Review essay on Tunstall, Doing Philosophy Personally.

Attempting to trace the intellectual history of any political movement is, at best,problematic. Humans construct political movements and the intellectual, philosophical underpinnings of those movements, and, in general, it is not one person who is doing the creating, but rather a multitude of people are involved; the circumstance of how politics is created is a web, which makes it difficult for researchers to trace the historical roots of movements. Nazi Germany has been the focus of numerous research projects to understand (...) the intellectual roots of Nazism and the how and why they were successful in gaining and consolidating power. In line with popular theories in Sociology and History, earlier researchers have traced the intellectual roots of the Nazis in order to situate Nazi Germany as anti-modern, which by extension would situate their crimes against humanityand fascism in the same camp. In particular, Romanticism has been the movement that some historians have cited as a possible root for Nazism. The primary goal of this paper will be to disrupt the historical continuation argument, deconstruct the main parts of each of the camps, and provide support for the appropriation argument. This goal is designed to connect to the much larger debate of the state of anti-modern/modern of Nazism, and aid in showing Nazism as a modern movement. It is through researching and analyzingthe how and why the Nazis appropriated Romanticism that allows academics to study the influences from the past in the development of National Socialism, while accounting for the frame that the Nazis used to read the Romantics and the purpose for the way that Romantic literature was framed within Nazi-Germany. (shrink)

There is growing interest in examining dark personality traits, to better explain malevolent and self-serving behaviour patterns commonly observed in clinical and non-clinical settings. Recently, taxonomies of dark personalities have been developed, along with psychometric tools to measure and delineate between traits including psychopathy, Machiavellianism and narcissism. The extent to which these constructs are distinct or overlapping remains controversial. Psychophysiological research can improve understanding of biological mechanisms contributing to personality that may help to evaluate taxonomies. This study investigated diurnal variations (...) in salivary cortisol (on waking, cortisol awakening response, and at bedtime, over two days) and their relationship to personality traits (Short Dark Triad Scale and IPIP Mini), psychopathology (Depression, Anxiety and Stress Scale; DASS) and quality of life (WHOQOL-BREF) in a non-clinical sample (N=45, 26 females, 19 males, 18-59 years). Dark personality traits correlated with low bedtime cortisol, reduced sleep, depression and poorer quality of life. Hierarchical linear regressions analyses indicated that bedtime cortisol levels significantly accounted for variance in Psychopathy (F(1,39)=5.55, p=.02, R=.52, B=-1.81, 95% CI [-3.37-(-.26)], β=-.33, sr2=.10) and reduced sleep uniquely accounted for variance Machiavellianism (F(2,40)=5.99, p=.01, R=.48, B=1.01, 95% CI [.16-2.02], β=.34, sr2=.11). These data provide preliminary evidence that supports the cortisol hypoarousal hypothesis of Psychopathy and has identified a link between Machiavellianism, sleep-wake cycles, and chronotype. The hypoarousal hypothesis of Psychopathy contends that the hypothalamic-pituitary-adrenal axis is unresponsive to the stress of social engagement. Machiavellianism was predicted by longer days with evidence for an evening chronotype. These findings indicated that the Dark Triad traits have different underlying biological mechanisms that require further exploration. (shrink)

Book reviewed in this article: What Does It Mean to Grow Old? Reflections from the Humanities. By Thomas R. Cole and Sally Gadow Our Aging Society: Paradox and Promise. Alan Pifer and Lydia Bronte.

DBS Think Tank IX was held on August 25–27, 2021 in Orlando FL with US based participants largely in person and overseas participants joining by video conferencing technology. The DBS Think Tank was founded in 2012 and provides an open platform where clinicians, engineers and researchers can freely discuss current and emerging deep brain stimulation technologies as well as the logistical and ethical issues facing the field. The consensus among the DBS Think Tank IX speakers was that DBS expanded in (...) its scope and has been applied to multiple brain disorders in an effort to modulate neural circuitry. After collectively sharing our experiences, it was estimated that globally more than 230,000 DBS devices have been implanted for neurological and neuropsychiatric disorders. As such, this year’s meeting was focused on advances in the following areas: neuromodulation in Europe, Asia and Australia; cutting-edge technologies, neuroethics, interventional psychiatry, adaptive DBS, neuromodulation for pain, network neuromodulation for epilepsy and neuromodulation for traumatic brain injury. (shrink)

Aboriginal Australians have an intrinsic relationship to Country, kinship and community. The processes related to colonisation have decimated traditional lifestyles, ecology and even families. The challenge for energy engineers lies in the ability to reconcile the profession of engineering with the contemporary and traditional cultural and physical needs of Aboriginal people. A discussion around Aboriginal peoples’ most deeply held values will be linked to both global and professional ethical canons. This discussion has implications for Aboriginal and Indigenous peoples globally. A (...) fictitious case study—the ‘Warrigal Downs Energy Hub’—provides us with a hypothetical project to which we can link both examples and frameworks. Our team of Aboriginal and non-Aboriginal educators and engineers provides us with a right, wrong and even better way to work sensitively, meaningfully and reciprocally with Aboriginal people in Australia and, indeed, globally. (shrink)

We need to distinguish between the claim that engagement with a fiction requires imagination, and the claim that such engagement requires empathetic identification with characters. Argues that the first claim is certainly true. What of the second? Some criticism of it is valid; there are occasions on which we engage with a fiction perfectly well without empathising. Still, empathy is important for engaging with some parts of some fictions; The author illustrates this with Anne Brontë's The Tenant of Windfell Hall.

This paper examines the bond between humans and dogs as demonstrated in the life and work of Emily Brontë . The nineteenth century author, publishing under the pseudonym, Ellis Bell, evinced, both in her personal and professional life, the complex range of emotions explicit in the human-dog bond: attachment and companionship to domination and abuse. In Wuthering Heights, Brontë portrays the dog as scapegoat, illustrating the dark side of the bond found in many cultures. Moreover, she writes with awareness of (...) connections - unknown in the nineteenth century - between animal abuse and domestic violence. In her personal life, Brontë's early power struggles with her companion animal mastiff, Keeper, evolve into a caring relationship. In a human-dog bond transformation that survives Brontë's death, Keeper, becomes both bridge and barrier to other human relationships. A dog may, and in this case Keeper does, take on a comprehensive role in which he both mourns his own loss and comforts others in their collective grief. (shrink)

What does it mean to be human? The Brontë novels and poetry are fascinated by what lies at the core - and limits - of the human. The Brontës and the Idea of the Human presents a significant re-evaluation of how Charlotte, Emily, and Anne Brontë each responded to scientific, legal, political, theological, literary, and cultural concerns in ways that redraw the boundaries of the human for the nineteenth century. Proposing innovative modes of approach for the twenty-first century, leading scholars (...) shed light on the relationship between the role of the imagination and new definitions of the human subject. This important interdisciplinary study scrutinises the notion of the embodied human and moves beyond it to explore the force and potential of the mental and imaginative powers for constructions of selfhood, community, spirituality, degradation, cruelty, and ethical behaviour in the nineteenth century and its fictional worlds. (shrink)

In this article I attempt to engage with Charlotte Brontë as both a teacher and a philosopher. In her depiction of two impoverished gentlewomen as teachers Brontë is, as is often pointed out, drawing on her own history, but she is also exploring two conflicting contemporary philosophic notions: the romantic ideal and the ideal of rationality, as they are played out in the lives of women. Brontë uses the plot device of taking her teachers into new environments, from where as (...) strangers they can report to the reader on the conditions they experience. But the teachers are also strangers in the teaching environments of their employment and, moreover, as individuals are stripped of all familial and social support. While her pedagogic strategies may not be appealing to twentieth century tastes, Brontë and her creations still have something to say about the issues, choices and constraints faced by young and inexperienced teachers, and the available subject-positions teachers may construct for themselves as they grapple with their own foreignness in their classrooms or other teaching situations. (shrink)

Publication date: 22 December 2020 Source: International Letters of Social and Humanistic Sciences Vol. 89 Author: Shiva Hemmati This paper examines Charlotte Brontë’s masterpiece Jane Eyre through Irigaray’s notion of feminine divine in order to argue how Charlotte Brontë’s main characters achieve their autonomous gendered identity by expressing their erotic desire. It discusses the resistance of Charlotte Brontë’s female protagonist, Jane Eyre, to the dichotomies of active subject/passive object, self/other, body/mind, passion/intellect, and the domination/submission through her ethical and intersubjective relationship (...) with Rochester, her counterpart, rather than being an object of his desire. It is argued how Jane challenges these dualities of patriarchal society and the logic of the same by expressing her erotic nature. Where the patriarchal society tries to confine women in the patriarchal culture, Brontë develops Jane within and against those confines and allows her to experience her female desire by exploring the internal and external nature. Jane’s liberation from the dualities can be read through the lens of Irigaray’s feminine divine which focuses on women’s autonomous gendered identity and creates a balance between their passion and reason. Charlotte Brontë indicates how women are able to achieve individuality, social standing, and subjective identity by expressing their female desire. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Echoes of Romanticism and Expatriate Englishness in Charlotte Brontë's The ProfessorDavid SiglerCharlotte Brontë's many debts to Romanticism, and especially Lord Byron, are a well-known feature of her fiction. Yet only recently has this become an important part of the discussion surrounding The Professor, her first-written and last-published novel. The novel, written between 1844 and 1846 and published posthumously in 1857, is increasingly seen to be in dialogue with William (...) Wordsworth and Walter Scott, in addition to Byron. Anna Barton, seeing Brontë as "the pupil of Wordsworthian Romanticism" and "a daughter of Romanticism," shows how The Professor develops "intertextual exchanges that perform the failure of the Romantic lyric within the Victorian novel."1 Tanya Llewellyn has argued that the protagonist William Crimsworth, seemingly influenced by Byron's Turkish tales, Orientalizes the women in his life as a way to manage sexual threats.2 Mandy Swann, meanwhile, sees in Brontë's early work an ambivalent response to the Romantic figure of the poet-prophet, as part of the author's general struggle, early in her career, to theorize female creativity.3Yet in other recent accounts, William Crimsworth seems to be as un-Byronic and un-Wordsworthian as possible. Crimsworth has been said to be a "particularly off-putting" narrator, "defensive and humourless," whose "dubious masculinity," passionlessness, and, in one reading, stiflingly repressed homosexuality render him a comically overliteral thinker.4 I will suggest that this incapacity in him for meaningful human engagement is what leads him to fixate on British Romantic poetry as a solution, however backhanded, to his erotic and professional difficulties. [End Page 30] Yet as the echoes of Romanticism that haunt his erotic and professional relations quickly take on lives of their own, they enable the story, and its ethical vision, to exceed William's control. Once the novel directs its protagonist's obsessive personality in the direction of Romantic poetry, it can become an intriguing meditation on ethics, expatriate Englishness, and time.William Crimsworth is a hardworking Englishman living and working in Brussels. The city, which William finds too "cosmopolitan," becomes the site of his zealous self-exploration as he mingles, ever defensively, with the locals.5 Approaching the city like "a morning traveller," as he puts it, William must analyze his foreignness if he is to survive his own residual and aspirational Englishness.6 The phrase "morning traveller" is drawn from Robert Southey's 1798 poem "The Traveller's Return," which describes love as an echo-effect. It is a very auditory poem: Southey's "morning traveller" spends the day listening to unfamiliar sounds, until, in the evening, he hears a "distant sheep-bell," which teaches him that "sweetest is the voice of Love / That welcomes his return."7 A sheep bell is, of course, a tracking mechanism, facilitating the free movement and eventual return of sheep to a shepherd. Southey's speaker learns to grasp the hidden similarity between love and the sheep bell. Just as the sound of the bell goes away and comes back, signifying the wandering and return of livestock, the human "morning traveller" must begin to identify with it. He himself, hearing the sound, gets interpellated by it, once it becomes his objective correlative. Brontë's The Professor, in matters of love, uses Romantic poetry, including Southey's, as a similar tracking device for William. The echo it produces constantly and ambivalently connects the protagonist to England and secures his place within the ideological apparatuses of the state.Judith Butler has observed that "my own foreignness to myself is, paradoxically, the source of my ethical connection with others."8 She explains that because there are aspects of oneself that remain forever baffling and inexplicable, we should suppose that other people—who can also seem foreign and inexplicable—contain similar aporias. If their accounts of themselves are difficult for us to understand, we should recognize, through our inability to sympathize, that we too are surely baffling and that they, like us, are likely also baffling to themselves. Thus, [End Page 31] through the sheer dubiousness of understanding other people, we can achieve a kind of negative shared humanity. We all probably confront an inassimilable kernel... (shrink)

El concepto de diseminación cultural implica la introducción de un nuevo autor (lector) en la estructura circular de la creación literaria, quien lleva a cabo versiones de diversa índole influidas o basadas en la novela original. En este trabajo pretendemos que los alumnos del Grado de Estudios Ingleses puedean analizar la temática de la narrativa de Wuthering Heights de Emily Brontë tomando como referencia la adaptación de Coky Giedroy (2009).

Mary Taylor, Charlotte Bront"e's closest and lifelong friend, did indeed fulfill Bront"'s prediction in both her life and her writings. Recently, however, the authenticity of Taylor's feminist classic, Miss Miles, has been put into question. A controversy is now raging among experts and scholars of Victorian fiction over the true authorship of Miss Miles. Did Mary Taylor labor over this novel from her early womanhood until the end of her life, and offer it as her last great act of friendship (...) to women? Or is it the last work of Charlotte Bront"e, taken from her home to prevent its destruction, then published posthumously under Taylor's name? Regardless of its authorship, Miss Miles is a passionate and compelling novel, well deserving of its literary status on its own terms, and fascinating as a part of the Bront"e world. In this, the only edition of Miss Miles available, Taylor breaks with tradition by creating a profoundly feminist and morally intense novel which depicts female friendships as sustaining life and samity through the vicissitudes of Victorian womanhood. Set in the small Yorkshire village of Repton against the backdrop of starvation in the wool districts and the rise of Chartism in the 1830s, this extraordinary work chronicles the lives of four socially disparate women as they learn to find their own voices and support one another. Taylor's own courage and allegiance to her friends is wonderfully reflected in each of these individually ambitious women, while the novel's emphasis on the healing power of women's friendships echoes the relationship between Bront"e and Taylor herself. Originally published in 1890, Miss Miles continues to stand as an eloquent polemic in favor of a women's personal obligation to support herself. It is a classic that will delight all lovers of fine literature. (shrink)

Those who live in retirement, whose lives have fallen amid the seclusion of schools and other walled-in and guarded dwellings, are liable to be suddenly and for a long while dropped out of the memory of their friends, the denizens of a freer world … there falls a stilly pause, a wordless silence, a long blank of oblivion. Unbroken always is this blank, alike entire and unexplained. The letter, the message once frequent, are cut off, the visit, formerly periodical, ceases (...) to occur; the book, paper, or other token that indicates remembrance, comes no more. Always there are excellent reasons for these lapses if the hermit but knew them. Though he is stagnant in his cell, his connections without are whorling in the very vortex of life … The hermit – if he be a sensible hermit – will swallow his own thoughts, and lock up his own emotions during these weeks of inward winter… (Charlotte Brontë, Villette, 1979: 348). (shrink)

I knew I was in for trouble, that the going would be rough, when I removed the wrapper from the “Race,” Writing, and Difference issue of Critical Inquiry and observed the word “race” in quotation marks. Something deep was clearly brewing. And any doubts were quickly removed when I turned to the opening remarks of Henry Louis Gates, Jr. “Who,” he asked me, “has seen a black or a red person, a white yellow, or brown?” . There was a question (...) that spelled trouble, a glove in the face if I ever saw one. Here I was, crude, unregenerate, lacking the hypersensitivity that prevents someone like Gates from making such infra dig distinctions; here I was, daring to use words without quotation marks, actually believing that I referred to something identifiable when I spoke of black people, Americans, musicians, and whatnot, and being told that it was all just my own narcissistic and preemptive fantasy. Here I was, faced with the impossible choice of keeping permanently quiet or of perpetuating ruthless violence—of denying the individuality of all of God’s creation—not only by referring to knives, cats, my brother, or Indians, but simply by referring at all. But why, I wondered, was only the word “race” in quotation marks? Why not every single word in the entire issue of Critical Inquiry? For to refer, it seems, is to colonize, to take things over for one’s own brutal use, to turn everything else into a mere Other. There was Gates engaging in the academic’s favorite pastime, épater les bourgeois, and here was I, a hopeless bourgeois, just asking for a put-down. Harold Fromm is an independent scholar who has taught for many years in university English departments. He has published articles on Leonard and Virginia Woolf as well as on literary theory, politics, and professionalism. His most recent work concerns the Brontës. (shrink)

This book includes essays on writers from the 1840s to the 1890s, well known writers such as Anne Bronte, Wilkie Collins and Bram Stoker, lesser known writers such as Geraldine Jewsbury, Charles Reade, Margaret Oliphant, George Moore, Sarah Grand and Mary Ward. The contributors explore important thematic concerns: the relation between private and public realms; gender and social class; sexuality and the marketplace; and male and female cultural identity.

One measure of the validity of [Joseph] Frank's insight is the extent to which other versions of his ideas appear in other contexts: for if "spatial form" refers to something real, it cannot have escaped notice by other readers. One thinks, for example, of Northrop Frye's description of the critic viewing all the elements of the poem as a simultaneous array before him; or of Gaston Bachelard's evocative descriptions of The Poetics of Space. Or Pound's interest in ideographic script; or (...) the frequent critical association of modern literature with impressionist painting. Or Eliot's poet synthesizing Spinoza, the sound of the typewriter, and the smell of cookery into a unified whole. Or—at the root of it all, perhaps—Poe's insistence on the unified effect of the story or poem.1 All of these instances reflect a more or less casual assumption of the basic premise of Frank's essay. More recently another critic, Frank Kermode, has offered an alternative description of this general problem. In The Romantic Image2 he assesses symbolist poetic theory; here the verbal image , autonomous and autotelic, presumably unites meaning and feeling without intervening reflection or discourse: the "image" so hypostatized seems very close to a "spatial" form, and certainly the suppression of discourse, of reflection generally, follows from the disruption of syntax and narrative that results from the impulse toward "spatial" effects. Provisionally, we might say that Joseph Frank's essay is grounded in an essentially formalist conception of the literary work as artifact, and that the striking features of his argument result from an attempt to assimilate extended works to a theory basically lyric in its orientation: as corollary, we must assume that the modern writers he cites had themselves operationally defined the concept in the course of their writing. · 1. Northrop Frye, "Literary Criticism," in The Aims and Methods of Scholarship in Modern Languages and Literature, ed. James Thorpe , p.65. See also Fables of Identity: Studies in Poetic Mythology , p. 21. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas . Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound . T.S. Eliot, "The Metaphysical Poets," Selected Essays , p. 247. Edgar Allan Poe, review of Twice-Told Tales, in Works, 17 vols., ed. James A. Harrison 11: 104-13.· 2. Frank Kermode, The Romantic Image . William Holtz, professor of English at the University of Missouri-Columbia, is currently preparing an edition of an unpublished juvenile manuscript by Charlotte Brontë. (shrink)