Recogemos en este artículo, la biografía de dos mujeres privilegiadas por la vida. Peggy Guggenheim y GertrudeVanderbilt, tuvieron la posibilidad económica y social de impulsar a pintores de distintas procedencias y vanguardias. Sin la primera, el Surrealismo hubiese sido imposible, y, su triunfo, su comprensión y su custodia, se habría esfumado, siendo considerados sus representantes como un grupo de excéntricos deseosos de escandalizar a un público que no entendía su concepto del Arte, y, solo se quedaba en los (...) desenfrenos, las frases sin sentido, las orgías ó el snobismo de algunos de sus representantes. La recopilación que hizo Peggy Guggenheim de esta vanguardia, hace comprender al estudioso del Arte que, por detrás de esas arrogancias individuales, había un credo común, un deseo de captar la comprensión del sueño, cuando la razón no está en vigilia, un automatismo psíquico ajeno al razonamiento y, una experimentación de los ámbitos hasta entonces desconocidos como el subconsciente, el azar, la locura ó los estados alucinatorios. Peggy Guggenheim pudo haber empleado su posición económica en viajar, consumir ó tirar su dinero alegremente. No lo hizo así. Su posible excentricidad y sus escándalos, los canalizó por la vía del Arte, ayudando a sus amigos, abriendo Galerías increíbles como la del Soho de Nueva York, en la que: «...Los cuadros estaban montados sobre bates de béisbol, y, las luces se encendían y apagaban componiendo triángulos colgados de cuerdas como si flotaran en el espacio»... Y finalmente su auténtico amor por el Arte le llevó a comprar el Pallazo Vernier dei Leoni en Venecia, donde, ya sin excentricidades, el es- pectador puede contemplar y comprender la vanguardia que ella tanto amó. Desde otro punto de vista, Gertrude Vanderbilt, utilizó supuesto en la sociedad para impulsar, no solo a sus amigos sino a aquellos pintores, que, principiantes, carecían de nombre, pero tenían talento, carácter y originalidad. Ella supo ver esas cualidades en los artistas que impulsó, y generó una situación nueva, poco seguida por ciertos Galeristas actuales que apuestan por la seguridad, el nombre o la firma de los autores, sin mirar su auténtico valor artístico. Vanderbilt fue una gran mujer. Luchó contra los contratiempos de la vida, la incomprensión de sus contemporáneos y el concepto arcaico de los Museos de albergar solo a aquellos valores conocidos mundialmente. A ella deben su popularidad muchos artistas, como Calder, Pollock, los representantes de la Escuela de Nueva York, al igual que vanguardias difíciles de comprender como el Constructivismo, el Minimal Art, o tantas otras... El Museo Whitney de Nueva York, su gran creación, fue y será el trampolín del triunfo de infinitos pintores. Sin su perseverancia, sin su existencia, sin su lucha constante y sin su ánimo inflexible, muchos de estos artistas hubiesen sido desconocidos y me atrevo a decir que alguna vanguardia, hubiese pasado fugazmente, si Gertrude Vanderbilt no hubiese comprado ciertos cuadros para colgarlos en su Museo. La independencia de criterio, el ser plenamente consecuente con los propios actos y criterios, hacen que hoy, personas como yo, sintamos una enorme admiración por estas mujeres, que apostaron por el Arte, como móvil de sus vidas y como realización de sus personalidades fuertes, enérgicas y triunfalistas. (shrink)

_Psyche: Inventions of the Other_ is the first publication in English of the twenty-eight essay collection Jacques Derrida published in two volumes in 1998 and 2003. In Volume I, Derrida advances his reflection on many topics: psychoanalysis, theater, translation, literature, representation, racism, and nuclear war, among others. The essays in this volume also carry on Derrida's engagement with a number of key thinkers and writers: Barthes, Benjamin, de Man, Flaubert, Freud, Heidegger, Lacoue-Labarthe, Levinas, and Ponge. Included in this volume (...) are new or revised translations of seminal essays, as well as three essays that appear here in English for the first time. (shrink)

This book is a collection of biographical sketches of some of the leading figures of our time, though the figures aren't people but configurations of words.

An invaluable collection of some 7,000 proverbs that speak to the depth and nuance of Akan and Asante life, thought, belief, and social organisation.

Development of the knowledge base for a profession depends on research and scholarship that builds on the insights and work of scholars within the discipline and is disseminated through the literature. The purpose of this study was to examine a unique collection of 79 articles selected by editors as representative of their nursing journals. Articles were assessed for congruence with long‐standing values and conceptual definitions of nursing, and the extent to which they built on prior literature published in nursing. (...) Articles were scored based on whether they reflected four characteristics of nursing as a discipline (holism, social context, goal of health, and consistency with common definitions of nursing); an abstract score on the extent to which the title, abstract, or keywords indicated a general focus on nursing; and a distinction score based on whether the article distinguished nurses or nursing from other providers. Fifty of the articles received an article score of 4, indicating all four disciplinary characteristics were present in the article's content. While the majority of the articles were congruent with fundamental nursing values and perspectives, only 28% of the sources cited were from nursing sources. The lack of citations to nursing literature, coupled with an assessment that reveals gaps in substantive content that builds on nursing knowledge, raises questions about the future of nursing perspectives in the literature. (shrink)

As the initial book in the Feminist Constructions series, Feminists Doing Ethics broaches the ideas of critiquing social practice and developing an ethics of universal justness. The essays collected within explore the intricacies and impact of reasoned moral action, the virtues of character, and the empowering responsibility that comes with morality. These and other essays were taken from Feminist Ethics Revisited: An International Conference on Feminist Ethics held in October of 1999. Waugh and DesAutels bring to light in these pages (...) work discussed at this conference that extends our understanding of morality and ourselves. Visit our website for sample chapters! (shrink)

This book collects ten years of Peggy Kamuf's writing on the work and friendship of Jacques Derrida. The majority of the chapters discuss a key aspect of Derrida's thought, either from a single work or across several texts. Kamuf engages with a broad array of his work, from the 1960s to the posthumous publication of his teaching seminars. She also considers press interviews and the collaboration on a film. These close readings are punctuated by brief recollections from their long (...) friendship.The chapters trace a reflection that undergoes the sudden event of Derrida's death. Rather than take this interruption as its premise, however, the book sets out from Derrida's own teaching that mourning begins with friendship and not just at the death of the friend. Thus, the strict chronology of the chapters, from 2000 to 2010, highlights a general illusion of 'before' and 'after' that comes undone over the course of the sequence. (shrink)

Those who have read me, in particular those who have read “Paul de Man’s War,” know very well that I would have quite easily accepted a genuine critique, the expression of an argued disagreement with my reading of de Man, with my evaluation of these articles from 1940-42, and so on. After all, what I wrote on this subject was complicated enough, divided, tormented, most often hazarded as hypothesis, open enough to discussion, itself discussing itself enough in advance for me (...) to be able to welcome questions, suggestions, and objections. Provided this was done so as to demonstrate and not to intimidate or inflict wounds, to help the analysis progress and not to score points, to read and to reason and not to pronounce massive, magical, and immediately executor verdicts. Five of the six “responses” that I reread last night are written, as one used to say, with a pen dipped in venom. Less against the de Man of 1940-42, perhaps, then against me . Less against me, in truth, than against “Deconstruction” . How can the reader tell that these five “critical responses” are not “responses,” critical texts or discussions, but rather the documents of a blinded compulsion? First of all, the fact that they are all monolithic. They take into account none of the complications of which my text, this is the very least one can say, is not at all sparing. They never seek to measure the possibility, the degree, or the form, as always happens in an honest discussion, of a partial agreement on this or that point. No, everything is rejected as a block; everything is a block and a block of hatred. Even when, here or there, someone makes a show of being moved by my sadness or my friendship for de Man, it is in order to get the better of me and suggest that I am inspired only by friendship, which will appear ridiculous to all those who have read me. Inspired by friendship means for those people misled by friendship. How foreign this experience must be to them! Jacques Derrida is Directeur d’Études at the École des Hautes Études en Sciences Sociales as well as professor at the University of California, Irvine, and visiting professor at the Graduate School of the City University of New York. His most recent publication in English is the collection Limited Inc , which includes a new afterword, “Toward an Ethic of Discussion.” Peggy Kamuf is professor of French at the University of Southern California. Her most recent book is Signature Pieces: On the Institution of Authorship . She has also contributed essays to Reading de Man Reading and Responses: On Paul de Man’s Wartime Journalism , and is currently editing A Derrida Reader. (shrink)

_Psyche: Inventions of the Other_ is the first publication in English of the twenty-eight essay collection Jacques Derrida published in two volumes in 1998 and 2003. Advancing his reflection on many issues, such as sexual difference, architecture, negative theology, politics, war, nationalism, and religion, Volume II also carries on Derrida's engagement with a number of key thinkers and writers: De Certeau, Heidegger, Kant, Lacoue-Labarthe, Mandela, Rosenszweig, and Shakespeare, among others. Included in this volume are new or revised translations of (...) seminal essays. (shrink)

How do gym-goers who are normally not inclined to resort to appearance- and performance-enhancing drugs (APEDs) progressively normalize their use? Based on data collected through a year and a half of participant observation in a gym and thirty semi-directive interviews with practitioners with varying profiles in French-speaking Switzerland, this article examines the evolution of practitioners’ relations with APED use by articulating various levels of analysis. Associated with social vulnerabilities, the progressive normalization of APED use is concomitant with the “conversion” to (...) bodybuilding. Our results show the extent to which and under what conditions interactions within the layout of gyms can influence practices. From refusal to normalization, our results suggest that APEDs and the associated beliefs coincide with career stages, which we aim to bring to light here. (shrink)

Land tenure relations have both social and environmental implications, ranging from potential power issues to land stewardship. Drawing upon survey data of landowners collected in the Great Lakes Basin of the U.S., this study builds upon existing research by examining absentee landlords of agricultural land—a vastly understudied but growing category of landowners. By furthering analysis on gender dynamics in the landlord-tenant relationship, the study findings augment Gilbert and Beckley’s (Rural Sociology, 1993) suggestion that subordinate landlord-dominant tenant relationships may be a (...) pattern and contribute to understanding the nuances that co-ownership potentially plays in these relationships. (shrink)

In a career extending over almost six decades, Nicholas Rescher has conducted researches in almost every principal area of philosophy, historical and systematic alike. In this extraordinary volume, two dozen scholars join in offering penetrating discussions of various facets of Rescher s investigations. The result is an instructively critical panorama of the many-faceted contributions of this important American philosopher. Born in Germany in 1928, Nicholas Rescher came to the U.S. at the age of nine. He is University Professor of Philosophy (...) at the University of Pittsburgh where he has also served as Chairman of the Philosophy Department and as director (and currently chairman) of the Center for Philosophy of Science. In a productive research career extending over six decades, he has established himself as a systematic philosopher of the old style. His work represents a many-sided approach to fundamental philosophical issues that weaves together threads of thought from continental idealism and American pragmatism. And apart from this larger program Rescher has made various specific contributions to logic (the conception autodescriptive systems of many-sided logic), the history of logic (the medieval Arabic theory of modal syllogistic), to the theory of knowledge (epistemetrics as a quantitative approach in theoretical epistemology), and to the philosophy of science (the theory of a logarithmic retardation of scientific progress). Rescher has also worked in the area of futuristics, and along with Olaf Helmer and Norman Dalkey is co-inaugurator of the so-called Delphi method of forecasting. Ten books about Rescher s philosophy have been published in four languages. Rescher earned his doctorate at Princeton in 1951 while still at the age of twenty-two a record for Princeton s Department of Philosophy. He has served as a President of the American Philosophical Association, of the American Catholic Philosophy Association, of the American G. W. Leibniz Society, of the C. S. Peirce Society, and of the American Metaphysical Society. He was the founder of the American Philosophical Quarterly. An honorary member of Corpus Christi College, Oxford, he has been elected to membership in the European Academy of Arts and Sciences (Academia Europaea), the Royal Society of Canada, the Institut International de Philosophie, and several other learned academies. Having held visiting lectureships at Oxford, Constance, Salamanca, Munich, and Marburg, he has been awarded fellowships by the Ford, Guggenheim, and National Science Foundations. Author of some hundred books ranging over many areas of philosophy, over a dozen of them translated from English into other languages, he is the recipient of eight honorary degrees from universities on three continents. He was awarded the Alexander von Humboldt Prize for Humanistic Scholarship in 1984, the Belgian Prix Mercier in 2005, and the Aquinas Medal of the American Catholic Philosophical Association in 2007.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Seven Poems NICOLAS CALAS (Translated by Avi Sharon) hellenizing surrealism: a greek door to europe Nicolas calas (Kalamares) may be considered merely a minor Greek poet, but he had a major global persona and influence. In the middle of the last century he played a catalyzing role in the international avant garde: He was a Zelig-like polemicist in three languages (Greek, French, and English) and across three cultural (...) capitals (Athens, Paris, and New York). But he always fought on a singular front: surrealism. Born in Lausanne in 1907, he grew up in Athens and by the later 1920s began to stand out in literary circles (he was over 6' 4") for his modernist if not revolutionary views. Starting from an interest in Freud and Marx, the subconscious and the revolutionary, Calas soon arrived at their natural synthesis—surrealism. Around the time when a distinctly Greek form of surrealist poetry emerged, with the 1935 publication of “Blast Furnace” by Andreas Embiricos, Calas was on his way to becoming its unofficial spokesman. He moved to the epicenter of the movement in Paris and with the 1938 publication of Foyers d’Incendie became the “most lucid and audacious” of founder André Breton’s acolytes, both prophet and demagogue of the group. Carried along in the current of European artists and thinkers leaving Europe for New York, he would continue the fight on the western wing of the faction (literally, coming to blows at a cocktail party with Clement Greenberg, representing the opposing Abstract Expressionist side). In 1942 he published another clarion pamphlet, Confound the Wise, giving the movement voice in English and befriending its most visible local supporters and practitioners, from Peggy Guggenheim to Marcel Duchamp. arion 27.1 spring/summer 2019 The Wyndham Lewis of the operation, Calas was a cross-border catalyst, evangelizing the role of surrealism as a liberating and generative force in modern literature and art. For him and other writers and poets, the weapon that would most effectively derange the reader’s habitual conformism into revelatory and revolutionary perception was the surrealist image, poetry’s lingua franca. For Greek practitioners it was completely natural for that magical representation to arise out of their god-infested, sun-filled landscape. Here they had a force that was both blinding and enlightening, penetrating and transformative, local and universal. For Calas, the primary echo or reflection of that essential image was the island of Santorini, referenced in several of the translations here (and reminiscent of his fellow national Nikos Gatsos’s use of the island of Amorgos in a similar context). It stood as the very symbol of fiery transformation, an image monstrous enough to shock the reader into a super-rational embrace of its own form of logic. This Hellenization of surrealism, like the Hellenization of modernism itself, was to become an important, transformative power in its own right. For many, the origin (and likewise, for many, the enclosing border ) of surrealism was France. “But it is French. It is their invention,” was how William Carlos Williams saw it, to his chagrin. Williams was convinced that the objective concentration on the image itself (“no ideas but in things”) could offer a salutary corrective to American poetry of his time. “It is the surrealists who have invented the living defense of literature,” he wrote in a 1929 essay. But for a poet so at one with the American Grain to be reconciled with surrealism’s ‘Francite’ he needed some way to cross the divide. His admiration for Calas’s work in clarifying and promoting the group’s ideas enabled the Greek poet to serve as a mediator, to allow the creative transference of its rebellious wisdom into Williams’s poetry. To borrow the title of one of his early American essays, Calas provided Williams a “Greek door to Europe.” In translating four of Calas’s French poems into English, published in 1941 with a frontispiece by the surrealist painter and magician Kurt Seligman, Williams leveraged Calas as the vehicle through which the “enabling foreignness” of surrealism could be grafted into the grain of his American modernist work, just as he set out on his magnum opus, Paterson. In a similar way... (shrink)

Les musées contemporains sont en pleine mutation, ils passent du statut de « temples de l’art et de la culture » à celui de pourvoyeurs d’activités culturelles et ludiques. Censés instruire, ils s’engagent dans la voie controversée de plaire en vue d’exister, le but ultime étant de drainer le plus de « clients » possible pour assurer la continuation. Et dans la mouvance, ils n’hésitent pas à s’exporter au même titre que les enseignes commerciales vers des cités-nations à la recherche (...) d’une « présence » sur la mappemonde globalisée. Le Louvre-Abou Dabi est un exemple saillant de cette tendance mondialisée, tout comme Guggenheim, il devient un jalon mobile de l’art et de la culture. Dans cette phénoménologie de « l’existence par l’architecture », les œuvres architecturales deviennent des objets-outils de notoriété et de communication, plus inhérents au marketing qu’à la culture. Mais quelle part d’intérêt va pour les collections dans ce nouveau statut du musée ou le bâtiment est à lui seul un gage d’existence et de contemporanéité ? Et dans quelle mesure, la part de responsabilité publique qui incombe aux musées dans le développement culturel de la collectivité, risque-t-elle d’être compromise par les lois du marché?Contemporary museums are rapidly evolving from “temples of art and culture” to providers of cultural and recreational activities. Although supposed to be instructive, they are embarking on a controversial policy of pleasing the public in order to exist, the ultimate aim being to draw as many “customers” as possible to secure their future. And in pursuing these aims, they have been exporting themselves, just like any commercial brand, to nation-cities seeking a “place” on the globalised map. The Abu Dhabi Louvre is a striking example of this global trend, as is the Guggenheim, which has now become a movable landmark in the arts and culture landscape. This phenomenon of “existence through architecture” is turning architectural works into objects as well as tools to enhance communication and notoriety, a development that has more to do with marketing than with culture. But given this new status, where the building itself guarantees the museum’s existence and contemporaneity, how much interest is there in its collections? And to what extent is every museum’s share of public responsibility for collective cultural development likely to compromised by “market forces”? (shrink)

This article explores the potent force of material objects in testimional culture by enacting an encounter with the ‘debris’ of a World War Two internment camp for Japanese Canadians. Pushing beyond the limits of the repetition of linear history, the article moves instead towards a phenomenological analysis of how yielding to remains of the past might allow us to reconnect with the destroyed worlds from which they were removed. Using Michel Taussig's notion of mimesis and Peggy Phelan's work on (...) mimicry, alongside Merleau‐Ponty's work on the habit‐body, this article brings into relief the neglected place of material objects collected by archives and brought to memorials in testimonial culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesAntoni Muntadas (bio)The seven images in this issue are from Gestes, a book by Antoni Muntadas and published by Bookstorming (2003). The complete set of fifty-two portraits were collected from media images of various political figures during the Iraq War. Muntadas emphasizes the gestural movement of the hands, creating a strange and hypnotic choreography.Antoni Muntadas — born in Barcelona, Spain, in 1942 — has lived and worked in New (...) York since 1971.His work addresses social, political, and communications issues, the relationship between public and private space within social frameworks, and investigations of channels of information and the ways they may be used to censor central information or promulgate ideas. He works in various media: photography, video, publications, internet, and multi-media installations.He studied at the Escuela Tecnica Superior de Ingenieros Industriales in Barcelona and the Pratt Graphic Center in New York. He has taught and directed seminars at the University of California in San Diego, the École des Beaux Arts in Bordeaux and Grenoble, the CAVS at the Massachusetts Institute of Technology, the San Francisco Art Institute, the École Nationale des Beaux Arts in Paris, the University of São Paulo in Brazil, Cooper Union in New York, and many other institutions.Muntadas has received several prizes and grants including those of the Guggenheim Foundation, the Rockefeller foundation, the National Endowment for the Arts, the New York State Council on the Arts, Arts Electronica in Linz/Austria, Laser d'Or in Locarno, Switzerland, and the Premi Nacional d'Arts Plastiques de la Generalitat de Catalunya.He created works commissioned by the Centre Nacionale des Arts Plastiques in Paris, the Fonds d'Arts Publiques in Marseille, the Public Art Fund in New York, and has been resident artist and consulting advisor in several research and education centers, including the Visual Studies Workshop in Rochester, the Banff Center in Canada, Arteleku in San Sebastian, Spain, and the University of Western Sydney in Australia.His works have been exhibited throughout the world, including the Venice Biennale, Documenta Vl and X in Kassel, the São Paulo Biennal, la Biennale de Lyon et La Havana and The Museum of Modern Art in New York, the Berkeley Art Museum in California, the Wexner Arts Center in Columbus, Ohio, le Musée d'Art Contemporain de Montreal, le CAPC de Bordeaux, France, the Museu de Arte Moderna de Rio de Janeiro in Brazil, the Ludwig Museum in Budapest, Hungary, and the Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain. Click for larger view View full resolutionFigure 1.(Cover) Click for larger view View full resolutionFigure 2.(Page 2) Click for larger view View full resolutionFigure 3.(Page 10) Click for larger view View full resolutionFigure 4.(Page 31) Click for larger view View full resolutionFigure 5.(Page 52) Click for larger view View full resolutionFigure 6.(Page 74) Click for larger view View full resolutionFigure 7.(Page 95)Antoni Muntadas Antoni Muntadas —born in Barcelona, Spain, in 1942 —has lived and worked in New York since 1971.Copyright © 2003 The Johns Hopkins University Press... (shrink)

With the collapse of the bipolar system of global rivalry that dominated world politics after the Second World War, and in an age that is seeing the return of "ethnic cleansing" and "identity politics," the question of violence, in all of its multiple ramifications, imposes itself with renewed urgency. Rather than concentrating on the socioeconomic or political backgrounds of these historical changes, the contributors to this volume rethink the _concept_ of violence, both in itself and in relation to the formation (...) and transformation of identities, whether individual or collective, political or cultural, religious or secular. In particular, they subject the notion of self-determination to stringent scrutiny: is it to be understood as a value that excludes violence, in principle if not always in practice? Or is its relation to violence more complex and, perhaps, more sinister? Reconsideration of the concepts, the practice, and even the critique of violence requires an exploration of the implications and limitations of the more familiar interpretations of the terms that have dominated in the history of Western thought. To this end, the nineteen contributors address the concept of violence from a variety of perspectives in relation to different forms of cultural representation, and not in Western culture alone; in literature and the arts, as well as in society and politics; in philosophical discourse, psychoanalytic theory, and so-called juridical ideology, as well as in colonial and post-colonial practices and power relations. The contributors are Giorgio Agamben, Ali Behdad, Cathy Caruth, Jacques Derrida, Michael Dillon, Peter Fenves, Stathis Gourgouris, Werner Hamacher, Beatrice Hanssen, Anselm Haverkamp, Marian Hobson, Peggy Kamuf, M. B. Pranger, Susan M. Shell, Peter van der Veer, Hent de Vries, Cornelia Vismann, and Samuel Weber. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Taking Up Space:Museum Exploration in the Twenty-First CenturyTiffany Sutton (bio)Museums have become a crucible for questions of the role that traditional art and art history should play in contemporary art. Friedrich Nietzsche argued in the nineteenth century that museums can be no more than mausoleums for effete (fine) art.1 Over the course of the twentieth century, however, curators dispelled such blanket pessimism by showing that what keeps historical art (...) museums, both comprehensive and modern, "alive" and relevant in the modern art world are the things that curators do with the artworks in their collections.2 In certain cases, I will argue in this article, the focus on artworks and the relationship between them can be rewardingly shifted onto the spatial aspect of the museum. I will try to show what such a shift of focus entails, show that it involves a gestalt shift (in Wittgenstein's terms, the "dawning of an aspect"), and illustrate the limits within which this can arise.3 The foremost of these limiting factors is museum architecture, and I will discuss this to the extent that it determines the limits of what curators can do. How architects do things with museums, however, lies outside the scope of this article.An Art Historical Heuristic Gets a Curatorial MakeoverNineteenth-century art museums typically were vast, labyrinthine, and built to assume the shape of a comprehensive art historical narrative, so they were easy targets for ideologues drawn to vibrant modern artworks and the controversy surrounding them. At the turn of the twentieth century new commercial galleries developed a distinctively modern mode of display in which individual artworks were showcased with plenty of space around them.4 Had existing museums changed their ways to accommodate these developments, the momentum of a new aesthetic of flatness, surface, [End Page 87] and yet purer forms of conceptualism would have been lost. It was not a time for absorption and deflation: new museums, no less monumental and historical but smaller and with fewer volumes, were commissioned to give modern art the appearance of a fresh start.5 The weightless upward mobility of Frank Lloyd Wright's Guggenheim Museum in Manhattan, modeled in 1945 and opened to the public in 1959, consummated this trend of the first half of the twentieth century and gave it its purest form. What the building spurt revealed was that as art changes, it demands to be reflected in its surroundings, not merely accommodated. That the response was to build new museums rather than new wings suggests the inner workings of the principle—call it "curatorial heuristic one"—that, whereas art history is fluid and simply flows forward with new developments, museums are not of this nature; they can become effete.The curatorial revision of this heuristic was a century in coming. As often happens when emerging movements are yet underdetermined, modernism suppressed in its beginnings the background factor that would seem to entail the end of modern art when finally brought into focus: the very context of display that had once set it apart. Duchamp's Readymades (1913) gave the initial nod (or wink) to the gallery context; it was, however, ignored, as a suppressed punch line, until art history was ready to concede the importance of the context of display—not in the gallery, but in the museum—to a site-specific artwork by Richard Serra: his Splashing and Prop (1968). With the museum's framing context and, concomitantly, the importance of the curator's work conceded, the barrier that had kept lesser masterpieces in the basement (or out of the museum) were removed. Unearthed, these began to circulate, and attention centered on the relation in which they stood to better-known artworks, either as suppressed alternates or as descendants of an artistic lineage. So postmodern sprawl began, with the display of multiple alternative art histories drawing, as modernism had, on available display conventions for periodizing according to internal principles (period, school, genre, style) such that detection of them devolved upon the viewer.When public uses for the new public museums began to diversify (from an historical/educational focus to aesthetic/educational and cultural/political ones), principles for ordering artworks were... (shrink)

Charles Demuth is widely recognized as one of the most significant American modernists. His precisionist cityscapes, exquisite flowers, and free-wheeling watercolors of vaudeville performers, homosexual bathhouses, and cabaret scenes hang in many of the country's most prestigious collections, including the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Columbus Museum of Art, the Amon Carter Museum in Fort Worth, the Art Institute of Chicago, and in Demuth's Lancaster, Pennsylvania, family residence, now home of the Demuth Foundation. At a (...) time when many American artists remained tied to Europe, Demuth "Americanized" European modernism. This collection of 155 of his letters offers valuable views of the arts and letters colonies in Provincetown, New York, and Paris. Besides offering information on Demuth's own works, the letters also shed light on the output of his contemporaries, as well as references to their trips, liaisons, and idiosyncrasies. Demuth numbered among his correspondents some of the most famous artists and writers of his time, inluding Georgia O'Keeffe, Eugene O'Neill, John Reed, Gertrude Stein, Alfred Stieglitz, Carl Van Vechten, and William Carlos Williams. In his travels in the United States and abroad, he encountered many other talented contemporaries: Peggy Bacon, Muriel Draper, Marcel Duchamp, the Stettheimer sisters, artists and writers, patrons, and gallery owners. Whether he is offering to pick up a copy of Joyce'sUlyssesfor Eugene O'Neill or trying to convince Georgia O'Keeffe to decorate his music room, Demuth is always in the thick of art and literary life. Flamboyant in attire but descreet in his homosexuality, Demuth also reveals in his letters the life of a talented homosexual in the teens and twenties. With his best friends Robert Locher and Marsden Hartley, he circulated through the art colonies of Greenwich Village, Provincetown, and Paris, meeting everyone. The book also contains reprints of some short appraisals of Demuth and his work that were published during his lifetime, long out of print, including pieces by A. E. Gallatin, Angela E. Hagen, Marsden Hartley, Helen Henderson, Henry McBride, Carl Van Vechten, Rita Wells, and Willard Huntington Wright. Author note:Bruce Kellneris Emeritus Professor of English, Millersville University, and a member of the Demuth Foundation Board of Directors. He is the author or editor of 10 other books. (shrink)

For more than 30 years and until his death in 2004 Jacques Derrida remained one of the most influential contemporary philosophers. It may be difficult to evaluate what forms his heritage will take in the future but _Derrida Now_ provides some provocative suggestions. Derrida’s often-controversial early reception was based on readings of his complex works, published in journals and collected in books. More recently attention has tended to focus on his later work, which grew out of the seminars that he (...) presented each year in France and the US. The full texts of these seminars are now the subject of a major publication project, to be produced over the next ten years. _Derrida Now_ presents contemporary articles based on or around the study of Derrida. It provides a critical introduction to Derrida’s complex and controversial thought, offers careful analysis of some of his most important concepts, and includes essays that address the major strands of his thought. Derrida’s influence reached not only into philosophy but also into other fields concerned with literature, politics, visual art, law, ecology, psychoanalysis, gender and sexuality and this book will appeal to readers in all these disciplines. Contributors include Peggy Kamuf, Geoff Bennington, Sarah Wood, Roy Sellars, Graham Allen, and Irving Goh. (shrink)

Much contemporary feminist theory continues to see itself as freeing women from patriarchal oppression so that they may realize their own inner truth. To be told by postmodern thinkers such as Jacques Derrida that the very possibility of such a truth must be submitted to the process of deconstruction thus seems to present a serious challenge to the feminist project. From a postmodern perspective, on the other hand, most feminist discourse remains deeply rooted, if not in essentialism, at least in (...) the logocentrism of traditional philosophical and political thought. Stepping beyond the usual confines of this debate, the eleven thinkers whose ideas are represented in this volume take a deeper look at Derrida's work to consider its specific strengths and weaknesses as a model for feminist theory and practice. Despite this common focal point, this collection is extremely diverse. The problems addressed include the status of the female subject, civil disobedience, and the AIDS epidemic; the subjects include Husserl's theory of signs, jealousy in Shakespeare's _Othello_, and Irigaray's concept of the divine; disciplines include cultural studies, literature, philosophy, political theory, religion, and the law as represented by major scholars in each field; and the opinions expressed range from strong criticism of Derrida's work to careful explorations of the avenues it creates for rethinking sexual difference. Included are an analytic introduction by Nancy J. Holland; important new essays by Elizabeth Grosz, Peggy Kamuf, Peg Birmingham, Kate Mehuron, Ellen Armour, and Dorothea Olkowski; "Choreographies," Derrida's 1982 interview with Christie V. McDonald; Gayatri Chakravorty Spivak's "Displacement and the Discourse of Women," published in the same year; and recent articles by Drucilla Cornell and Nancy Fraser. (shrink)

This book brings together for the first time five recent essays by Jacques Derrida, which advance his reflections on many issues: lying, perjury, forgiveness, confession, the profession of faith, and, most recently, cruelty, sovereignty, and capital punishment. Strongly linked by their attention to "performatives" and the "as if," the essays show the necessity of thinking beyond the category of acts that are possible for a subject. Derrida argues forcefully that thought must engage with the im-possible, that is, the order of (...) the unforeseeable event, the absolute future still to come. This acute awareness of the limits of performative programs informs the essays throughout and attunes them closely to events of a world undergoing "globalization." The first essay, "History of the Lie," reviews some classic and modern definitions of the lie, while renewing questions about what is called lying, as distinguished from other forms of nontruth. This inventive analysis is followed by "Typewriter Ribbon," which examines at length the famous lie recounted by Rousseau in his _Confessions_, when he perjured himself by accusing another of his own crime. Paul de Man’s reading of this textual event is at the center of Derrida’s patient, at times seriously funny analyses. "_Le parjure_, Perhaps" engages with a remarkable novel by Henri Thomas that fictionalizes the charge of perjury brought against Paul de Man in the 1950s. Derrida’s extraordinary fineness as a reader and thinker of fiction here treats, to profound effect, the "fatal experience of perjury." The two final essays, "The University Without Condition" and "Psychoanalysis Searches the States of Its Soul," address the institutions of the university and of psychoanalysis as sites from which to resist and deconstruct the nontruth or phantasm of sovereignty. For the university, the principle of truth remains at the core of its resistance; for psychoanalysis, there is the obligation to remain true to what may be, Derrida suggests, its specific insight: into psychic cruelty. Resistance to the sovereign cruelty of the death penalty is just one of the stakes indicated by the last essay, which is the text of a keynote address to the "States General of Psychoanalysis" held in Paris, July 2000. Especially for this volume, Derrida has written "Provocation: Forewords," which reflects on the title _Without Alibi_ while taking up questions about relations between deconstruction and America. This essay-foreword also responds to the event of this book, which Peggy Kamuf in her introduction presents as event of resistance. _Without Alibi_ joins two other books by Derrida that Kamuf has translated for Stanford University Press: _Points...: Interviews, 1974-1994_ and _Resistances of Psychoanalysis_. (shrink)

Within today's emerging global society, educational systemic change is a dynamic, complex process that must seek to engage active participation of all stakeholders. This article examines alternative models of this process, providing different perspectives of the recursive and comprehensive nature of change when viewed from the vantage points of those stakeholders within the process. An envisioned school or educational system that addresses preparation of a citizenry dedicated to democratic principles and issues of social justice must consciously examine the relationships, that (...) form and reform interconnecting and unifying diverse subsystems within the school's constructed meaning and purpose. (shrink)

(1985). Incorrigibility laws: The state's role in resolving intrafamily conflict. Criminal Justice Ethics: Vol. 4, No. 1, pp. 11-19. doi: 10.1080/0731129X.1985.9991767.

Proto‐oncogene products may be multi‐functional proteins with various roles in cell differentiation as well as cell proliferation. The molecular biology of the gene products of three well characterized proto‐oncogenes (c‐fos, c‐myc and c‐src) are described, and the roles of three other proto‐oncogene products, involved in hormone and growth factor reception, are reviewed.

This dialogue introduces the concepts of colonization and decolonization of nursing knowledge, the harms that have come from colonization, and the importance of engaging in the processes of decolonization as a means of achieving social justice and humanization for all. Specific options to decolonize nursing knowledge are discussed.

Résumé La fondation anthropologique de la fonction critique – socialement endossée par l’imaginaire utopique – et son lien dynamique avec la tâche intégrative de l’idéologie permettent à Ricœur de repenser sur le plan socio-politique la double nécessité du soupçon et de l’espérance. En reliant l’analyse de la structure contradictoire et analogisante de l’imaginaire social aux perspectives antérieurement développées sur “la liberté selon l’espérance,” notre propos vise à expliciter ses enjeux émancipateurs. Les apories auxquelles les médiations symboliques contraignent l’agir doivent nourrir (...) la double nécessité d’un “devoir de vigilance” et d’une “timide espérance”: telle est à la fois la difficulté irréductible et la force critique de l’analyse ricœurienne de l’imagination socialisante. Mots-clés: imaginaire social, critique, idéologie, utopie, espérance.The anthropological foundation of the critical function—endorsed by the utopian imaginary—and its dynamic relation with the integrative task of ideology allow Ricœur to rethink, at a social and political level, the necessity of both suspicion and hope. Linking Ricœur’s analysis of the contradictory and analogizing structure of the social imaginary to perspectives on “freedom in the light of hope,” which were developed earlier, it is my intention to make explicit certain emancipatory issues. The aporiae to which symbolic mediations constrict acting must provide for the necessity of both an “obligation for vigilance” and a “tentative hope.” Such is the irreducible difficulty but also the critical force of Ricœur’s analysis of the socializing imagination. Keywords: Social Imaginary, Criticism, Ideology, Utopia, Hope. (shrink)

Jacques Derrida is one of the most prolific and influential contemporary French intellectuals. Twenty-two essays and excerpts from Derrida's writings over the last twenty-five years are gathered in this accessible introduction, _A Derrida Reader_. The book's five sections are carefully introduced by the editor, and each selection of Derrida's work is presented succinctly in context. A general introduction to the volume by Peggy Kamuf provides an original interpretation and overview of Derrida's work and philosophy.