In lieu of an abstract, here is a brief excerpt of the content:The Puzzle of Fanny PriceJoyce L. JenkinsIt is common to open a work regarding the merits of Mansfield Park by noting that Fanny Price is very difficult to like. Nietzsche might have described her as a "moral tarantula." 1 She sits, making negative moral judgments about the actions of others, while doing nothing herself. Fanny spends most of her time, literally, sitting or lying down. Austen describes her (...) character as "supine." Comparing Fanny with her sister Susan, Austen says that "Susan was only acting on the same truths, and pursuing the same system, which her [Fanny's] own judgment acknowledged, but which her more supine and yielding temper would have shrunk from asserting. Susan tried to be useful, where she could only have gone away and cried" (MP, p. 395). 2 And Fanny cries all of the time. She cries at least thirteen times over the course of the novel. So, there are two questions about the novel that need to be answered. Why did Austen create a heroine who is so clearly distasteful? Why do some critics and philosophers see Fanny as a moral ideal or cultural icon? Some (Alasdair MacIntyre, Gilbert Ryle, Lionel Trilling) argue that Fanny is so unappealing just because Austen wants to be didactic 3 and force us to focus on virtue. According to Lionel Trilling, for example, Mansfield Park has a different moral message from Pride and Prejudice. "Its praise is not for social freedom, but for social stasis. It takes full notice of spiritedness, vivacity, celerity and lightness, but only to reject them as having nothing to do with virtue and happiness, as being, indeed, deterrents to the good life." 4 Others think that the infelicities of the novel and its heroine make it a parody of traditional feminine values and conservative moral thought in general. 5 Here, I shall argue that a path between these two extreme ways of reading the novel is correct. I shall argue, using Alasdair MacIntyre's discussion as a starting [End Page 346] point, that Austen does not cast Fanny as a moral ideal. If Austen is Aristotelian (a common view among philosophers) Fanny cannot be an ideal. And, although I agree with Johnson's view that those who have read the novel as morally conservative are wrong, I do not think that the novel exhibits global skepticism about traditional standards for the beautiful/feminine. Austen condemns the idea that women should be passive dolls who do not think for themselves, but she does not parody the traditional idea that women should be sweet, gentle, and caring. In my view, Fanny's character constitutes a criticism of passivity, and of rigid adherence to moral rules.Alasdair MacIntyre's view is that Austen is an Aristotelian moralist with a Christian slant on the make-up of the virtues. He describes Fanny's character as an ideal of virtue. He argues that Fanny is pretty much lacking in charm just because Austen wanted to focus on the nature of virtue, which charm can obscure and which Fanny is meant to epitomize.For charm is the characteristically modern quality which those who lack or simulate the virtues use to get by in situations of characteristically modern social life... And the charm of an Elizabeth Bennett... may mislead us... Fanny is charmless; she has only the virtues, the genuine virtues to protect her... and when she disobeys her guardian, Sir Thomas Bertram, and refuses marriage to Henry Crawford it can only be because of what constancy requires. In so refusing she places the danger of losing her soul before the reward of gaining what for her would be a whole world. She pursues virtue for the sake of a certain kind of happiness and not for its utility. 6So, MacIntyre thinks that Fanny Price is meant to be a stripped down model of virtue, with constancy being the keystone virtue that she exhibits. "Constancy is crucial in at least two novels, Mansfield Park and Persuasion, in each of which it is a central virtue of the heroine... And without constancy all the other virtues to some degree lose their point" (AV, p. 242).But when constancy is discussed... (shrink)

In Alan Bennett’s play The History Boys, Irwin, a sixth-form history tutor destined for a media career (based, it is rumored, on that specialist in historical controversy Niall Ferguson) sets out his views on how a difficult change in the law that will affect individual rights should be dealt with. The tactic Irwin advocates is for the Government to insist that the Bill, rather than reducing the liberty of the subject “amplifies it.” The use of paradox, notes Irwin, “works (...) well . . . the loss of liberty is the price we pay for freedom type thing” (Bennett 2004, 3). Thus, in a few sentences, Bennett encapsulates one of the greatest, or, at least, what we in the West have come to think of as one of the greatest, of .. (shrink)

The analysis and understanding of multilingualism, and its relationship to identity in the face of globalization, migration and the increasing dominance of English as a lingua franca, makes it a complex and challenging problem that requires insights from a range of disciplines. With reference to a variety of languages and contexts, this book offers fascinating insights into multilingual identity from a team of world-renowned scholars, working from a range of different theoretical and methodological perspectives. Three overarching themes are explored – (...) situatedness, identity practices, and investment – and detailed case studies from different linguistic and cultural contexts are included throughout. The chapter authors' consideration of 'multilingualism-as-resource' challenges the conception of 'multilingualism-as-problem', which has dogged so much political thinking in late modernity. The studies offer a critical lens on the types of linguistic repertoire that are celebrated and valued, and introduce the policy implications of their findings for education and wider social issues. (shrink)

What is a crip politics of bodymind? Drawing upon Rosemarie Garland-Thomson's theory of the misfit, I explain my understanding of crip and bodymind within a feminist materialist framework, and argue that careful investigation of a crip politics of bodymind must involve accounting for two key, but under-explored, disability studies concepts: desire and pain. I trace the turn toward desire that has characterized DS theory for the last decade, and argue that while acknowledging disability desire, we must also attend to the (...) aspects of disability, including pain, that are sometimes bad. Although I don't argue that pain is always and only bad, I call for recognition of the ways pain complicates disability desire, as well as the possibilities it opens for specifically located, collective forms of care. (shrink)

The dimensional framework -- The dramatic universe -- Function, being and will -- The conditions of existence -- The threshold of existence -- Natural knowledge of God.

Tom Stoppard’s Rosencrantz and Guildenstern Are Dead is primarily a display of conceptual interrelationships of the same logical kind as might occur in an academic work of analytic philosophy. Its pyrotechnic show of jokes, puns and cross-purposes consists mainly in sparks thrown off by the underlying conceptual exploration. That philosophical insights are closely connected with jokes is a fact which Carroll exploited in Through the Looking Glass, a work which is brim-full of small-scale philosophy. Stoppard, unlike Carroll, works intensively at (...) a small cluster of intimately connected concepts. The central one is the concept of reality, and grouped around it are identity, memory, activity and death. One source of the play’s power - to move and disturb, as well as to amuse - is that these concepts are so important in our thinking about ourselves; but the power derives also from the sheer pertinacity and complexity and depth of the conceptual exploration. Although this can be felt by someone who does not fully realize what is going on, one’s experience of the play can be heightened, and the play made more illuminating and memorable, if one becomes consciously aware of its underlying structures. My aim here will be to make such an awareness available - both as a service (I hope) to readers who will subsequently encounter the play, and also as a defence of my judgment about what kind of play it is and how good it is of its kind. I shall write as though for readers who are ignorant of Stoppard’s play but not of Shakespeare’s. All quotations are from the Faber editions of the play. There will be no omissions within anything I quote, so any rows of ellipses in my quotations are Stoppard’s own. The chief personages are Rosencrantz and Guildenstern and “the Player” - the leader of the band of tragedians who perform for Hamlet the play within the play.. (shrink)

An international team of eighteen doctors, philosophers, and lawyers present a fresh and thorough discussion of the ethical, legal, and social issues raised by testing and screening for HIV and AIDS. They aim to point the way to practical advances but also to give an accessible guide for those new to the debate.

Descartes bequeathed to his successors what he and they thought to be a sharp, deep split between the mental and the material. He thought it was a split between things, with every thing belonging to one of the two kinds and no thing belonging to both. According to him, a human being is a pair, a duo, a mind and a body; or, more strictly, a human being is a mind that is tightly related to an animal body. The exact (...) nature of that relation was one of the problems that Descartes never solved to his own satisfaction, let alone to anyone else’s. Not all of those who took over the split thought that it was a split through things. It was possible to hold - as I am sometimes inclined to - that material properties are radically different from mental properties, neither being reducible to the other, and yet there are single things, not pairs or duos or small committees, that have properties of both kinds. In the language of the 17th century, that is the belief that matter can think, i.e. that an item that bumps and shoves its way through space can also be the subject of thoughts and experiences and perceptions. In that century an impressive amount of intellectual energy went into debating whether matter could think. I’m going to pick out of that debate certain strands that I hope are still of interest today. They certainly interest me. Such understanding as I have of the philosophy of mind - I mean of what is actually true about mentality, not merely of the history of men’s opinions about it - has come from tracking some of the 17th century writers as they beat their way through the undergrowth. I don’t mean that they eventually led me to true conclusions, which I gratefully swallowed. They got most things wrong, I believe; but there is a lot to be learned from working out where they were wrong and why. (shrink)

Rorty's profound and challenging critique of contemporary philosophy is in several ways somewhat unfair. Analytic philosophy can contribute towards 'wisdom' in a reasonable sense of the term, though not in Rorty's narrow sense; and his contrast between 'sophist' and 'sage', with the latter understood in Plato's way, is also too constricting. Also, some contemporary 'analytic' work in the 'history of philosophy', so called, is not invalidated by Rorty's strictures - especially his implied accusation that we shan't be interested in the (...) intellectual past if we can't look down on it. (shrink)

P. T. Geach, notoriously, holds the Relative Identity Thesis, according to which a meaningful judgment of identity is always, implicitly or explicitly, relative to some general term. ‘The same’ is a fragmentary expression, and has no significance unless we say or mean ‘the same X’, where ‘X’ represents a general term (what Frege calls a Begriffswort or Begriffsausdruck). (P. T. Geach, Mental Acts (London: Routledge and Kegan Paul, 1957), p. 69. I maintain that it makes no sense to judge whether (...) things are ‘the same’, or remain ‘the same’, unless we add or understand some general term - ‘the same F’. (P. T. Geach, Reference and Generality, third Edition (Ithaca, N.Y.: Cornell University Press, 1980), pp. 63f. I am arguing for the thesis that identity is relative. When one says ‘x is identical with y’, this, I hold, is an incomplete expression; it is short for ‘x is the same A as y’, where ‘A’ represents some count noun understood from the context of utterance - or else, it is just a vague expression of a half-formed thought. (P. T. Geach, ‘Identity,’ Review of Metaphysics 21 (1967-8), p. 3.) One of the ways Geach seeks to support this is by tying it to the well nigh universally admired Fregean thesis about cardinality. (shrink)

First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Stagecraft and Performance of Roman ComedyAmy RichlinC. W. Marshall. The Stagecraft and Performance of Roman Comedy. Cambridge: Cambridge University Press, 2006. xiv + 320 pp. 2 black-and-white figs. Cloth, $90.C. W. Marshall's new book forms part of the productive trend towards treating ancient theater as performance. In 1991 David Wiles began The Masks of Menander (Cambridge: Cambridge University Press, xi) by commenting on the institutional divide between (...) classics and drama studies. Marshall, as a writer, occupies the unusual position of being able to speak both as a classicist and a professional actor, with substantial credits in both improv and Shakespeare. His work is influenced by writers in theater studies, particularly Susan Bennett on audiences, Keith Johnstone on improv, and Jacques Lecoq on masking and physical movement. Among writers on ancient comedy, he shares with David Wiles a commitment to the serious study of masking, and with Timothy Moore a focus on the interaction between actors and audience. As a performer and director, he has often worked with Mark Damen and Mary-Kay Gamel towards an understanding of ancient drama through hands-on production. Above all, this book is based in Marshall's experience as an actor; having had the privilege of working with him on a production of Persa, I can attest that the physicality of his acting pops his sense of what happened on the stage of Plautus into vivid 3-D.Marshall throughout prefers complex to simple models: the audience was not monolithic (no "Romans" here), venues differed in nature, the actors did not share a single status, literary influences on the plays were multiple (no tyranny of the "Greek original"). The introduction begins with a satisfyingly spiderwebby chart (2) laying out a stemma of influences on Plautus and, separately, Terence. As Marshall observes, audience members bring along their own performance codes, and "For Rome such codes are unlikely even to include knowledge of the play which the playwright claims as his source for the present entertainment" (109). (That is, to get a laugh out of Strange Brew, it is not necessary to know much [End Page 131] about Hamlet.) Venues for production would have been "found spaces" (47), often (following Sander Goldberg) a flat space in front of a temple, with the audience sitting on the steps, but generally any public space capable of holding a simple stage, backdrop, and seats. Marshall envisions the troupe as a mix of free and slave actors, some of whom owned others, opening up "convoluted situations" in the assignment of roles (87–88). Masks, as he demonstrates, could not have followed any rigid typology, especially (151) when they had to put a face on slaves who turned out to be free men (Captivi), whores who turned out to be virgins, and, I would add, Calydonians who turned out to be Carthaginians (Poenulus). The content of plays was determined by a simple bottom line: "the troupe sells an audience to the magistrates for a price" (83). Audiences were "heterogeneous" (186), and, while performance works to create a "consolidated audience," the "economic and social diversity of the audience itself exists in tension with this" (185); if the magistrates wanted to emphasize "Roman social stratigraphy," the plays worked to question divisions (77).The theme throughout is "flexibility," in keeping with what for me is the book's most important hypothesis: the plays of Plautus were collaborative creations (186–87): they "contain lines that did not originate with the playwright" but from "the collective of the theatrical troupe" (268–69). Here, Marshall persuasively draws on his own experience with improv groups, invoking the lazzi of commedia dell'arte and the shtick of vaudeville (165, n. 10) to suggest how Plautus's plays were put together by what he felicitously dubs "shtickomythia" (193). Speaking here as a translator of Plautus, I would vigorously agree: the register often slips into jokes that are corny (e.g., Poenulus 279), and what is corn but a shtick-on plaster? Even the inventiveness of slave-torture insults feels a lot like "yo mama" jokes, the kind of call-and-response humor that young men in agonistic cultures perfect in verbal dueling. Most... (shrink)

An increasing amount of data is now available from public and private sources. Furthermore, the types, formats, and number of sources of data are also increasing. Techniques for extracting, storing, processing, and analyzing such data have been developed in the last few years for managing this bewildering variety based on a structure called a knowledge graph. Industry has devoted a great deal of effort to the development of knowledge graphs, and knowledge graphs are now critical to the functions of intelligent (...) virtual assistants such as Siri, Alexa, and Google Assistant. The goal of the Ontology Summit 2020 was to understand not only what knowledge graphs are but also where they originated, why they are so popular, the current issues, and their future prospects. The summit sessions examined many examples of knowledge graphs and surveyed the relevant standards that exist and are in development for knowledge graphs. The purpose of this Communiqué is to summarize our understanding from the Summit in order to foster research and development of knowledge graphs. (shrink)

Humanities and Social Science education is integral in the development of active and informed citizens, and encourages learners to think critically, solve problems and adapt to change. Making Humanities and Social Sciences Come Alive: Early Years and Primary Education prepares pre-service educators to become high quality HASS educators who can unlock the potential of all students. Closely aligned with the Australian Curriculum and Early Years Learning Framework, this text is designed to enhance teaching practices in history, geography, economics and business, (...) and civics and citizenship. The text provides readers with an in-depth understanding of the curriculum structure, the individual disciplines, pedagogical approaches to teaching HASS, inclusivity, global connections and the transition to practice. Examples are provided for early childhood and primary education, making this an inclusive, versatile and comprehensive text. This book is an invaluable resource that provides pre-service educators with the knowledge and skills to deliver this exciting curriculum. (shrink)

Behavioural experiments are one of the central and most powerful methods of intervention in cognitive therapy. Yet until now, there has been no volume specifically dedicated to guiding physicians who wish to design and implement behavioural experiments across a wide range of clinical problems.The Oxford Guide to Behavioural Experiments in Cognitive Therapy fills this gap. It is written by clinicians for clinicians. It is a practical, easy to read handbook, which is relevant for practising clinicians at every level, from trainees (...) to cognitive therapy supervisors.Following a foreword by David Clark, the first two chapters provide a theoretical and practical background for the understanding and development of behavioural experiments. Thereafter, the remaining chapters of the book focus on particular problem areas. These include problems which have been the traditional focus of cognitive therapy, as well as those which have only more recently become a subject of study, and some which are still in their relative infancy. The book also includes several chapters on transdiagnostic problems, such as avoidance of affect, low self-esteem, interpersonal issues, and self-injurious behaviour. A final chapter by Christine Padesky provides some signposts for future development.Containing examples of over 200 behavioural experiments, this book will be of enormous practical value for all those involved in cognitive behavioural therapy, as well as stimulating exploration and creativity in both its readers and their patients. (shrink)

An introduction to metascience -- What is metascience? -- The intended audience of this book.

pt. I. The mystical ambition.--pt. II. Revelation.--pt. III. Religion and morality.