Inflammatory mediators have an established role in inducing insulin resistance and promoting hyperglycemia. In turn, hyperglycemia has been argued to drive immune cell dysfunction as a result of mitochondrial dysfunction. Here, the authors review the evidence challenging this view. First, it is pointed out that inflammatory mediators are known to induce altered mitochondrial function. In this regard, critical care patients suffer both an elevated inflammatory tone as well as hyperglycemia, rendering it difficult to distinguish between the effects of inflammation and (...) hyperglycemia. Second, emerging evidence indicates that a decrease in mitochondrial respiration and an increase in reactive oxygen species (ROS) production are not necessarily manifestations of pathology, but adaptations taking shape as the mitochondria is abdicating its adenosine triphosphate (ATP)‐producing function (which is taken over by glycolysis) and instead becomes “retooled” for an immunological role. Collectively, these observations challenge the commonly held belief that acute hyperglycemia induces mitochondrial damage leading to immune cell dysfunction. (shrink)

1. In his paper “On Denoting” Russell points out what he calls a puzzle every satisfactory theory of denoting will have to solve. Of the three sentences George IV. wished to know whether Scott was the author of WaverleyScott is the author of WaverleyGeorge IV. wished to know whether Scott was Scott the first two, and, are presumably true, while the third,, is presumably false. The reason given for considering this arrangement of truth values a puzzle is that the ‘is’ (...) in signifies identity; that the proper name ‘Scott’ and the descriptive phrase ‘the author of Waverley’ denote the same object; and that, therefore, if the latter is replaced by the former in the true sentence, the resulting sentence,, should again be true. Yet is false, or, as one also says, the context considered is nonextensional with respect to this replacement. (shrink)

This book approaches Hegel from the standpoint of what we might call the question of knowledge. Hegel, of course, had no "theory of knowledge" in the narrow and abstract sense in which it has come to be understood since Locke and Kant. "The examination of knowledge," he holds, "can only be carried out by an act of knowledge," and "to seek to know before we know is as absurd as the wise resolution of Scholasticus, not to venture into the water (...) until he had learned to swim. " * While Hegel wrote no treatise exclusively devoted to epistemology, his entire philosophy is nonetheless a many-faceted theory of truth, and thus our title - Beyond Epistemology - is meant to suggest a return to the classical meaning and relation of the terms episteme and logos. I had originally planned to include a lengthy introduction for these essays, setting out Hegel's general view of philosophic truth. But as the papers came in, it became clear that I had chosen my contributors too well; indeed, they have all but put me out of business. In any case, it gives me great pleasure to have been able to gather this symposium of outstanding Hegel scholars, to provide for them a forum on a common theme of great importance, and especially, thanks to Arnold Miller, to have Hegel himself among them. Frederick G. Weiss Charlottesville, Va. • The Logic of Hegel, trans. from the Etu;yclopaedta by William Wallace. 2nd ed. (shrink)

The plan for this volume emerged during the international Leipzig conference commemorating the centenary of the death of Gustav Fechner.

Die neue Edition der Vorlesungen über die 'Philosophie der Weltgeschichte' stellt den Versuch dar, eine einzige der gehaltenen Vorlesungen aus drei Manuskripten unterschiedlicher Qualität möglichst authentisch zu rekonstruieren und bietet somit erst die Möglichkeit, sich wissenschaftlich mit der systematischen Konzeption der Hegelschen Geschichtsphilosophie zu beschäftigen. Der Band enthält zusätzlich einen umfangreichen Anmerkungsteil über die orientalische Welt, in dem ausführlich die zum großen Teil schwer zugänglichen Quellen nachgewiesen worden sind, die Hegel als Material für seine Vorlesung benutzt hat.

Die Homerische Odyssee in der ursprünglichen Sprachform wiederhergestellt von August Fick. Göttingen, 1883.Die Homerische Ilias nach ihrer Entstehung betrachtet wad in der ursprünglichen Sprach-form wiederliergestellt von August Fick. Göttingen, 1885–1886.Philologus, xliii. 1. Dr. K. Sittl, ‘Die Äolismen der Hornerischen Sprache.’ ‘Herr Dr. Karl Sittl und die Hornerischen Äolismen’ von DR. Gustav Hinrichs. Berlin, 1884.Bezzenberger's Beiträge zur Kunde der Indogerm. Sprachen. Vol. xi. ‘Die Sprachform der altionischen und altattischen Lyrik.’ A. Fick.

On s’interroge, dans ce livre, sur la façon dont les peuples sont représentés : question indissolublement esthétique et politique. Les peuples aujourd’hui semblent exposés plus qu’ils ne l’ont jamais été. Ils sont, en réalité, sous-exposés dans l’ombre de leurs mises sous censure ou – pour un résultat d’invisibilité équivalent – sur-exposés dans la lumière artificielle de leurs mises en spectacle. Bref ils sont, comme trop souvent, exposés à disparaître. À partir des exigences formulées par Walter Benjamin (une histoire ne vaut (...) que si elle donne voix aux « sans noms ») ou par Hannah Arendt (une politique ne vaut que si elle fait surgir ne fût-ce qu’une « parcelle d’humanité »), on interroge ici les conditions d’une possible représentation des peuples. Cela passe moins par l’histoire du portrait de groupe hollandais et des « portraits de troupes » totalitaires que par l’attention spécifique accordée aux « petits peuples » par les poètes (Villon, Hugo, Baudelaire par exemple), les peintres (Rembrandt, Goya ou Gustave Courbet), les photographes (Walker Evans, August Sander ou, pour un exemple contemporain, Philippe Bazin). Le cinéma, quant à lui, nomme figurants ces « petits peuples » devant lesquels agissent et s’agitent les « acteurs principaux », les stars comme on dit. D’où que les figurants incarnent un enjeu crucial, historique et politique, du cinéma lui-même, depuis sa naissance – La Sortie des usines Lumière – jusqu’à ses élaborations modernes chez Eisenstein et Rossellini, et bien au-delà encore. Une longue analyse est ici consacrée au travail de Pier Paolo Pasolini, à sa façon de retrouver les « peuples perdus » dans leurs « gestes survivants », selon un processus que permettent d’éclairer les analyses d’Erich Auerbach (pour les formes poétiques), d’Aby Warburg (pour les formes visuelles) et d’Ernesto De Martino (pour les formes sociales). Sans oublier quelques exemples plus contemporains, tel que le film du Chinois Wang Bing intitulé, précisément, L’Homme sans nom. (shrink)

Modernism has been a celebration of the present. Why does it need a legacy ? Why should that which was born in the spirit of rebellion perpetuate itself as tomorrow’s past? Modernism has been profoundly reflective of late nineteenth- and twentieth-century cultural values. Is that not enough? It is not that modernism has forgotten the past—an art that rebels against its past must understand its adversary—but rather that it asks us not to forget the present. The revolt of modernism was (...) made possible, if not inevitable, by the rediscovery of the past. In earlier, eras, when the past was less readily accessible, artists worked for their present with little thought about their heritage. Renaissance composers, for example, generally knew little of music even two generations old; much medieval music theory and composition were based on misconceptions of Greek models. Yet by the nineteenth century, works from the past were available and understood. Virtually all composers agreed with Johannes Brahms, who reputedly said of Ludwig van Beethoven, “You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us.” Historical consciousness had entered the arts, and artists were both threatened by competition with the past and seduced by the powerful idea that their works might outlive them. The Romantic artist became a genius speaking to posterity. Gustav Mahler was not the only Romanticist to pin his hopes on the future: “My time will yet come.” Small wonder that, once the future came to be, its artists rebelled against pronouncements from their past—the time rightfully belonged to them and no longer to Mahler’s generation. While many twentieth-century artists continued to create for their future, the most extreme modernists rejected not only their past but also the quest for immortality. They have written of their day and for their day. The real legacy of modernism is that it has no legacy. Jonathan D. Kramer is professor of music theory and composition at the College-Conservatory of Music at the University of Cincinnati and also program annotator and new music advisor of the Cincinnati Symphony Orchestra. He is currently working on Time and the Meanings of Music . His previous contribution to Critical Inquiry, “New Temporalities in Music,” appeared in Spring 1981. (shrink)

Erving Goffman's distinctive contribution to an understanding of others was grounded in his information control and ritual models of the interaction process. This contribution centered on the forms of the interaction order rather than self-other relations as traditionally conceived in phenomenology. Goffman came to phenomenology as a sympathetic but critical outsider who sought resources for the sociological mining of the interaction order. His engagement with phenomenological thinkers (principally Gustav Ichheiser, Jean-Paul Sartre and Alfred Schutz) has to be understood in (...) these terms. The article traces basic differences in analytical focus through a range of phenomenological critiques of Goffman and a comparison of salient aspects of Schutz's and Goffman's writings. While the contrasts have perhaps been overplayed, I conclude that Goffman's thinking about others probably owed more to his pragmatist roots than to his later encounters with phenomenology. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw (...) inspiration and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

The excellent commentaries to our target paper hint upon three main issues, spatiotemporal neuroscience; neuro-mental relationship; and mind, brain, and world relationship. We therefore discuss briefly the history of Spatiotemporal Neuroscience. Distinguishing it from Cognitive Neuroscience and related branches, Spatiotemporal Neuroscience can be characterized by focus on brain activity, spatiotemporal relationship, and structure. Taken in this sense, Spatiotemporal Neuro-science allows one to conceive the neuro-mental relationship in dynamic spatiotemporal terms that complement and extend their cognitive characterization. Finally, more philosophical issues (...) like the need to dissolve the mind-body problem and the question for different levels of time including their nestedness are discussed. (shrink)

This innovative study focuses on the Kantian theory of international relations, a subject which has frequently been either ignored or misunderstood. Kant was criticized by contemporaries who asserted that his political ideas were idealistic and impractical. He countered this accusation by evolving a political philosophy which formed a link between the theoretical doctrine of pure law and the actualities of the real world. The author argues that Kant’s theory of international relations can be read as an attempt to bring reason (...) and history together. Kant tries to apply the a priori principles of reason to history in general, and to the political conditions of the late eighteenth century in particular, and this volume examines the way in which he attempts to mediate between theory and practice. In this stimulating and lucid work, Cavallar provides one of the first comprehensive examinations in English of Kant’s theory of international right. (shrink)

An English translation of Hegel's introduction to his lectures on the philosophy of history, based directly on the standard German edition by Johannes Hoffmeister, first published in 1955. The previous English translation, by J. Sibree, first appeared in 1857 and was based on the defective German edition of Karl Hegel, to which Hoffmeister's edition added a large amount of new material previously unknown to English readers, derived from earlier editors. In the introduction to his lectures, Hegel lays down the principles (...) and aims which underlie his philosophy of history, and provides an outline of the philosophy of history itself. The comprehensive and voluminous survey of world history which followed the introduction in the original lectures is of less interest to students of Hegel's thought than the introduction, and is therefore not included in this volume. (shrink)

Loss of consciousness -- Consciousness -- Self -- Depression and the mind-brain problem -- Feeling the world -- World-brain disruption in schizophrenia -- Identity and time.

What makes our brain a brain? This is the central question posited in Unlocking the Brain. By providing a fascinating venture into different territories of neuroscience, psychiatry, and philosophy, the author takes a novel exploration of the brain's resting state in the context of the neural code, and its ability to yield consciousness.

Ensayo de Georg Simmel “Böcklins Landschaften” en su lengua original, publicado en 1885 en el semanario Die Zukunft. ARK: ark:/s18537960/ioe402sw2.

The “extended mind” thesis (Clark, 2008) has focused primarily on the interactions between single individuals and cognitive artifacts, resulting in a relative neglect of interactions between people. At the same time, the idea that groups can have cognitive properties of their own has gained new ascendancy in various fields concerned with collective behavior. My main goal in this paper is to propose an understanding of group cognition as an emergent form of socially distributed cognition. To that end, I first clarify (...) the relevant notions of cognition and emergence that are at play in the contemporary debate. I then apply our conceptual framework to recent developments in the theory of transactive memory systems (Wegner, 1986), arguing that the idea of group cognition is neither trivial nor shrouded in metaphysical mystery. (shrink)

Georg Lukacs's The Process of Democratization provides indispensable reading for an understanding of the revolution that swept Russia and Eastern Europe during 1989-1990. Lukacs, a spokesman for anti-Bolshevik communism, was the advance guard of anti-Stalinist reform. Written in the aftermath of the Prague Spring, his book was a precursor to many of the Gorbachev reforms. Lukacs was the leading communist intellectual in the world until his death. During his last 15 years, he embarked upon a massive effort to revive (...) Marxism as philosophy, as aesthetics, and as politics. The Process of Democratization was part of this attempt at a Marxist renaissance. He would probably be surprised to find that the Second Russian Revolution of 1989-1990 moved far beyond his reformism, overthrowing even the anti-Stalinist communism that he fought to retain. (shrink)

Was macht eine Intervention zu einer Humanitären? Was sind die moralischen Bewertungskriterien für eine solche Intervention? Welche Kraft haben diese Kriterien im Vergleich zu den völkerrechtlichen Regelungen? Was sind die speziellen moralischen Probleme Humanitärer Interventionen bzw. Humanitärer Interventions-Kriege verglichen mit den gängigen Problemen zwischenstaatlicher Gewalt? Und welche Lehren ziehen wir heute aus dem Kosovokrieg von 1999, der einen Großteil ehemaliger Pazifisten zu dezidierten Kriegsbefürwortern werden ließ? Der Band präsentiert eine Auswahl von Beiträgen zur gleichnamigen Internationalen Konferenz am ZiF / Uni (...) Bielefeld. (shrink)