In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 107-115 [Access article in PDF] The Search for Narrative Laura Felleman Fattal The most cursory cultural investigator cannot help but notice that the visual arts have become a significant source and impetus for the narrative of contemporary books, theater, and dance. In recent memory, the following theatrical and dance performances "Contact" by Susan Stroman and John Weidman, "Art" by Yasmina Reza, " (...) class='Hi'>Sunday in the Park with George" by Stephen Sondheim, book by James Lapine, "Les Miserables" by Claude-Michel Schfonberg/music and others, "Picasso at the Lapin Agile" by Steve Martin, and "The Sleep of Reason," by Antonio Buero-Vallego have taken the not-so-dead-life (natura morta) or still life of painting into the vital arena of the performing arts. The quest to seek intra-discipline aesthetics among dance, music, theater, and the visual arts is not the charge, but instead a turn to establish a narrative that has brought about this invasion of interactivity between the arts. Clearly defined boundaries between the arts have beenfading since Fluxus, Happenings, and Performance Art for over half a century. In the early part of the twentieth century, Marcel Duchamp's chess games and use of the fourth dimension of time in his numerous produced and pondered pieces all speak to the interrelatedness of the arts.Contemporary novels based on historical themes and subjects have created characters based on the lives and works of famous and intriguing artists such as Michelangelo Caravaggio, Georges de La Tour, and Jan Vermeer. The silence and pensive qualities of the figures of Jan Vermeer, the seventeenth-century Dutch painter, have been the catalyst for two books, The Girl in Hyacinth Blue by Susan Vreeland and the Girl with the Pearl Earring by Tracy Chevalier.1 Vreeland combines the mystic of the Vermeer paintings' characters with the impoverished history of the refugee status of its owners. In various parts of Vreeland's book the authenticity of the Vermeer painting becomes a subtext for describing the work. [End Page 107] Just the lament of some Dutch art historians. Where has such a treasure gone, or some such thing? He turned to pour us both a brandy. So why could this not be? It's his same window opening inward at the left that he has used so often, the same splash of pale yellow light. Take a look at the figures in the tapestry on the table. Same as in nine other paintings. Same Spanish chair with lion's head finials that he used in eleven canvases, same brass studs in the leather. Same black and white tiles placed diagonally on the floor.2A few pages later the interest in the authenticity of the painting continues: No, no signature. But that was not unusual. He often failed to sign his work. Besides, he had at least seven styles of signature. For Vermeer, signatures are not definite evidence. Technique is. Look at the direction of the brush's stroke, those tiny grooves of the brush hairs. They have their lighted and their shaded side. Look elsewhere. You'll find overlapping layers of paint no thicker than silk thread that give a minute difference in shade. That's what makes it a Vermeer.3In Girl with a Pearl Earring, Vermeer's slow and meticulous technique, obsessive involvement with his models and his assiduous composition of light over textures of both animate and inanimate surfaces in the painting become the core of the novel. He had come in and was standing in the studio, looking out a window. "Take a seat, please, Greit," he said, his back to me.I sat in the chair by the harpsichord. I did not touch it — I had never touched an instrument except to clean it. As I waited I studied the paintings he had hung on the back wall that would form part of the concert painting. There was a landscape on the left, and on the right a picture of three people — a woman playing a lute, wearing a dress that revealed much of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Proust and the Phenomenology of MemoryThomas M. Lennon"I still believe that anything that I do outside of literature and philosophy will be so much time wasted." Thus did the twenty-two year old Marcel Proust (1871–1922) write to his father, reluctantly agreeing to consider a career in the foreign service as an alternative to the legal profession otherwise being urged upon him. ("I should vastly prefer going to work (...) for a stockbroker," was his comment.)1 Happily for us all, Proust was obliged to do neither, and in fact was able to do both philosophy and literature. As André Maurois puts it, "[Proust's] great novel is philosophy incarnate."2 Certainly, In Search of Lost Time is saturated with philosophy, the appreciation of which cannot help but enhance our understanding of this great work. The thesis here will be that a loosely phenomenological account of the work's central concept of memory gives us the structure of the work as a whole.The biographical facts suggest such an approach. Proust received a license from the Sorbonne in 1895, and, more importantly, had previously been a student of the philosopher Alphonse Darlu at the Lycée Condorcet. Although he published very little, Darlu was a charismatic, inspirational figure for his students—not least of all for Proust himself, who described him as "the great philosopher whose inspired words, more certain to last than any writing would, gave birth in me as in so many others to thought itself."3 A touching artifact of Proust's time with Darlu is his report card, preserved in the Proust Museum at Illiers-Combray. Not incidentally, it shows a concentration on the classical authors who will be deployed here. We also have a wonderful little text that argues a kind of phenomenalism influenced perhaps by Hume, and certainly by Kant.4 The one author important to our account whose name does not figure as such in any of this material is Malebranche; but we know [End Page 52] that Proust was familiar with the great Oratorian since he quotes him.5 In fact, the only author appearing below who could not have been on Proust's shelf is Kundera, the most philosophical and Proustian of all recent novelists.We begin with a text; it is the most famous of all in French literature, the episode of the madeleine from the Search. The text has become so well known—through hearsay more than from having been read, no doubt—that it has invited "kitchification."6 Even so, it is an exquisite piece of writing, which, in any case, is essential to the thesis here.Many years had elapsed during which nothing of Combray... had any existence for me, when one day in winter as I came home, my mother, seeing that I was cold, offered me some tea, a thing that I did not ordinarily take.... She sent out for one of those plump little cakes called 'petites madeleines'.... I raised to my lips a spoonful of the tea in which I had soaked a morsel of the cake. No sooner had the warm liquid, and the crumbs with it, touched my palate than a shudder ran through my whole body.... And suddenly the memory [le souvenir] returns. The taste was that of the little crumb of 'madeleine' which on Sunday mornings at Combray... my Aunt Léonie used to give me, dipping it first in her own cup of real or lime-flower tea.... Immediately the old grey house upon the street rose up like the scenery of a theatre... in a moment all the flowers in our garden and in M. Swann's park, and the water-lilies on the Vivonne and the good folk of the village and their little dwellings and the parish church and the whole of Combray and of its surroundings, taking their proper shapes and growing solid, sprang into being, town and gardens alike, from my cup of tea.7There are other such episodes of the past springing into being, but not many, and they occur but infrequently, until the very end of this vast work, when they come upon the narrator rapidly and almost... (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

Il est une actualité de la syllogistique aristotélicienne qui impose encore aujourd'hui les règles de l'argumentation logique dans la production du savoir scientifique. Le moyen terme y régule la structure et la forme du raisonnement — cet ensemble de jugements — élaboré de telle sorte que la conclusion découle nécessairement des prémisses. Chez Aristote, le jugement requiert ainsi une multitude de procédures d'application à la réalité. Or, Boole trouve en cela un problème méthodologique largement négligé par les logiciens et certains (...) historiens des sciences modernes : le problème d'Aristote sur le moyen terme, le moyen terme étant à la fois cause, matière et forme du syllogisme catégorique. Les deux penseurs visent pourtant l'infaillibilité du raisonnement par l'élimination du moyen terme dans les procédures de la recherche de la vérité. Ce qui les divise est à la fois d'ordre méthodologique et de degré. Car, Aristote élimine le moyen terme de la conclusion et selon les lois ultimes de l'objet. Boole, en revanche, élimine le moyen terme du raisonnement symbolique sur la base des lois ultimes de la pensée pure en lui reniant le statut que lui conférait Aristote. Cet article vise à montrer, à la lumière de cette éclipse du moyen terme pour Aristote que, pour Boole, la solution nécessaire au problème d'Aristote est la « théorie générale des signes » qui, elle, consacre l'élimination du moyen terme du raisonnement symbolique. C'est une exigence de la pensée connaissante en ce qu'elle constitue son caractère méta-méthodologique. La théorie générale des signes rendrait ainsi l'actualité de l'aristotélisme plus persistante si tant est qu'il est admis que Boole ne s'en est lui-même pas encore démarqué. (shrink)

This paper suggests that certain traditional ways of analysing the self start off in situations that are abstract or detached from normal experience, and that the conclusions reached in such approaches are, as a result, inexact or mistaken. The paper raises the question of whether there are more contextualized forms of self-consciousness than those usually appealed to in philosophical or psychological analyses, and whether they can be the basis for a more adequate theoretical approach to the self. First, we develop (...) a distinction between abstract and contextualized actions and intentions by drawing on evidence from studies of rehabilitation after brain damage, and we introduce the notion of intentional attitude. Second, we discuss several interesting conclusions drawn from theoretically and experimentally abstract approaches. These conclusions raise some important issues about both the nature of the self and reflexive consciousness. At the same time they indicate the serious limitations concerning what we can claim about self and self-consciousness within such abstract frameworks. Such limitations motivate the question of whether it is possible to capture a sense of self that is more embedded in contextualized actions. Specifically, our concern is to focus on first-person approaches. We identify two forms of self-consciousness, ecological self-awareness and embedded reflection, that function within the kinds of contextualized activity we have indicated, and can be the basis for a theoretical account of the self. Both forms of self-consciousness are closely tied to action and promise to provide a less abstract basis for developing a theoretical approach to the self. (shrink)

Experimental modeling in biology involves the use of living organisms (not necessarily so-called "model organisms") in order to model or simulate biological processes. I argue here that experimental modeling is a bona fide form of scientific modeling that plays an epistemic role that is distinct from that of ordinary biological experiments. What distinguishes them from ordinary experiments is that they use what I call "in vivo representations" where one kind of causal process is used to stand in for a physically (...) different kind of process. I discuss the advantages of this approach in the context of evolutionary biology. (shrink)

One of the societal problems in a new influenza pandemic will be how to use the scarce medical resources that are available for prevention and treatment, and what medical, epidemiological and ethical justifications can be given for the choices that have to be made. Many things may become scarce: personal protective equipment, antiviral drugs, hospital beds, mechanical ventilation, vaccination, etc. In this paper I discuss two general ethical principles for priority setting (utility and equity) and explain how these principles will (...) often point in diverging directions. Moreover, each of these principles can be understood in different, again often competing, ways. Notwithstanding these controversies and conflicts, in the context of pandemic response there are at least some points of convergence: several policies can be justified by appeal to different ethical principles and theories. Convergence may be found with respect to a focus on saving the most lives (instead of other aggregative accounts); giving priority antiviral prophylaxis and therapy for life-saving pandemic responders; and, partly depending on epidemiology of the pandemic, to prioritise vaccination of children. Although decision-making about access to intensive care will involve choices with immediate tragic implications, the ethical complexity of these choices is relatively modest (although decisions will not be easy): there are persuasive moral reasons for giving priority to patients who are expected to benefit most within the shortest time. Finally, in the last section I tentatively argue that constraints on people’s freedom, as necessary for an effective public health approach, may support giving somewhat more weight to saving the most lives, than to concerns of equity. (shrink)

According to the biological objection against strong artificial intelligence (AI), machines cannot have human mindedness – that is, they cannot be conscious, intelligent, sentient, etc. in the precise way that a human being typically is – because this requires being alive, and machines are not alive. Proponents of the objection include John Lucas, Hubert Dreyfus, and John Searle. The present paper explains the nature and significance of the biological objection, before arguing that it currently represents an essentially irrational position.

Cognitive models propose that both, negative interpretations of ambiguous social situations and ruminative thoughts about social events contribute to the maintenance of social anxiety disorder. It has further been postulated that ruminative thoughts fuel biased negative interpretations, however, evidence is rare. The present study used a multi-method approach to assess ruminative processing following a social interaction and negative interpretation bias in a student sample screened for high and low social anxiety. Results support the hypothesis that group differences in negative interpretations (...) of ambiguous social situations in HSAs vs. LSAs are mediated by higher levels of post-event processing assessed in the questionnaire. Exploratory analyses highlight the potential role of comorbid depressive symptoms. The current findings help to advance the understanding of the association between two cognitive processes involved in social anxiety and stress the importance of ruminative post-event processing. (shrink)

Do people share their feelings of guilt with others and, if so, what are the reasons for doing this or not doing this? Even though the social sharing of negative emotional experiences, such as regret, has been extensively studied, not much is known about whether people share feelings of guilt and why. We report three studies exploring these questions. In Study 1, we re-analysed data about sharing guilt experiences posted on a social website called “Yahoo Answers”, and found that people (...) share intrapersonal as well as interpersonal guilt experiences with others online. Study 2 found that the main motivations of sharing guilt (compared with the sharing of regret) were “venting”, “clarification and meaning”, and “gaining advice”. Study 3 found that people were more likely to share experiences of interpersonal guilt and more likely to keep experiences of intrapersonal guilt to themselves. Together, these studies contribute to a further understanding of the social sharing of the emotion guilt. (shrink)

This article seeks to show the interaction between cultural and anatomic evolution in the birth and differentiation of cultures and languages. The diversity which characterizes our world does not preclude logical regularities due to the coherence of the human mind, which evolved slowly through the paleontological phases of its emergence over millions of years. The anatomical retroaction of the hominids is analyzed to show that, in the long run, anatomy reflected ‘cultural selection’. With the anatomic evolution of man, culture became (...) a crucial component for all human beings and their anatomy simply adapted progressively to this fact. (shrink)

Generally, simulations are carried out to answer specific questions. The assessment of the reliability of an answer depends on the kind of question investigated. The answer to a 'why' question is an explanation. The premises of an explanation have to include invariant relationships, and thus the reliability of such answer depends on whether the domain of invariance of the relevant relationships covers the domain of the question. The answer to a 'how much' question is a measurement. A measurement is reliable (...) when it is an output of a calibrated measuring instrument. (shrink)

Ce travail s’interroge sur les raisons de ce qui a fait le succès de la sociologie de Georges Gurvitch de 1945 à sa mort , et entend se démarquer d’une explication qui se contente de faire valoir le rôle institutionnel actif qu’eut Gurvitch dans ce qu’on a coutume d’appeler la « refondation » de la sociologie française après 1945. En effet, un examen du contenu de ses textes suggère que son projet intellectuel était en phase avec les préoccupations de nombre (...) de sociologues à ce moment-là, certes soucieux de construire une sociologie plus empirique inspirée du modèle américain, mais aussi de conserver une ambition théorique susceptible de fournir des concepts opérationnels pour traiter les grandes questions sociales. Ainsi Gurvitch a proposé un paradigme alternatif qui, tout en illustrant une volonté certaine de « reconstruire » la sociologie, a défendu l’idée d’une continuité de la tradition sociologique en France. Il semble que sa réception a été plus favorable que ce que les textes consacrés à la question laissent entendre.This paper considers the reasons for the success of the sociology of Georges Gurvitch from 1945 until his death in 1965. The approach proposed here intends to differentiate itself from the widespread explanation that focuses essentially on the active institutional role that Gurvitch played in the rebuilding of French sociology after 1945. An examination of the contents of his texts suggests that, at that time, the focus of Gurvitch’s interests were in line with the preoccupations of other sociologists who were certainly anxious to construct a more empirical sociology inspired by the American model, but also to conserve a theoretical ambition capable of providing the operational concepts to address the significant social questions. So Gurvitch proposed an alternative paradigm, while proclaiming his desire to « rebuild » sociology, also defended the idea of a certain continuation of the sociological tradition in France. It seems that its reception was much more favourable than we are led to believe by current texts that consider the question today. (shrink)

A typical difference between social science and natural science is the degree in which control is possible. Strategies in both sciences to obtain true facts are consequently different. Measurement errors are due to background noise. Laboratories are environments in which background conditions can be controlled. As a result, accurate observations { measurement results close to the true values of the measurands { can only be obtained in laboratories. Therefore, measuring instruments are built such that they function as mini laboratories. However, (...) observations in social science are usually passive, in the sense that control of background conditions is impossible. Models are built to solve this problem of (lack of) control. They function as nonmaterial laboratories by aiming at precision, that is reducing the spread of the measurement errors. The application of models as measuring instruments necessitates a shift of the requirement of accuracy to the requirement of precision, which is a feature of the instrument and not of the environment. (shrink)

This paper describes a computer simulation of reading that is strongly driven by eye fixation data from human readers. The simulation, READER, is a natural language understanding system that reads a text word by word and whose processing cycles on each word have some correspondence with the human gaze duration on that word. READER operates within a newly developed information processing architecture, a Collaborative, Activation‐based, Production System (CAPS) that permits the modeling of the temporal properties of human comprehension. CAPS allows (...) for concurrent, collaborative execution of processes operating at different levels of analysis. As READER encounters each successive word, the word is operated on by processes at the levels of word encoding, lexical access, syntactic and semantic analysis, and referential and schema‐level processes. Like human readers, READER uses a strategy of immediacy of comprehension, attempting to interpret each word as soon as it is encountered, rather than unnecessarily buffering information. A major contribution of this simulation is its use of human performance characteristics in constraining and determining the model's mechanisms. (shrink)

Dutch: Bij alle aandacht die er op dit moment is voor de aard van zingevingsvragen is de analogie tussen de betekenis van taal enerzijds en leven en werkelijkheid anderzijds wel opgemerkt, maar nog nergens uitvoerig doorgelicht. Marcel Sarot voorziet in dit gemis door een zorgvuldige analyse van de structurele overeenkomsten tussen verschillende theorieën over beide vormen van betekenis. Vervolgens past hij de gemaakte onderscheidingen toe in een weerlegging van de argumenten tegen de theïstische vorm van zingeving van Elmar D. (...) Klemke en Jaap van Heerden. -/- English: The question of the meaning of life is the subject of a lively scholarly debate both in the Netherlands and abroad. I concentrate on an aspect of this question that has often been mentioned but is still waiting for a careful treatment: the analogy between linguistic meaning and the meaning of life. With respect to linguistic meaning, I distinguish between two types of theories of meaning. According to the first type of theory words are names for concepts and hence also for the structural divisions of reality to which our concepts correspond, and the meaning of a word is the concept (or thing or class of things) to which it refers. According to the second type of theory, words are tools which we use to exercise conceptual skills, and the meaning of a word is the conceptual skill exercised with that word. Corresponding to these theories of linguistic meaning, I distinguish between two types of theories of the meaning of life. According to the first type of theory, externalism, the meaning of life is determined by its relation ("reference") to a transcendent primary determinant of meaning; it is therefore independent of the "use" we make of it. According to the second type of theory, internalism, the meaning of life is determined by the use we make of it: life cannot acquire meaning without our giving meaning to it. Just as the theory which construes words as tools does not imply that we cannot use words to refer to extra-linguistic objects, internalism does not imply that reality does not provide objective grounds upon which to build our meaning. Subjective internalists argue that there is no such ground and that man has to create his own meaning ex nihilo, but objective internalists, most theists among them, argue that there are such grounds. Finally I employ the distinctions made above in a counter-argument against the anti-theistic arguments of two subjective internalists, Jaap van Heerden and Elmar D. Klemke. I show that they mistakenly suppose that the theistic alternative has to be construed along externalist lines, whereas theists themselves construe their theory of meaning along objective internalist lines, which renders it much more plausible. (shrink)

Le 'Journal métaphysique', qui, primitivement, n'était pas destiné à la publication, est constitué par un ensemble de notes philosophiques rédigées au jour le jour. L'évidente différence de style entre les deux parties tient au fait que sous la pression de la guerre la pensée de l'auteur s'est tournée de plus en plus résolument vers le concret, vers l'existentiel, qui a trouvé dans le Journal métaphysique une des premières expressions qu'il ait revêtues en France. Il ne faut d'ailleurs pas parler de (...) l'existentialisme, mais une thématique de l'existence considérée dans sa spécificité tend à s'y constituer par une réflexion qui se concentre de plus en plus sur le corps propre (par opposition au corps-objet ou instrument), sur la sensation traitée non plus comme message mais comme façon d'être au monde, sur la mémoire, sur la volonté, etc. Des phénomènes métaphysiques tels que la télépathie, la lecture de pensées, etc. sont considérés avec une attention particulière et l'auteur va jusqu'à se demander s'il ne conviendrait pas d'inverser la relation communément pré-supposée entre le psychologique et le métapsychique et si la clef des phénomènes dits normaux ne devrait pas être cherchée dans le supra-normal. (shrink)

The fall of the Berlin wall was seen by many as the final triumph of liberal democracy over communism. But now, in the wake of the great financial crisis of 2008 and its aftermath, things look a little different. New questions are arising about capitalism and democracy, new social movements are challenging established institutions and new political possibilities are emerging. Is democracy an inevitable hostage of capitalism, or can it reinvent itself to meet the challenge of globalization? In an exclusive, (...) previously unpublished dialogue, Alain Badiou, a key figure of the radical left and a leading advocate of the communist idea, and Marcel Gauchet, a major exponent of anti-totalitarianism and a champion of liberal democracy, confront one another. Together, they take stock of history, interrogate one another s views and defend their respective projects: on the one side, the revival of the communist hypothesis, and on the other, the radical reform of a contested democratic model. (shrink)

It has been reported by some studies that the desire to be involved in decisions concerning one’s healthcare especially with regard to obtaining informed consent is related to educational status. The purpose of this study, therefore, is to assess the influence of educational status on attitude towards informed consent practice in three south-eastern Nigerian communities.

Based on the presentation of a research framework (the shared work of teachers), this text uses an empirical approach to examine the hypothesis of a co-elaboration of the professional situation. To do so, the empirical investigation, based on the Goffman framework, analyzes the process of reconstructing a teaching session (reference situation) over the course of a pedagogical counselling session (support situation) characterized by interaction between a beginning teacher and a trainer. The invalidation of the hypothesis leads to a suggested conceptualization (...) of the professional situation combining definitional approaches (emphasizing the duality between its singularity and its genericity) and methodological approaches. A partir de la présentation d’un cadre de recherche (le travail partagé des enseignants), ce texte soumet à l’empirie l’hypothèse de la co-élaboration de la situation professionnelle. Pour ce faire, en s’appuyant sur le cadre de Goffman, l’enquête empirique analyse le processus de reconstruction d’une séance d’enseignement (situation de référence) au cours d’une séance de conseil pédagogique (situation support) caractérisée par l’interaction entre une enseignante débutante et un formateur. L’invalidation de l’hypothèse débouche sur une proposition de conceptualisation de la situation professionnelle qui combine des approches définitoires (insistant sur la dualité entre sa singularité et sa généricité) et méthodologiques. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:GOD, EMOTION, AND CORPOREALITY: A THOMIST PERSPECTIVE 1 MARCEL SAROT University of Utrecht Utrecht, The Netherlands I. Introduction WHEN WE TAKE" impassibility" to mean" immutbility with regard to one's feelings or the quality of ne's inner life," 2 the number of adherents to the doctrine of divine impassibility has continuously decreased during the present century. Slowly but surely the concept of an immutable and impassible God has given (...) way to the concept of a sensitive, emotional, passionate God. Before the Second World War this tendency was restricted to British theology,3 but since then it has spread to the rest of Europe, notably to France and Ger1 A first draft of this paper was presented at a meeting of the Aquinas Research Group of the Catholic Theological University of Utrecht (The Netherlands ) in May, 1990. I would like to thank the other participants for their useful comments. The paper also profited from the valuable comments of Prof. Dr. Vincent Brummer and Dr. Christoph Schwi:ibel. The writing of this paper forms part of a research project on divine passibility, supported by the Dutch Research Foundation for Theology and Religious Studies (STEGON), and funded by the Netherlands Organization for the Advancement of Research (NWO). 2 I have argued for this definition in my article " Patripassianism, Theopaschitism and the Suffering of God: Some Historical and Systematic Considerations," Religious Studies 26 (1990) : 363-375. a See A. van Egmond, De Lijdende God in de Britse Theologie van de Negentiende Eeuw: De Bijdrage van Newman, Maurice, McLeod Campbell en Gore aan de Christelijke Theopaschitische Traditie (Amsterdam: VU Uitgeverij, 1986); J. Kenneth Mozley, The Impassibility of God: A Survey of Christian Thought (Cambridge: Cambridge University Press, 1926), pp. 127-166; Doctrine in the Church of England: The Report of the Commission o·n Christian Doctrine Appointed by the Archbishops of Canterbury and York in 1922 (London: SPCK, 1938), pp. 55-56. 61 62 MARCEL SAROT many, to the United States and to Asia.4 By now most of the theologians who explicitly state their views on divine impassibility hold that this doctrine is to a greater or lesser degree false, and Ronald Goetz rightly asserts "that the rejection of the ancient doctrine of divine impassibility has become a theological commonplace." 5 Nevertheless the debate on this issue is not yet closed. Recently Richard Creel published a thorough study in defense of divine impassibility,6 which, I expect, will prove quite influential. Other theologians who defend the doctrine can be cited as well.7 To a large extent, the arguments which these theologians put forward in favor of divine impassibility are taken from the classic Christian theological texts. Among these, the writings of Aquinas are not the least important and no one will be surprised to hear that he is frequently cited in this connection. However, what has surprised me in my study of the debate on the issue of divine impassibility is that one of the most important arguments Aquinas 4 On passibilist tendencies in modern theology, see Richard Bauckham, " ' Only the Suffering God Can Help ' : Divine Passibility in Modern Theology," Themelios 9 (1984) : 6-12; Warren McWilliams, The Passio1i of God: Divine Swffering in Contemporary Protestant Theology (Macon: Mercer University Press, 1985); Van Egmond, De Lijdende God, pp. 28-31, and "Theopaschitische Tendenzen in de Na-Oorlogse Protestantse Theologie," Gereformeerd Theologisch Tijdschrift 79 (1979): 161-177; Marcel Sarot, "De Passibilitas Dei in de Hedendaagse Westerse Theologie: Een Literatuuroverzicht," Kerk en Theologie 40-3 (1989) : 196-206. 5 Ronald Goetz, "The Suffering God: The Rise of a New Orthodoxy," The Christian Century 103 (1986): 385. Also see the literature cited in the preceding note. 6 Richard E. Creel, Divine Impassibility: An Essay in Philosophical Theology (Cambridge: Cambridge University Press, 1986). 7 See, for instance, Brian Davies, Thinking about God (London: Chapman, 1985), pp. 155-158; William J. Hill, "Does Divine Love Entail Suffering in God?," in: B. L. Clarke & E. T. Long, eds., God and Temporality (New York: Paragon House, 1984), pp. 55-71 ; id., " The Doctrine of God after Vatican II," The Thomist 51 (1987); pp. 412-414; Herbert McCabe, "The Involvement of God," New Blackfriars 66 (1985) : 464-476, reprinted in Herbert McCabe... (shrink)