the rest on philosophical (...) topics from the Renaissance to the 19th century. In this gallery, these letters by a not very good French poet---who was yet an acute and rather individualistic judge of men and books, already one of the arbiters of intellectual and artistic life in France--may seem a little out of place. Yet, to many historians of intellectual affairs, the firm establishment of dates and personal relationships is a matter of much importance, and documents such as these, largely devoted as they are to the communication of news about books and writers, the activities of rulers and ambassadors, printers and curious travelers, can be a substantial aid in determining the structure of an historical moment, the succession and interrelationship of events. One is willing to grant that much of what Chapelain wrote to Heinsius is trivial and concerns books and literary news of slight importance, that a delicate irony makes less of some of his comments than they were worth at the time. The triviality itself is a clue to the temper of Paris during the Fronde and in the late years of the regency of Mazarin. Great ideas were not being discussed in public when Pascal was writing his Pensdes; the irony is a mode of defense against involvement, and fashionable at the time. Bray's elaborate introduction is more concerned with the artistic and subjective aspect of the letters than with their contribution to intellectual history. In about a hundred pages, he discusses his author's method of writing, the genre which this kind of letter represents, the artistry it exhibits, from basic structure to stylistic ornamentation, and finally the human and even ethical implications of this collection. His notes are full and informative; identifications are well documented and cross-referencing in the notes and in the index of names make the volume a usable source of information, even though it cannot be recommended as stimulating debate or lively narrative. The topics discussed by Chapelain range over a considerable area, without becoming controversial. There is one exceptional letter in which he instructs Heinsius in adapting his integrity to the role of a diplomat; he must acquire "un peu de dissimulation" to oppose to "l'ing~nuit~ du Parnasse." There are references to civil strife, to foreign affairs, to the rivalry of Dutch and English navies, to the sympathy of the French for the Swedish Lutheran dynasty as opposed to the Catholic ttapsburgs and the ecclesiastical electors of Mainz, Cologne, and Trier. Queen Christina of Sweden plays a continually less attractive part as the letters proceed to their end; and Christiaan Huygens, the Duc de Montausier, Ismael Boulliau, Guez de Balzac, and Gilles M4nage figure more or less regularly in these pages. Of philosophers there is little mention, and of discussion of ideas for their own sake still less. The letters are, like many another collection deriving from the age before the learned and scientific journals, a source of valuable information about certain persons and certain books; they are hardly a serious contribution to the history of ideas. H~covaT BROWN Brown University Pascal. By J. H. Broome. (New York: Barnes & Noble, Inc., 1966. pp. x + 250. $6.00.) The most remarkable feature of this work is that it locates and forcefully interprets philosophical themes common to all of Pascal's widely=diversified writing. In his works on the vacuum, the computer, geometry, hydrostatics, Grace, freedom and the art of persuasion as well as the Pens~es, Broome locates five regular features of Pascal's thought: 1) the three orders (pp. 103-4, inter alia); 2) the deux infinis (p. 146); 3) a theory of knowl- 178 HISTORY OF PHILOSOPHY edge; 4) a dialecticalmethod; and 5) a theory of communication. The former two themes are commonly discussed by students of... (shrink)

Now back in print, and in paperback, these two classic volumes illustrate the scope and quality of Royce'sthought, providing the most comprehensive selection ofhis writings currently available. They offer a detailedpresentation of the viable relationship Royce forgedbetween the local experience of community and thedemands of a philosophical and scientific vision ofthe human situation.The selections reprinted here are basic to any understandingof Royce's thought and its pressing relevanceto contemporary cultural, moral, and religious issues.

First published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.

Mozi (fifth century B.C.) was an important political and social thinker and formidable rival of the Confucianists. He advocated universal love -- his most important doctrine according to which all humankind should be loved and treated as one's kinfolk -- honoring and making use of worthy men in government, and identifying with one's superior as a means of establishing uniform moral standards. He also believed in the will of Heaven and in ghosts. He firmly opposed offensive warfare, extravagance -- including (...) indulgence in music and allied pleasures -- elaborate funerals and mourning, fatalistic beliefs, and Confucianism. (shrink)

Now back in print, and in paperback, these two classicvolumes illustrate the scope and quality of Royce'sthought, providing the most comprehensive selection ofhis writings currently available. They offer a detailedpresentation of the viable relationship Royce forgedbetween the local experience of community and thedemands of a philosophical and scientific vision ofthe human situation.The selections reprinted here are basic to any understandingof Royce's thought and its pressing relevanceto contemporary cultural, moral, and religious issues.

Now back in print, and in paperback, these two classicvolumes illustrate the scope and quality of Royce'sthought, providing the most comprehensive selection ofhis writings currently available. They offer a detailedpresentation of the viable relationship Royce forgedbetween the local experience of community and thedemands of a philosophical and scientific vision ofthe human situation.The selections reprinted here are basic to any understandingof Royce's thought and its pressing relevanceto contemporary cultural, moral, and religious issues.

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

In principle, a proof can be any sequence of logical deductions from axioms and previously-proved statements that concludes with the proposition in question. This freedom in constructing a proof can seem overwhelming at first. How do you even start a proof? Here’s the good news: many proofs follow one of a handful of standard templates. Proofs all differ in the details, of course, but these templates at least provide you with an outline to fill in. We’ll go through several (...) of these standard patterns, pointing out the basic idea and common pitfalls and giving some examples. Many of these templates fit together; one may give you a top-level outline while others help you at the next level of detail. And we’ll show you other, more sophisticated proof techniques later on. The recipes below are very specific at times, telling you exactly which words to write down on your piece of paper. You’re certainly free to say things your own way instead; we’re just giving you something you could say so that you’re never at a complete loss. (shrink)

Compiling in one volume the basic writings of these three seminal thinkers of ancient China, each from a different philosophical school, this book reveals the richness and diversity of the ancient Chinese intellectual world.

The thoughts and writings of this important fifth century B.C. political and social thinker -- and formidable rival of the Confucianists -- are presented here in English translation.

This article analyses which propositions of the original hard news texts are replicated in their summaries written by competent readers, with a view to observing the strategies they use to write summaries for this text type and analysing the linguistic devices involved when they implement the strategies. Three strategies, namely deletion, selection and abstraction, are used by summary writers to boil down the original texts to their main points. Implementing these strategies requires readers to make of the relationships holding (...) between the propositions of text. Teaching linguistic devices such as subordinators, conjuncts, lexical signals, lexical repetitions and parallelism is crucial because they assist students to analyse the relationships between the propositions. (shrink)

One hundred years after his death, Friedrich Nietzsche remains the most influential philosopher of the modern era. Basic Writings of Nietzsche gathers the complete texts of five of Nietzsche's most important works, from his first book to his last: The Birth of Tragedy; Beyond Good and Evil; On the Genealogy of Morals; The Case of Wagner; and Ecce Homo. Edited and translated by the great Nietzsche scholar Walter Kaufmann, this volume provides a definitive guide to the full range of (...) Nietzsche's thought. Included also are seventy-five aphorisms, selections from Nietzsche's correspondence, and variants from drafts for Ecce Homo. (shrink)

Offering readings from 50 of the most eminent contributors to psychology, this text-reader represents the historical development of psychology from the Renaissance to the present. Contributors range from Descartes, Locke, Hume, Kant, and Darwin through Adler, Tolman, Guthrie, Hull, and Skinner. "Far and away the most concise and pedagogically useful book of its kind ever to appear." --Psychological Record.

The writings of John Stuart Mill have become the cornerstone of political liberalism. Collected for the first time in this volume are Mill’s three seminal and most widely read works: On Liberty, The Subjection of Women, and Utilitarianism. A brilliant defense of individual rights versus the power of the state, On Liberty is essential reading for anyone interested in political thought and theory. As Bertrand Russell reflected, “On Liberty remains a classic... the present world would be better than it is, (...) if [Mill’s] principles were more respected.” This Modern Library Paperback Classics edition includes newly commissioned endnotes and commentary by Dale E. Miller, and an index. (shrink)

Nigel Warburton, bestselling author and experienced lecturer, provides all the guidance and advice you need to dramatically improve your essay - writing skills. The book opens with a discussion of why it is so important to write a good essay, and proceeds through a step-by-step exploration of exactly what you should consider to improve your essays and marks. You will find help on how to: focus on answering the question asked research and plan your essay build and sustain an (...) argument improve your writing style and tone. The Basics of Essay Writing is packed full of good advice and practical exercises. Students of all ages and in every subject area will find it an easy-to-use and indispensable aid to their studies. (shrink)

First published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.

This comprehensive anthology of Bertrand Russell's writings brings together his definitive essays from the period 1903 to 1959. It covers the most fertile and the most lasting work on every significant area he published in.

This is an essential introduction to the brilliance of Bertrand Russell.

Includes the whole of the First Part of the Summa Theologica. Pegis's revision and correction of the English Dominican Translation renders Aquinas' technical terminology consistently as it conveys the directness and simplicity of Aquinas' writing; the Introduction, notes, and index aim at giving the text its proper historical setting, and the reader the means of studying St. Thomas within that setting.

Includes substantial selections from the Second Part of the Summa Theologica and the Summa Contra Gentiles. Pegis's revision and correction of the English Dominican Translation renders Aquinas' technical terminology consistently as it conveys the directness and simplicity of Aquinas' writing; the Introduction, notes, and index aim at giving the text its proper historical setting, and the reader the means of studying St. Thomas within that setting.

Includes substantial selections from the Second Part of the Summa Theologica and the Summa Contra Gentiles. Pegis's revision and correction of the English Dominican Translation renders Aquinas' technical terminology consistently as it conveys the directness and simplicity of Aquinas' writing; the Introduction, notes, and index aim at giving the text its proper historical setting, and the reader the means of studying St. Thomas within that setting.

The basic writings of Chuang Tzu have been savored by Chinese readers for over two thousand years. And Burton Watson's lucid and beautiful translation has been loved by generations of readers. Chuang Tzu was a leading philosopher representing the Taoist strain in Chinese thought. Using parable and anecdote, allegory and paradox, he set forth, in the book that bears his name, the early ideas of what was to become the Taoist school. Central to these is the belief that only (...) by understanding Tao and dwelling in its unity can man achieve true happiness and freedom, in both life and death. _Chuang Tzu: Basic Writings_ includes the seven "inner chapters," which form the heart of the book, three of the "outer chapters," and one of the "miscellaneous chapters." Watson also provides an introduction, placing the philosopher in relation to Chinese history and thought. Witty and imaginative, enriched by brilliant imagery, and making sportive use of both mythological and historical personages, this timeless classic is sure to appeal to anyone interested in Chinese religion and culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.1 (2004) 202-217 [Access article in PDF] Literary Universals and the Sciences of the Mind Jonathan Gottschall St. Lawrence University The Mind and its Stories: Narrative Universals and Human Emotion, by Patrick Hogan; 302 pp. Cambridge: Cambridge University Press, 2003, $65.00. Cognitive Science, Literature, and the Arts: A Guide for Humanists, by Patrick Hogan; 244 pp. New York: Routledge, 2003, $19.95. I Two recent books by (...) Patrick Colm Hogan deserve attention for all they get right and, to a lesser but important extent, for where they go wrong. Hogan is among the most accomplished members of an expanding group of humanistic scholars who are assimilating and putting to use the most promising models of human potential taking shape in the human sciences. By drawing on theory and research in cognitive and brain sciences, evolutionary biology and evolutionary psychology, behavioral genetics, and cross-cultural anthropology, this group is finally beginning to push literary studies beyond defunct tabula rasa and psychoanalytic theories of human potential that have served as the main foundations for the elaboration of literary theory over recent decades.1 Varieties of hard social constructivism and psychoanalysis have continued to dominate thought in the humanities, despite the fact that those theories have lost all credibility in the human sciences.2 Hogan's books provide a preview of the kinds of theoretical models that will fill the vacuum once literary scholars fully assimilate [End Page 202] the news that stubbornly fashionable constructivist and psychoanalytic theories of human potential are obsolete.In Cognitive Science, Literature, and the Arts Hogan presents an accessible introduction to the exploration of the arts from the perspective of cognitive science. As a literary scholar, his main concerns are with literature, written and oral, but his conviction that cognitive science can illuminate all of the arts is clearly indicated in examples from painting, music, and film. The writing is pitched at a level appropriate for the general reader, and no prior reading in cognitive science is assumed. The introductory chapters provide an overview of the broad outlines of theory and research in cognitive science to date, and explain the types of problems the arts raise from the perspective of cognitive science. The middle chapters examine aspects of art making and consumption in light of specific issues that have been important in cognitive study. These chapters focus primarily on artistic creativity, metaphor, literary universals, audience response, and literary emotion. The final chapter considers attempts to explain why human cognitive architecture takes the precise form it does, and includes an extended skeptical critique of the source of the most influential explanations: evolutionary psychology. Hogan's critique of evolutionary psychology is important and I will discuss it at length later in the review.Cognitive Science, Literature, and the Arts will be welcomed by any reader who wants to better understand basic developments in cognitive science and their potential importance to the study of literature and the arts. It is addressed mainly to the uninitiated and is thus suitable for upper-level literary theory and criticism courses. The Mind and its Stories is a more ambitious volume that seeks (1) to clear the way for the reestablishment of a revamped research program in literary universals, (2) to show how literary data bears on important questions in cognitive science and psychology, and (3) to present a specific hypothesis about the proliferation of certain plot structures in world literature.In The Mind and Its Stories Hogan does nothing less than restore the political and intellectual respectability of the study of literary universals. The Mind and Its Stories begins where it must, with a cogent critique of the most common objection to the development of a sustained research program in literary universals: the largely unexamined conviction that the identification of human universals (in literature and other fields) almost necessarily supports doctrines of inequality that justifies one group's domination of others. Hogan exposes the fundamental illogic of this position, which holds essentially that theories of human equality [End Page 203] are too dangerous to entertain because they might serve to prop up... (shrink)

Xunzi asserted that the original nature of man is evil, differing on this point from Mencius, his famous predecessor in the Confucian school. In the most complete, well-ordered philosophical system of his day, Xunzi advocated the counteraction of man's evil through self-improvement, the pursuit of learning, the avoidance of obsession, and observance of ritual in life. Readers familiar with Xunzi's work will find that Burton Watson's lucid translation breathes new life into this classic. Those new to Xunzi will find his (...) ideas on government, language, and order and safety in society surprisingly close to concerns of our own age. (shrink)