Henrich et al. convincingly caution against the overgeneralization of findings from particular human populations, but fail to apply their own compelling reasoning to our nearest living relatives, the great apes. Here we argue that rearing history is every bit as important for understanding cognition in other species as it is in humans.

Utilising science and technology to maximize human performance is often an essential feature of military activity. This can often be focused on mission success rather than just the welfare of the individuals involved. This tension has the potential to threaten the autonomy of soldiers and military physicians around the taking or administering of enhancement neurotechnologies (e.g., pills, neural implants, and neuroprostheses). The Hybrid Framework was proposed by academic researchers working in the U.S. context and comprises “rules” for military neuroenhancement (e.g., (...) ensuring transparency and maintaining dignity of the warfighter). Integrating traditional bioethical perspectives with the unique requirements of the military environment, it has been referenced by military/government agencies tasked with writing official ethical frameworks. Our two-part investigation explored the ethical dimensions of military neuroenhancements with military officers – those most likely to be making decisions in this area in the future. In three workshops, structured around the Hybrid Framework, we explored what they thought about the ethical issues of enhancement neurotechnologies. From these findings, we conducted a survey (N = 332) to probe the extent of rule endorsement. Results show high levels of endorsement for a warfighter’s decision-making autonomy, but lower support for the view that enhanced warfighters would pose a danger to society after service. By examining the endorsement of concrete decision-making guidelines, we provide an overview of how military officers might, in practice, resolve tensions between competing values or higher-level principles. Our results suggest that the military context demands a recontextualisation of the relationship between military and civilian ethics. (shrink)

Cognitive neuroscience has inspired a number of methodological advances to extract the highest signal-to-noise ratio from neuroimaging data. Popular techniques used to summarize behavioral data include sum-scores and item response theory. While these techniques can be useful when applied appropriately, item dimensionality and the quality of information are often left unexplored allowing poor performing items to be included in an itemset. The purpose of this study is to highlight how the application of two-stage approaches introduces parameter bias, differential item functioning (...) can manifest in cognitive neuroscience data and how techniques such as the multiple indicator multiple cause model can identify and remove items with DIF and model these data with greater sensitivity for brain–behavior relationships. This was performed using a simulation and an empirical study. The simulation explores parameter bias across two separate techniques used to summarize behavioral data: sum-scores and IRT and formative relationships with those estimated from a MIMIC model. In an empirical study participants performed an emotional identification task while concurrent electroencephalogram data were acquired across 384 trials. Participants were asked to identify the emotion presented by a static face of a child across four categories: happy, neutral, discomfort, and distress. The primary outcomes of interest were P200 event-related potential amplitude and latency within each emotion category. Instances of DIF related to correct emotion identification were explored with respect to an individual’s neurophysiology; specifically an item’s difficulty and discrimination were explored with respect to an individual’s average P200 amplitude and latency using a MIMIC model. The MIMIC model’s sensitivity was then compared to popular two-stage approaches for cognitive performance summary scores, including sum-scores and an IRT model framework and then regressing these onto the ERP characteristics. Here sensitivity refers to the magnitude and significance of coefficients relating the brain to these behavioral outcomes. The first set of analyses displayed instances of DIF within all four emotions which were then removed from all further models. The next set of analyses compared the two-stage approaches with the MIMIC model. Only the MIMIC model identified any significant brain–behavior relationships. Taken together, these results indicate that item performance can be gleaned from subject-specific biomarkers, and that techniques such as the MIMIC model may be useful tools to derive complex item-level brain–behavior relationships. (shrink)

This article investigates the constructions of Hebrew, classical, and “Northern” antiquities put forward by an eighteenth-century network of Anglo-German scholars. It asks to what extent these constructions propose a cultural equality between these competing “antiquities”, how such equality relates to the contemporaneous conception of universal history, and to what extent this development is driven by emancipatory tendencies within Enlightenment thinking. By discussing the changing approaches to Homer, Old Testament texts, and “early” European literature, the article relates the emergence of primitivism (...) and orientalism to Enlightenment historicism and an interest in the sublime, which produces a growing focus on the importance of authentic culture and the role of the bard-poet. By discussing the connections between the work of Joseph Trapp, Thomas Blackwell, Robert Lowth, and Thomas Percy on the one hand, and Johann David Michaelis, Christian Gottlob Heyne, Johann Jakob Bodmer, and Johann Gottfried Herder on the other, the article illustrates the significance in this context of newly emerging Anglo-German scholarly networks and illuminates lesser-known aspects of Anglo-German relations in the second half of the eighteenth century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.1 (2006) 299-309 [Access article in PDF] Conscious Fiction Mary Clayton Coleman Bard College Consciousness and the Novel: Connected Essays, by David Lodge; 320 pp. Cambridge, Mass.: Harvard University Press, 2002, $24.95 boards, $16.95 paper. Fictional Minds, by Alan Palmer; 275 pp. Lincoln and London: University of Nebraska Press, 2004, $45.00. Radiant Cool: A Novel Theory of Consciousness, by Dan Lloyd; 357 pp. Cambridge, (...) Mass.: The MIT Press, 2004, $24.95 boards, $14.95 paper. What contributions can fiction make to the representation and investigation of conscious experience? Might fiction help us to develop and advance new theories about the nature of consciousness? And might such theories, in turn, inform our understanding of the process of reading fiction? Three recent volumes—one by English critic and novelist, David Lodge; another by literary theorist, Alan Palmer; and a third by philosopher and (now) novelist, Dan Lloyd—raise these important, genre-bending questions, and they offer challenging if not always convincing answers to them. More generally, these volumes make valuable contributions to the fruitful cross-pollination that has developed between philosophers, scientists, literary theorists, and novelists who are interested in the nature of consciousness.Lodge's new collection of essays is called Consciousness and the Novel: Connected Essays, and like all of the criticism he has written since the late eighties, this volume is intended for a general audience, not for [End Page 299] literary theorists. The title essay, "Consciousness and the Novel," is a revised version of the Richard Ellman Lectures in Modern Literature that Lodge gave at Emory University in 2001, and the other nine essays, all previously published, cover such topics as Howards End; the novels of Evelyn Waugh; The Letters of Kingsley Amis; Martin Amis's memoir, Experience; and the relationship between literature and criticism. I will focus on "Consciousness and the Novel."Lodge's thesis in this essay is that novels play an essential role in our exploration of the nature of human consciousness. This thesis is certainly true, but it is also entirely banal. Much more interesting is what Lodge says in support of it. He argues that because of the unique representative possibilities of the novel, conscious experiences can be represented more effectively in novels than they can be in scientific writing. Taken literally, as an assertion about the relative representational power of novels and scientific discourse, this is extremely implausible. However, taken more loosely—as an invitation to those of us interested in consciousness to take a closer look at the ways conscious experiences are represented in novels—Lodge's claim is sensible and appealing. I will consider the literal reading of Lodge's claim first and then turn to the looser one.It is undoubtedly true that, as a whole, novelists devote more energy to representing conscious experiences than writers of scientific discourse do. However, science writers can use whatever techniques best serve their aims, including the aim of describing conscious experiences, so there is no reason to think that conscious experiences can, in principle, be represented more effectively in novels than in broadly scientific discourse. Given that Lodge discusses such creative science writers as Antonio Damasio, Daniel Dennett, and Steven Pinker in the course of his essay, it is surprising and disappointing to find him caricature scientific writing in the following way: "science... is a third-person discourse. The first-person pronoun is not used in scientific papers. If there were any hint of qualia in a scientific paper... it would be edited out" (p. 11). Qualia are the supposedly subjective qualitative aspects of conscious experiences. How the plucked string of a cello sounds to you; how the rotting fish in the garbage smells to you; and how it feels for you to inch down into the smooth, almost-too-hot water of a perfect bubble bath—these are all (supposedly) examples of qualia. Lodge is simply mistaken when he says that there is no hint of qualia in scientific writing. There is no consensus about whether qualia can be explained scientifically. In fact, there is no consensus about whether they exist. [End Page... (shrink)

Professor David Stewart called upon his 30 years of teaching experience to introduce readers to the important study of faith and reason. Beginning students often find primary sources alone too difficult so this text offers primary source materials by a variety of significant philosophers–including a balanced blend of classical and contemporary authors–but the materials are supported by clearly written introductions, which better prepare readers to understand the subject matter.

David Pollard's previously unpublished poem 'Francesca da Rimini'.

In lieu of an abstract, here is a brief excerpt of the content:Ossian and the Invention of Textual HistoryKristine Louise HaugenIt is now controversial to call James Macpherson a forger or the poems of Ossian a hoax. 1 Encouraged by Derick Thomson’s 1952 demonstration that Macpherson’s Ossian indeed echoes authentic Gaelic verse, 2 a group of critics has undertaken to “rehabilitate” Macpherson, not least through a new critical edition of Ossian’s poems and related texts. 3 The edition makes it easier (...) than before to encounter Ossian directly:Morna, thou fairest of women, daughter of Cormac-Carbre? [sic] why in the circle of stones, in the cave of the rock, alone? The stream murmureth hoarsely. The blast groaneth in the aged tree. The lake is troubled before thee.... But thou art like snow on the heath. Thy hair like a thin cloud of gold on the top of Cromleach.... Thy arms, as two white pillars in the hall of Fingal. 4The authentic source of this passage seems to be the eighteenth-century commonplace that the savage and uneducated delight in figurative language, especially similes and metaphors—a commonplace enunciated often in the writings [End Page 309] of Hugh Blair, a literary critic deeply interested in Macpherson’s Ossianic productions. 5 As Harold Weinbrot and others suggest, the Ossian poems were celebrated largely because they confirmed readers’ most picturesque preconceptions about the “infancy of mankind.” 6There was room for disagreement. Many influential litterati were convinced of the poems’ antiquity, among them Goethe, Herder, Cesarotti, and a host of Scottish intellectuals. 7 But there were also detractors, mainly English—for example, Dr. Johnson and Edward Gibbon—although David Hume soon joined the skeptics, and the Scotsman Malcolm Laing issued the most crushing attack in the exchange several decades after Ossian’s first appearance in 1760. 8 The Ossian poems served a potent mixture of scholarly and political concerns, of which some were new but some were venerable. With a subtle but important shift in balance, the same mixture underlay the willingness of the most prominent eighteenth-century critics to discredit problematic texts and textual myths, even at the cost of an apparent reduction in historical knowledge. 9 For all parties Macpherson’s Ossian invited not only aesthetic delectation, but sustained thought about the relationship between early poetry and history and the value of early texts for reconstructing the past. [End Page 310]The question of British origins had preoccupied seventeenth-century antiquaries for a number of reasons, including Polydore Vergil’s unflattering Anglica Historia (first published 1546). 10 In the campaign to establish respectable national roots the Celtic druids had quickly become a kind of favorite example; they were presented early and often as heroes of British culture. The druids and their associates the bards had been described in their French setting by classical authors; William Camden, John Selden, and others transferred them easily to Celtic Britain. It was then straightforward to suggest further that the British Celts were the first discoverers of writing and philosophy, or at least discoverers concurrent with the ancient Hebrews, or both, this theory having been elaborated for the French Celts through Annius of Viterbo’s historical forgeries of 1498 and Annius’s French partisans. 11In fact this theory placed England at a disadvantage as Scotland, Ireland, and Wales had the more convincing joint claim to Celtic ancestry. Individual claims for Scotland and Ireland were frequently heard as well. The text most relevant to Ossian was the deist John Toland’s 1726 history of the druids, in which Toland both satirized the eighteenth-century clergy and argued that the ancient Celts of France and Scotland were colonists from Ireland—the original home of druidism, learning, and Toland. 12 In Toland’s version the theory made much of certain unpublished Irish manuscripts, supposedly dating from Cicero’s day and written in the “native” Irish alphabet. St. Patrick had burned hundreds of druidical religious books when he arrived in Ireland—proof that the Celts had a written language—but the bardic histories, couched in rugged verse, had escaped the evangelist’s flames. 13 Clearly, any respectable reply would need to draw on ancient manuscripts too.Even for readers unfamiliar with Toland, Macpherson’s texts... (shrink)

David Griffin and Nelson Pike recently had a spirited discussion on divine power. The essence of the discussion centered around what was labelled Premise X: “It is possible for one actual being's condition to be completely determined by a being or beings other than itself.” Pike maintains that ‘traditional’ theists have affirmed Premise X but denies that this entails that God has all the power there is and thus denies that Premise X can be considered incoherent for this reason. (...) Griffin maintains that traditional theists have as a matter of fact affirmed that God has all the power there is and then argues that, given standard Process metaphysical assumptions, to say that God has all the power there is is incoherent. Griffin succeeds in demonstrating that, given Process assumptions, God cannot determine all of the activities of any human--i.e., all of an individual’s desires, choices and actions. But Pike is primarily interested in whether God could determine all of the bodily behaviors of any given human. And to this question, Griffin gives no response. (shrink)

Blair, David Concerning David Tribe's rejoinder to my 'Science works better than that' , it's pleasing to see that there are some points on which we agree. Unfortunately he continues to make a strong and unjustified attack on the scientific community as a whole-essentially on the grounds that, of the conclusions of science that later turned out to be false, virtually all of them were at some time 'believed' by most scientists. In reply, I shall show that it (...) is his underlying framework that needs to be altered-quite radically. He does not understand what the activity of scientists is like-indeed what it has to be like, when faced with the task of extracting knowledge from the real world. (shrink)

In _Listening in the Afterlife of Data_, David Cecchetto theorizes sound, communication, and data by analyzing them in the contexts of the practical workings of specific technologies, situations, and artworks. In a time he calls the afterlife of data—the cultural context in which data’s hegemony persists even in the absence of any belief in its validity—Cecchetto shows how data is repositioned as the latest in a long line of concepts that are at once constitutive of communication and suggestive of (...) its limits. Cecchetto points to the failures and excesses of communication by focusing on the power of listening—whether through wearable technology, internet-based artwork, or the ways in which computers process sound—to pragmatically comprehend the representational excesses that data produces. Writing at a cultural moment in which data has never been more ubiquitous or less convincing, Cecchetto elucidates the paradoxes that are constitutive of computation and communication more broadly, demonstrating that data is never quite what it seems. (shrink)

David Platt believes that it may be religiously important to see God's existence as contingent. That there might have been nothing whatsoever, even though we find this conceptually impossible, points up God's contingency. The book discusses how the demands of religious adequacy may be met without recourse to divine necessity. The free gift of experience is rich with religious significance in a world without why. This probing and gentle book maintains that realization of the fragility of existence should also (...) change our domineering attitudes towards the environment. (shrink)

Explores the science and creative process behind Poe’s cosmological treatise. Silver Winner for Philosophy, 2017 Foreword INDIES Book of the Year Awards In 1848, almost a year and a half before Edgar Allan Poe died at the age of forty, his book Eureka was published. In it, he weaved together his scientific speculations about the universe with his own literary theory, theology, and philosophy of science. Although Poe himself considered it to be his magnum opus, Eureka has mostly been overlooked (...) or underappreciated, sometimes even to the point of being thought an elaborate hoax. Remarkably, however, in Eureka Poe anticipated at least nine major theories and developments in twentieth-century science, including the Big Bang theory, multiverse theory, and the solution to Olbers’ paradox. In this book—the first devoted specifically to Poe’s science side—David N. Stamos, a philosopher of science, combines scientific background with analysis of Poe’s life and work to highlight the creative and scientific achievements of this text. He examines Poe’s literary theory, theology, and intellectual development, and then compares Poe’s understanding of science with that of scientists and philosophers from his own time to the present. Next, Stamos pieces together and clarifies Poe’s theory of scientific imagination, which he then attempts to update and defend by providing numerous case studies of eureka moments in modern science and by seeking insights from comparative biography and psychology, cognitive science, neuroscience, and evolution. David N. Stamos teaches philosophy at York University in Toronto. He is the author of several books, including Darwin and the Nature of Species, also published by SUNY Press. (shrink)

How do we know when what is happening between two people should be called psychoanalysis? What is a psychoanalytic process and how do we know when one is taking place? _Psychoanalysis Comparable and Incomparable_ describes the rationale and ongoing development of a six year programme of highly original meetings conducted by the European Psychoanalytic Federation Working Party on Comparative Clinical Methods. The project comprises over seventy cases discussed by more than five hundred experienced psychoanalysts over the course of sixty workshops. (...) Authored by a group of leading European psychoanalysts, this book explores ways for psychoanalysts using different approaches to learn from each other when they present their work to fellow psychoanalysts, and provides tools for the individual practitioner to examine and improve his or her own approach. As described in detail in its pages, sticking to the task led to some surprising experiences, raising fundamental questions about the way clinical discussion and supervision are conducted in psychoanalysis. Well known by many in the psychoanalytic community and the object of much interest and debate, this project is described by those who have had the closest contact with it and will satisfy a widely held curiosity in psychoanalysts and psychotherapists throughout the world. David Tuckett is winner of the 2007 Sigourney Award. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.3 (2003) 473-476 [Access article in PDF] Metamorphoses and Metamorphosis:A Brief Response David H. Porter Like Joseph Farrell, I found much to admire in Mary Zimmerman's Metamorphoses, 1 but I nonetheless left the theater disappointed. Given all that the play—and this production—had to offer, what was it that I looked for but did not find? Excerpts from the foreword to Cesare Pavese's Dialogues with (...) Leucò suggest an answer: What is more acutely disturbing than to see familiar stories troubled into new life?... The surest, and the quickest, way for us to arouse the sense of wonder is to stare, unafraid, at a single object. Suddenly—miraculously—it will look like something we have never seen before. 2For me, what Pavese describes did not happen in Metamorphoses: I found the play an imaginative retelling of Ovid, but I'd been hoping for a true metamorphosis. In terms of the play's most famous feature, the pool of water that serves as a central stage, I felt most of the time that figures I knew from Ovid were playing out their expected roles around and in this pool. My hope had been that this brilliant theatrical innovation might mirror a play in which Ovid's tales themselves take on liquid freedom and fluidity, plunging, as it were, into this central metaphor to emerge changed, unexpected, reborn.The distinction I draw is one I've found useful both in assessing modern versions of ancient myth for myself and in teaching such works. 3 Readers will undoubtedly vary widely as to their favorites among the growing list of such versions, but I expect most would agree that a handful, including perhaps Joyce's Ulysses, Rilke's Sonnets to Orpheus, [End Page 473] Strauss's Elektra, Yeat's "Leda and the Swan," and Picasso's "Guernica," fall into a special category: different as they are in genre, style, and approach, all strike us as works of artists who have so inhabited a myth, so made it part of themselves—and themselves part of it—that what emerges is totally their own, totally transformed: a re-creation. With each we feel that never before have we experienced the myth this way, and that never again will the myth be quite the same for us—precisely what a New York Times reviewer wrote about a version of Medea that was playing at the Classical Theater of Harlem in April 2002: "I suspect that no matter how many versions I see in the future, my perception of them all will be affected by the revelations here." 4Again, this is the sort of reaction that Metamorphoses, for all its virtues, did not elicit in me, and I would extend this exclusion to most other modern reworkings of ancient myth—among them Pavese's own Dialogues with Leucò, which, despite the penetrating insights of his foreword, strike me the same way—as charming, distinctive retellings, not revelations. The issue, I think, has to do with the depth and degree of an artist's immersion in a myth, something that goes well beyond the superficial test of how far the artist diverges from "the original." Eliot's and O'Neill's myth-based plays, for instance, or a novel like Updike's The Centaur, make radical changes in the names and settings of the ancient myths, but in contrast to Joyce's Ulysses, the changes feel artificial, incompletely realized—transpositions rather than transformations. In contrast, Odilon Redon's painting of Polyphemus as a mountainous crag from which a huge voyeuristic eye peers out springs directly from an image in the Odyssey—and yet has a nightmare quality that is indeed "like something we have never seen before." 5A musical analogy may be useful. Listeners reported that when Franz Liszt played Beethoven, he gave the impression at each performance [End Page 474] that he was creating the music anew. 6 And Edward Steuermann, Arnold Schoenberg's long-time colleague, once wrote, "Is not music, the great music, so much alive because it was... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Erictho and Demogorgon: Poetry against Metaphysics DAVID QUINT Epic without the gods? The Roman poet Lucan (39–65 ce) created a secular counter-epic inside classical epic, removing the genre’s usual pantheon of Olympian deities and replacing them with Fortune. His Bellum civile (titled De bello civili in manuscripts, alternately titled Pharsalia) a poem about the conflict between Julius Caesar and Pompey, thereby delegitimizes the emperors who succeeded the dying (...) Roman republic, including Nero, the reigning emperor of Lucan’s day.1 They are not part of a divine plan: no such plan has ever existed. In an epic where the gods are silent or refuse to speak, Pompey’s son, Sextus, anxious to know the future, has to seek other means. In Book 6, he consults the Thessalian witch Erictho about the outcome of the approaching battle in Pharsalia. She reanimates the corpse of a dead soldier on Pompey’s republican side and makes it talk (BC 6.419–830).2 Lucan’s scene of necromancy gave birth to a major antimetaphysical strain in the European literary tradition. Among others, Dante, Cervantes, Marlowe, Spenser, Goethe, and Shelley confronted this episode of the Pharsalia and pondered its implications. Erictho’s magic is a figure for poetic making itself. It turns the supernatural into theater— the divine machinery of epic exposed as a deus ex machina— and these authors’ responses to Erictho will shift from epic into dramatic forms. In place of the gods, in place of the epic visit to the underworld, particularly in place of and in response to Aeneas’s trip to the realm of the dead arion 28.2 fall 2020 2 erictho and demogorgon in the corresponding Book 6 of the Aeneid, Lucan presents Erictho’s macabre performance: human witchcraft and intimations of an alternate, eerie numen residing in the earth, a force of nature. Subsequent readers would give this latter power a name: Demogorgon.3 Lucan links republicanism and freedom to a kind of atheism and to historical contingency. He unmasks and strips the props of religion from Caesarism and monarchy. (In vain for the poet: Lucan was forced to commit suicide in 65 ce, after he was implicated in the failed Pisonian conspiracy against Nero.) Lucan desacralizes poetry itself, which here confesses its limits, which are the limits of human mortality, even as Erictho seems, however briefly, to overcome them. No, poetry cannot literally raise the dead: it is a magic trick that makes the words on the page form into images, take life, and speak to us. Lucan answers the criticisms the philosopher and theologian make to poetry by openly acknowledging the false bottom of the hat from which poetry pulls its rabbits. It has no access to a real bottom, an underworld beyond death; it is all representation.4 The philosopher and the theologian may be poets no less than he is, but they do not want to know it, too busy, perhaps, in supporting tyranny over human minds and bodies. Plato and Augustine are two such critics on either historical side of Lucan, and they help us to understand the stakes of the Roman poet’s project. Both were dissatisfied with literature and they wanted to be something more than the great rhetoricians that they were. In the Symposium, Plato demystifies the archetypal myth of poetry, the singing of Orpheus that sought to bring Eurydice back from death: the gods sent Orpheus away from Hades empty-handed and showed him the mere shadow [eidolon] of the woman he had come to seek: Eurydice herself they would not let him take, because he seemed, like the mere minstrel that he was, to be a lukewarm lover, lacking the courage to die as Alcestis died for love, and choosing rather to scheme his way, living, into Hades. And it was for this that the gods doomed him, and doomed him justly, David Quint 3 to meet his death at the hands of women. (179d)5 Behind the words of his shallowly sentimental speaker Phaedrus we can detect Plato’s familiar hostility to poetry, his objection in Book 10 of the Republic that the poet merely imitates the appearances of things and is... (shrink)

From his first publication, the Tractatus, to the posthumous publication of the Philosophical Investigations Wittgenstein draws attention to the way in which surface grammatical similarities mask underlying grammatical diversity. In the Tractatus he writes.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.2 (2000) 187-191 [Access article in PDF] Book Review Memory, Identity, Community: The Idea of Narrative in the Human Sciences Memory, Identity, Community: The Idea of Narrative in the Human Sciences. Ed. Lewis P. Hinchman and Sandra K. Hinchman. Albany: SUNY Press, 1997. Pp. 393. $59.50, cloth; $19.95, paperback. According to its editors, the point of this anthology of previously published essays is to "illustrate the (...) ways in which 'narrative' has been used as an organizing concept in the human sciences over the last few decades" (ix). They argue that a "paradigm shift" is occurring in the human sciences, "one that leads away from nomological models and toward a more humanistic language and approach, in which narratives are central." Accordingly, the collection features essays about narrative written by authors who represent fields as disparate as philosophy, history, sociology, anthropology, psychology, religion, law, gender studies, political science, speech communication, and environmental studies. The collection reprints a few essays that are well known within the humanities. For example, the Hinchmans include an excerpt from Alasdair MacIntyre's After Virtue (1981), as well as Gertrude Himmelfarb's often-reprinted attack on social history, entitled "History With the Politics Left Out."As their title indicates, the editors divide their collection into three sections entitled "Memory," "Identity," and "Community." Their rationale for this division is that memory serves humans as a narrative stream that makes sense of the otherwise inchoate data given by experience. The narrative structured by memory produces what the Hinchmans call identity. Identity in its turn is influenced by narratives that circulate in the communities in which an individual exists. This collection aims to demonstrate that narrative plays a fundamental role within all three of these conceptual categories. The Hinchmans put it this way: As historians, social scientists, or (for that matter) prophets and bards weave narratives of the second order--stories that connect the individual mind to the social world--they create artifacts that soon take on a life of their own. These stories, told and retold, furnish the stock from which individual life narratives can be constructed. In other words, the story of an individual life usually plays off of one or more historically and socially transmitted narratives, which serve as prototypes of the elaboration of personal identity. Narrative theory is thus always implicitly a theory of how communities are formed and maintained, and how individuals are drafted into available social roles. (xxii-xxiii) [End Page 187]Each of the three major sections contains one or two theoretical essays, as well as two or three more that consider ways in which the concepts of memory, identity, and community play out in specific disciplinary contexts. For example, the section on community is introduced with MacIntyre's meditation on the relation of narrated selves to communities. It contains a theoretical essay by Edward M. Bruner on the malleability of community narratives, entitled "Ethnography as Narrative," and Walter Fisher's "Narration, Reason, and Community." Philip Abbott examines the use of narrative in political theory in an essay entitled "Storytelling and Political Theory," while Jim Cheney demonstrates the fruitfulness of communal narrative to environmental rhetoric in "Postmodern Environmental Ethics: Ethics as Bioregional Narrative." (Cheney's is the most intriguing piece in the collection).The editors introduce each section of the collection with brief essays that raise interesting questions. For example, introducing the section called "Memory," they ask: "Is the past something that can be reconstructed, on the basis of memories, or can it only be constructed?" and "Is there such a thing as prereflective, prenarrative, unemplotted experience, or does all experience possess at least an implicit narrative structure?" (1-2). Two of the essays collected under this head, David Carr's "Narrative and Real World: An Argument for Continuity" and Stephen Crites's "The Narrative Quality of Experience," are theoretical attempts to answer these questions. Other essays in this section investigate the role played by memory and narrative in the construction of specific discourses. W. Lance Bennett examines the role played by storytelling in criminal trials, and Misia... (shrink)

Despite the supreme political and economic significance of boundaries--and ongoing challenges to existing national boundaries--scant attention has been paid to their ethics. This volume explores how diverse ethical traditions understand the political and property rights reflected in territorial and jurisdictional boundaries. It is the first book to bring together thinkers from a range of traditions, both religious and secular, to discuss the ethics of boundaries. Each contributor represents a tradition's views on questions surrounding the use of boundaries to delimit property (...) and political rights. What does it mean to own something? What resources should not be privately owned? What justifies the erection of political boundaries between one people and another? How ''hard'' should such boundaries be? What rights extend to minorities within a state? Should territorial boundaries coincide with social ones? Does national autonomy have an ethical basis, or is it an aspect of modern power politics? Should we aim for a more inclusive community than that afforded by modern nation-states? Cross-chapter dialogue and a substantive conclusion draw out similarities and differences among the traditions represented, traditions that include Christianity, classical liberalism, Confucianism, international law, Islam, Judaism, liberal egalitarianism, and natural law. In addition to the editors, the contributors are Nigel Biggar, Joseph Boyle, Joseph Chan, Russell Hardin, Will Kymlicka, Loren Lomasky, Robert McCorquodale, Richard B. Miller, David Novak, Sulayman Nyang, Michael Nylan, Raul C. Pangalangan, Daniel Philpott, Jeremy Rabkin, Hillel Steiner, M. Raquibuz Zaman, and Noam J. Zohar. (shrink)

Pascoe, David The notion of stewardship is an emerging reality in the Catholic Church,1 albeit somewhat confined to some Western localities, particularly the USA, and also developing in the Australian context. While the notion is not new to the wider Christian Church, there remain questions as to the theological foundation for stewardship as a principle of Christian living in its Catholic context. There is, for example, a question of how stewardship is a lived reality for the people who are (...) the Catholic Church, when stewardship is understood as giving expression to the nature and mission of the church. If, as the Second Vatican Council teaches, the one sole purpose of the church is 'that the kingdom of God may come and the salvation of the human race may be accomplished' (GS 45), how does stewardship play a part in accomplishing this purpose? And, perhaps more importantly, there is the question what is it about stewardship in our time that presents the Church with a renewed impetus to take up its central purpose as noted in Gaudium et spes, with more deliberate vigour? (shrink)

Perhaps the best way to understand Harold Bloom's enigmatic theory of "poetic misprision" is to avoid the immanent critique altogether. It is best described, rather , as a synthesis. Bloom seems to have taken Aristotle's mimesis and linked it to Freud's concept of sublimation,1 with particular emphasis on the role that sublimation plays in "the family romance." Even if one were to hedge a bit and take into account the fact that neo-Freudian re-evaluations of orthodox psychoanalysis have succeeded in extracting (...) the purely sexual component out of the psychodynamics of sublimation, one is still left with the notion of sublimation as anxiety producing. Thus it is that, according to Bloom, the modern poet, in particular, sublimates his imitation of a strong precursor poet. Since the emphasis today is on desexualizing libido, Freud's original sexual vocabulary seems to have survived for its metaphorical value alone; the "unconscious fear of castration," for example, is simply a metaphor for "the poet's fear of ceasing to be a poet," a man's fear of ceasing to be a man. No matter how much we "modernize" Freud, the fact will always remain that the psychoanalytic context is the context of psychopathology: "a variety of the uncanny." · 1. See Sigmund Freud, Three Contributions to the Theory of Sex, in The Basic Writings of Sigmund Freud, ed. and trans. A. A. Brill , pp. 625-26. David D. Cooper is an associate in the department of English at the University of California, Santa Barbara. Using the critical paradigm developed in the present essay, he has written a book on Thomas Merton's poetry. See also: "Poetry, Revisionism, Repression" by Harold Boom in Vol. 2, No. 2; "Formalism, Savagery, and Care; or, The Function of Criticism Once Again" by Jerome J. McGann in Vol. 2, No. 3. (shrink)

Jacques the Fatalist is Diderot's answer to the problem of existence. Where are Jacques and his Master going? Are they simply occupying space, living mechanically until they die, believing erroneously that they are in charge of their Destiny? In the introduction to this brilliant new translation, David Coward explains the philosophical basis of Diderot's fascination with Fate and shows why Jacques the Fatalist pioneers techniques of fiction which, two centuries on, novelists still regard as experimental.

Seeing, really seeing, is like meditation. In a world filled with distraction, seeing mindfully is a way to pay attention, to hit pause and find calm by focusing on what’s directly in front of us. See Your Way to Mindfulness is a gift book of inspiration and instruction to help readers open their eyes—and their “I’s.” Written by David Schiller, author of the national bestseller The Little Zen Companion, it’s a collection of quotes, prompts, exercises, meditations—married with photographs and (...) drawings that bring the words to life. The quotes are from artists, Buddhists, philosophers, poets, and more, all centered on the theme of how “The real voyage of discovery consists not in seeking new landscapes, but in having new eyes” (Marcel Proust). The short, playful exercises and prompts—like Seeing in the Rain, Eye Spy with My Open I, Spend 30 Minutes Taking a Five-Minute Walk, Get Lost—are designed to disrupt routine and inspire readers to see for themselves. Some of the exercises involve drawing, writing, and taking photographs, opening a path to creativity as well as showing how to engage in the moment. Think of it as the Zen of seeing—a new way to look at the world afresh and rediscover joy in the everyday. (shrink)

In these series of letters which David Scott wrote to Stuart Hall following his death Scott characterizes Hall's voice and his practice of speaking, listening, and generosity as the foundational elements of Hall's intellectual work.".

The core question behind this Frontiers research topic is whether explaining linguistic phenomena requires appeal to properties of human cognition that are specialized to language. We argue here that investigating this issue requires taking linguistic research results seriously, and evaluating these for domain-specificity. We present a particular empirical phenomenon, bound variable interpretations of pronouns dependent on a quantifier phrase, and argue for a particular theory of this empirical domain that is couched at a level of theoretical depth which allows its (...) principles to be evaluated for domain-specialization. We argue that the relevant principles are specialized when they apply in the domain of language, even if analogs of them are plausibly at work elsewhere in cognition or the natural world more generally. So certain principles may be specialized to language, though not, ultimately, unique to it. Such specialization is underpinned by ultimately biological factors, hence part of UG. (shrink)

Lectures on law presented by the author to students. The text represents a significant contribution to American legal literature & was an important text relied upon by lawyers of the day. Bibliographic Reference: Warren, HISTORY OF THE AMERICAN BAR 356 (1911).

Long before the current dispute in the USA about the teaching of evolution, Hume's dialogues presented and critically analyzed the idea of intelligent design. What should we teach our children about the creation of the world? What should we teach them about religion? The characters Demea, Cleanthes, and Philo passionately present and defend different answers to that question. Demea opens the dialogue with a position derived from René Descartes and Father Malebranche — God's nature is a mystery, but God's existence (...) can be proved logically. Cleanthes attacks that view, both because it leads to mysticsm and because it attempts the impossible task of trying to establish existence on the basis of pure reason, without appeal to sense experience. As an alternative, he offers a proof of both God's existence and God's nature based on the same kind of scientific reasoning established by Copernicus, Galileo, and Newton. Taking a skeptical approach, Philo presents a series of arguments that question any attempt to use reason as a basis for religious faith. He suggests that human beings might be better off without religion. The dialolgue ends without genuine agreement among the characters, justifying Hume's choice of dialogue as the form of presentation. (shrink)