Few figures of the Middle Ages command the attention of so many modern disciplines as Robert Grosseteste (c. 1170-1253). Theology, Philosophy, History, and Science are all areas which his life and thought continue to have significance and to inspire re-interpretation. Accompanied by a series of original commentaries, this new edition of Grosseteste's work, with English translation, draws together the perspectives of modern scientists and medieval specialists. Volume I of a six volume series, Knowing and Speaking presents two of the earliest (...) of Grosseteste's works, the treatises On the Liberal Arts and On the Generation of Sounds. These are accompanied by a significant Middle English treatise on the Seven Liberal Arts whose anonymous fifteenth-century author translated and excerpted passages from Grosseteste's treatises in a re-imagining of their structure and function.0Each work is treated separately within the volume, which is constructed in three parts. On the Liberal Arts sets Grosseteste's thoughts on the arts subjects and emphasises moral concerns about the purpose of learning. On the Generation of Sounds builds on the theories and statements of On the Liberal Arts in connection to the production of sound, elaborating the earlier position, relating the generation of sounds to human vocal and speech production. (shrink)

This book is a collection of secondary essays on America's most important philosophic thinkers—statesmen, judges, writers, educators, and activists—from the colonial period to the present. Each essay is a comprehensive introduction to the thought of a noted American on the fundamental meaning of the American regime.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Citation and Modernity: Derrida, Joyce, and BrechtHarvey L. HixCitation and Modernity: Derrida, Joyce, and Brecht, by Claudette Sartiliot; xiii & 173 pp. Norman: University of Oklahoma Press, 1993, $15.95 paper.Claudette Sartiliot argues that “the traditional definition of citation” is “inadequate and outmoded” (p. 15). It no longer applies to modernist and postmodernist writers, for whom “quotation represents a definite break with the tradition as well as a means (...) of questioning the nature of the literary text” (p. 3). The traditional definition, derived from classical rhetoric, limits quotation to the purpose of illustration and ornament. In contrast, modernist and postmodernist citational practices, having abandoned the typographical separation of the quotation from the “main” text, question “the concept of text as an autonomous entity” and replace the idea of a book “by the more unbounded word discourse” (p. 20).To illustrate her point, Sartiliot appeals first to Derrida’s Glas, which “relies on citation to such an extent that it can serve as a paradigm for a theory of quotation” (p. 35). By juxtaposing two columns of text and by extensive quotation, Derrida (a) links quotation with violence and with sexual penetration, (b) stages “a game of appearance and disappearance” through which he evades the reader’s attempts to “pin him down” (p. 42), (c) reveals that words contain within themselves other words, (d) blurs boundaries between languages and disciplines, and (e) “demonstrates how meaning is generated through an aleatory scattering of semes” (p. 57).Sartiliot also attends to Joyce and Brecht, who achieve similar ends through their citational practices: “both have elevated ‘plagiarism’ to the level of originality” and both “have shown that writing is always and inevitably quoting” (p. 75). Because everything in Finnegans Wake is a quotation—even the characters—Joyce undercuts meaning: a text without boundaries cannot be ingested. Finnegans Wake is like quantum physics: “neither intimated that God was dead, but both confronted the world with a model of representation that intimated that ‘God played dice’” (p. 84).Brecht’s characters, like those of Finnegans Wake, are quotations rather than originals: “empty signifiers” whose very names are not their own, they challenge “the bourgeois myth of the identity and continuity of the subject” (p. 130). [End Page 367] As Copernicus removes humanity from the center of the universe and Marx removes humanity from the center of history, so Brecht removes humanity from the center of theatrical representation, revealing that “the subject as a fully present identity and entity” is delusory, and humanity is “a linguistic (and thus political) construct” (p. 124). In sum, by their citational practices Derrida, Joyce, and Brecht question “the notions of origin, closure, and authorship associated with the conception of the book” (p. 124).Citation and Modernity contains moments of insight. For instance, Sartiliot says of Finnegans Wake that “while Joyce was doing away with quotation marks in his own texts, he was forcing his critics to surround most of their critical terms with quotation marks, as a sore sign [sic] of their inability to find the right word to describe what he was doing” (p. 75). In other respects, however, her book is not satisfying. The most obvious problem is that her own citational practices contradict her thesis. After writers like Derrida, Joyce, and Brecht, she says, we can no longer return to traditional quotation based on classical rhetoric, yet her own quotation is strictly traditional: it illustrates and ornaments, and maintains a clear distinction between her own words and those belonging to someone else.There are other failures to live up to the book’s own standards. Sartiliot claims that the chief purpose of quotation is to attack the authority of the quoted father, to “subvert the notions of filiation and tradition” (p. 149) and “eclipse the precursor” (p. 8), yet her own book steadfastly upholds filiation and tradition. From the cover, which makes much of her having been a student of Derrida, to the pervasive jargon (totalization, hymen, logocentrism, dissemination, etc.), the book defers all too consistently to the authority of its father, and consequently fails to challenge its readers.Harvey L. HixKansas City Art InstituteCopyright © 1995 The Johns Hopkins University Press... (shrink)

S. Adams, W. Ambrose, A. Andretta, H. Becker, R. Camerlo, C. Champetier, J.P.R. Christensen, D.E. Cohen, A. Connes. C. Dellacherie, R. Dougherty, R.H. Farrell, F. Feldman, A. Furman, D. Gaboriau, S. Gao, V. Ya. Golodets, P. Hahn, P. de la Harpe, G. Hjorth, S. Jackson, S. Kahane, A.S. Kechris, A. Louveau,, R. Lyons, P.-A. Meyer, C.C. Moore, M.G. Nadkarni, C. Nebbia, A.L.T. Patterson, U. Krengel, A.J. Kuntz, J.-P. Serre, S.D. Sinel'shchikov, T. Slaman, Solecki, R. Spatzier, J. Steel, D. Sullivan, S. (...) Thomas, A. Valette, V.S. Varadarajan, B. Velickovic, B. Weiss, J.D.M. Wright, R.J. Zimmer. (shrink)

1. Transfer principles from N to On. A. Mahlo cardinals. B. Weakly compact cardinals. C. Ineffable cardinals. D. Ramsey cardinals. E. Ineffably Ramsey cardinals. F. Subtle cardinals. G. From N to (...) 4. Decidability of statements on N. 5. Decidability of statements on shrink)

This essay explores a tragic event that happened in China, which garnered much attention, the Li case: a young woman who was nine months pregnant and her baby died as a result of the failure to receive a medically necessary c-section due to the hospital having failed to secure her family's consent for the c-section. Differing from some critiques, this essay argues that the Li case should not be used to blame the Confucian family-determination model that has been applied in (...) Chinese society for thousands of years. Based on summarizing the reasons supporting the model, this essay indicates that it is an integral part of the model that, in emergency or special cases, the physician must take medical action to save the patient, without the need to secure the consent of a family member. In order to prevent tragic cases like the Li case from happening, we recommend that relevant Chinese laws be further developed and specified and that, most importantly, Chinese physicians must cultivate the Confucian virtue of benevolence in their practice of taking care of patients in a virtuous way, along with patients’ families. (shrink)

David Ricardo was a hugely influential British political economist and stock trader. This volume, first published in 1923, contains five important pamphlets published by him, edited and with an overarching introductory essay by E. C. K. Gonner. Each essay relates either to monetary and financial subjects - including the high price of Bullion, monetary theory and the position of the Bank of England - or to the agricultural conditions of Britain and proposed solutions to the problems discussed. This is a (...) fascinating and detailed work, which will be of great value to those with an interest in Ricardo’s theories and British economic history. (shrink)

In R. C. Flickinger's (3rd ed. second impression 1929) we read on pp. 171In the iambic trimeters written by Aeschylus a trisyllabic substitution (tribrach, anapaest or dactyl) for the pure disyllabic iambus occurs only once in about twenty-five verses.Tragic Drama of the Greekstrimeters’ lines like.

It has frequently been observed that the Prometheus Vinctus shows certain Sophoclean characteristics of rhythm. In order to vary the rhythm of his iambics and to avoid monotony, Sophocles often knits consecutive trimeters closely together by placing at the end of one line some word which looks forward to the next line, and so precludes the reader from stopping for the natural pause after the sixth foot. Sometimes he uses in this way subordinating words which introduce a dependent clause in (...) the next line ; sometimes proclitics or quasi-proclitics. (shrink)

Wigner time reversal implemented by antiunitary transformations on the wavefunctions is to be refined if we are to deal with systems with internal symmetry. The necessary refinements are formulated. Application to a number of physical problems is made with some unexpected revelations about some popular models.