How did the events of the early modern period affect the way gender and the self were represented? This collection of essays attempts to respond to this question by analysing a wide spectrum of cultural concerns - humanism, technology, science, law, anatomy, literacy, domesticity, colonialism, erotic practices, and the theatre - in order to delineate the history of subjectivity and its relationship with the postmodern fragmented subject. The scope of this analysis expands the terrain explored by feminist theory, while (...) its feminist focus reveals that the subject is always gendered - although the terms in which gender is conceived and represented change across history. Feminist Readings of Early Modern Culture not only explores the representation of gendered subjects, but in its commitment to balancing the productive tensions of methodological diversity, also speaks to contemporary challenges facing feminism. (shrink)

During the late eighteenth century the Bible underwent a shift in interpretation so radical as to make it virtually a different book from what it had been a hundred years earlier. Even as its text was being revealed as neither stable nor original, the new notion of the Bible as a cultural artefact became a paradigm for all literature. In Origins of Narrative one of the world's leading scholars in biblical interpretation, criticism and theory describes how, while formal religion (...) declined, the prestige of the Bible as a literary and aesthetic model rose to new heights: not merely was English, German and French Romanticism steeped in biblical references of a new kind, but hermeneutics and, increasingly, theories of literature and criticism were biblically derived. Professor Prickett reveals how the Romantic Bible became simultaneously a novel-like narrative work, an on-going site of re-interpretation, and an all-embracing literary form giving meaning to all other writing. (shrink)

Comparative political theory is at best an embryonic and marginalized endeavor. As practiced in most Western universities, the study of political theory generally involves a rehearsal of the canon of Western political thought from Plato to Marx. Only rarely are practitioners of political thought willing (and professionally encouraged) to transgress the canon and thereby the cultural boundaries of North America and Europe in the direction of genuine comparative investigation. Border Crossings presents an effort to remedy this situation, fully launching (...) a new era in political theory. Thirteen scholars from around the world examine the various political traditions of West, South, and East Asia and engage in a reflective cross-cultural discussion that belies the assumptions of an Asian "essence" and of an unbridgeable gulf between West and non-West. The denial of essential differences does not, however, amount to an endorsement of essential sameness. As viewed and as practiced by contributors to this ground-breaking volume, comparative political theorizing must steer a course between uniformity and radical separation--this is the path of "border crossings.". (shrink)

Explores some steps toward non-assimilative encounters in the "global village.".

In lieu of an abstract, here is a brief excerpt of the content:Encounters with Ovid: Gavin Douglas’s The Palis of Honoure and Derek Walcott’s “The Hotel Normandie Pool” CAROLE E. NEWLANDS In sixteenth-century Rome, humanist scholars of ancient material and religious culture were exploring the ruins and inscriptions of ancient Rome with a copy of Ovid’s Fasti in hand.1 In London at the same time, Shakespeare was entertaining audiences and inspiring other poets with plots and characters drawn from Ovid’s Metamorphoses. (...) Reception studies of Ovid often focus on these great metropolitan centers. In this article, however, I will explore transformative encounters with Ovid by two poets living on the geographical margins: Gavin Douglas, the Scottish poet whose major work, the Eneados, completed in 1513, was the first translation of Virgil’s Aeneid in the British Isles, and Derek Walcott, the Caribbean Nobel-prize winning poet best known for his epic poem Omeros, published in 1990. As a poet of a small northern country that had fraught political and cultural relations with its much more populous neighbor, England, Douglas can be considered to some extent, like Walcott, within a postcolonial critical paradigm. For despite their stark differences in geographical locale and in period of time, these poets have significant commonalties. Both men were natives of places geographically distant from the major metropolitan center of London. Both were also classically learned poets. They thus shared anxieties relating to their temporal distance from Graeco-Roman culture as well as to their physical distance from the powerful English-language literary center of their day. And significantly, both Douglas and Walcott present transformative visions of Ovid in indiarion 26.3 winter 2019 vidual, early poems, The Palis of Honoure and “The Hotel Normandie Pool” respectively. These imagined but direct encounters with the Roman poet occur in poems before Douglas and Walcott composed the works for which they are chiefly known, in Douglas’s case the translation of the Aeneid, and in Walcott’s Omeros. Ovid appears in both the Palis of Honoure and “The Hotel Normandie Pool” initially, at least, as an outsider, a poet of exile, but not, however, as a self-pitying poet in decline or, as recent scholarship would have it, as a skilled manipulator of the tropes of poetic decline.2 Rather, in Douglas’s and Walcott’s poems Ovid is a figure who authorizes marginality as a vital source of poetic re-creation. As both insider and outsider Ovid can offer positive redirection to these authors whether within or beyond their geographical boundaries. Through their visions of Ovid, both Douglas and Walcott are offered the possibility of personal change and generic innovation. For each poet the encounter with Ovid is a form of poetic initiation that leads him to his more ambitious work in the heroic genre. gavin douglas’s THE PALIS OF HONOURE i will start with Gavin Douglas (c. 1474–1522). Douglas is generally classed as one of the “Makars,” a term used to refer to a cluster of brilliant, experimental Scottish poets of the late 15th and early 16th century. Among these were Robert Henryson, William Dunbar, and Gavin Douglas, three poets who thrived under the rule of King James IV of Scotland, an active patron of the arts who sought to make his court a center of cultural excellence that would rival the English court.3 Douglas’s Palis of Honoure is a youthful, ambitious poem, composed in 1502, twelve years before his major achievement, his translation of the Aeneid.4 Dedicated to King James, The Palis comprises 2169 decasyllabic lines with several demanding rhyme schemes.5 It is written in a manner that combines the “aureate” style, that is elegant and Latinate, with down-to-earth Scottish vernacular 74 encounters with ovid diction and forms of expression, and it is also suffused with Ovidian myth and concepts.6 Its format derives from the medieval dream vision, a form employed notably, for instance, by Douglas’s famous English predecessor Chaucer.7 Scholars tend to find The Palis of Honoure less polished than Douglas’s mature work, the Eneados. Conor Leahy, however, describes the youthful poem as bold and dynamic: “In the hundred years following the death of Chaucer, no other dream vision... (shrink)

Samizdat, the underground circulation of unofficial and forbidden literature in the Soviet Union, is an example of how censorship can backfire. Ideological restrictions produced walls of monotony in libraries and bookstores, propelling readers to search for more interesting fare. Sensitive texts on religion, philosophy, human rights, and current events, as well as literary works, passed from hand to hand clandestinely from around 1960 until censorship was abolished in the late 1980s. Von Zitzewitz's study is itself interesting fare, uncovering the workings (...) of samizdat as both a distribution network, comparable to that of print culture, and a social network that developed bonds between people who shared a defined purpose outside the public space. By no means did they all think of themselves as dissenters. For many people who lived ordinary Soviet lives, it was simply that “reading samizdat increased [their] individual feeling of freedom and represented a personal act of resistance.”One merit of this book is its point-by-point comparison of the samizdat distribution network to the print-culture production chain of author-publisher-printer-shipper-bookseller-reader. Samizdat had an analogous chain, in which a text made its way from author to reader through a network of people, each performing a specific function—procuring manuscripts, housing them, typing (or photographing) multiple copies, and delivering copies to readers. There were others who served as compilers, translators, collectors, and even editors and “librarians” (although accepting this designation requires abandoning the notion of a library as a stationary physical repository).Since all participants in the network strove to hide their traces from the prying eyes of the security police, samizdat researchers are hampered by a lack of records and evidence. To help fill the information gap, von Zitzewitz (in collaboration with Memorial's Gennadii Kuzovkin) designed a sixty-three-question survey targeting former samizdat participants and posted online in 2017. Tables display statistics (from the first 122 respondents) on demographics (respondents’ gender, place and decade of birth, and education level) as well as information on which authors, genres, and subject matter were most read. Other survey questions were designed to elicit recollections that help us understand what it felt like to participate in samizdat culture, whether as an author or reader, or in some aspect of acquisition or distribution. The many quotations from the survey responses bring to life the intensity of this activity. Receiving a sought-after text with an injunction to return it (or pass it on) the next day might mean reading all through the night to get through hundreds of pages. And while it is intuitive to think of samizdat as walled off from official culture, this study argues persuasively that they were intertwined. There were plenty of gray areas and fuzzy boundaries, too. One owner of samizdat books had several of them confiscated during a KGB search of his apartment, only to find them later for sale in a bookshop.Having begun as a clandestine, makeshift response to the institution of censorship, samizdat became more sophisticated over time, evolving into an institution itself. It arguably contributed to the perestroika reforms and became unnecessary when censorship was given the heave-ho. Subsequently, samizdat activists who had managed the covert production and circulation of entire journals published full accounts of their activity and the operation of their networks. Von Zitzewitz makes good use of these sources and shows admiration for the role these men played. She notes, though, that their detailed descriptions omit names of any of the typists who gave up their leisure hours and nightly sleep for the pleasure of hammering out multiple carbon copies of forbidden literature, usually for no pay. The word typist, given its lowly connotation in both Russian and English, is unfortunate. Typists were samizdat's printing press, and without their commitment and sacrifice the whole enterprise would have collapsed. Von Zitzewitz suggests that it may never have occurred to the samizdat heavyweights to acknowledge them by name. They were just... women. On the other hand, the menial typist designation had its upside. It seems to have resulted in a shorter prison sentence for at least one of them.Von Zitzewitz argues strenuously that samizdat was first and foremost a social network. If you wanted to get hold of, say, The Gulag Archipelago, you needed to know someone with the connections to help you get it. To call samizdat a social network is, of course, to wade into comparisons with today's online social media networks. Von Zitzewitz notes parallels, but she finds that the differences overwhelm the similarities. Samizdat was a social network, but one that depended on mutual trust. (shrink)

As a critic, Virginia Woolf has been called a number of disparaging names: "impressionist," "belletrist," "raconteur," "amateur." Here is one academic talking on the subject: "She will survive, not as a critic, but as a literary essayist recording the adventures of a soul among congenial masterpieces. . . . The writers who are most downright, and masculine, and central in their approach to life - Fielding or Balzac - she for the most part left untouched....Her own approach was at once (...) more subterranean and aerial, and invincibly, almost defiantly, feminine." In other words, Virginia Woolf is not a critic; how could she be? She is a woman. From its beginning, criticism has been a man's world. This is to say not only that males have earned their living as critics but, more importantly, that the conventionally accepted ideals of critical method are linked with qualities stereotypically allotted to males: analysis, judgment, objectivity. Virginia Woolf has had a poor reputation as a critic not merely because her sex is female but because her method is "feminine." She writes in a way that is said to be creative, appreciative, and subjective. We will accept this descriptive for the moment but will later enlarge on it, and even our provisional acceptance we mean to turn to a compliment. Barbara Currier Bell has written articles on critical theory and modern poetry and has served as a consultant on women's education at both Vassar and Hampshire Colleges. She is assistant professor of English at Wesleyan University. Carol Ohmann is the author of Ford Madox Ford: From Apprentice to Craftsman and several articles on English and American fiction. She coedited Female Studies IV: Teaching about Women with Elaine Showalter and is chairman of the Department of English at Wesleyan University. She has contributed, with Richard Ohmann, "Reviewers, Critics, and The Catcher in the Rye , and "CRITICAL RESPONSE: Universals and the Historically Particular" .See also: "The Masculine Mode" by Peter Schwenger in Vol. 5, No. 4; "The Robber in the Bedroom: or, The Thief of Love: A Woolfian Grieving in Six Novels and Two Memoirs" by Mark Spilka in Vol. 5, No. 4. (shrink)

This article is a response to an essay written by an academic in English Literature, Professor John Sutherland. Through close textual analysis,Sutherland purports to resolve a well-known literary question: whether the sexual encounter outlined in the Victorian novel Tess of the d'Urbervilles should be classified as rape or seduction. The present article rejects his conclusion on the matter. An(equally) close analysis of the fictional text in question and of Sutherland's gloss, demonstrates the partiality of his critique, both in (...) literary-critical and critical-legal terms. In addition, examination of the conceptual and historico-legal context regarding the notions of rape and seduction on both sides of the Atlantic highlights parallels between Sutherland's own partiality and that of the law. In short, the apparent objectivity of the textual analysis and subsequent critique undertaken by Sutherland is revealed as a continuation of legal and patriarchal prejudices defining rape and seduction. The use of close textual analysis as the key critical device promotes the apparent probity of his findings. Locating them in an essay collection designed for mass lay public consumption completes the circle – from partisan scholarship to `informed' popular prejudice. (shrink)

"Kevin Hart and Geoffrey H. Hartman bring together essays by prominent scholars from a range of disciplines to focus on Blanchot's diverse concerns: literature, art, community, politics, ethics, spirituality, and the Holocaust."--Jacket.

The front page of the [New York] Times on July 16, 1951, serves to outline, quickly enough, the situation of the world into which The Catcher in the Rye made such a successful and relatively well-publicized entrance. The main action of the world, the chief events of its days were occurring within a framework of struggle between two systems of life, two different ways of organizing human being socially, politically, economically. The opposition between East and West, between socialist and capitalist, (...) was determining what happened in Kaesong, Budapest, Madrid, Teheran, Washington, New York. Name-calling the Administration, Republicans threw out the term "socialist," and the bid for millions to build schools in the five boroughs of New York would finally have to dovetail with allocations of taxes for defense. The review of The Catcher in the Rye in the back pages of the Times made no mention of any of this. The kind of reality reported on the front page belonged to one world; the new novel was about to be assimilated into another, into the world of culture, which was split from politics and society. And this separation repeated itself in other reviews: typically, they did not mention the framework of world history contemporary with the novel; they did not try to relate Catcher to that framework even to the extent of claiming that there was only a partial relationship or complaining, however simplistically, that there was none. Our concern from here on will be to try to sketch what reviewers and what academic critics after them did see in the novel and what they might have seen in it. We are interested in the conceptual frameworks, the alternatives to history, they used to respond to and interpret Catcher as they passed it on to its millions of lay readers. Carol Ohmann is currently working on a book about Charlotte Bronte, George Eliot, and Virginia Woolf. Her previous contribution to Critical Inquiry, "Virginia Woolf's Criticism: A Polemic Preface" , appeared in the December 1974 issue. Richard Ohmann's most recent book is English in America: A Radical View of the Profession. Both are professors in the department of English at Wesleyan University, and contributed "CRITICAL RESPONSE: Universals and the Historically Particular" to Critical Inquiry in the Summer 1977 issue. (shrink)

When does an English businessman's ‘yes’really mean ‘no’, ‘maybe’, ‘later’, or perhaps ‘probably not’? And how much of this is unethical stringing along or part of a puzzling English business culture? Why can't they say what they mean? Dr Djursaa is Associate Professor with responsibility for British political and social studies at the Business Language Faculty of Copenhagen Business School, Dalgas Have 15, DK‐2000 Copenhagen F, Denmark. She gained her doctorate at the University of Essex and (...) spent a period as visiting fellow at Cranfield School of Management. Her major field of research, on which she here reflects, is cultural factors in Anglo‐Danish business relations. (shrink)

One might say that Clare is almost by virtue of that label alone a political poet. “Peasant poet” is a contradiction in terms from the perspective of English literary history, or of the longer history of the literary pastoral. The phrase must refer to two different social locations, and as such makes social place an explicit, problematic concern for the middle-class readers of that poet’s work. To Clare’s publisher and patrons in the 1820s, as to his editors in the (...) 1980s, the language, the forms, the sentiments, and even the punctuation of his poetry are further markers of class difference for an audience invited to read him as a peasant poet. In recent collections concerned to recover the politics of English poetry these signs of difference are highly valued.2 They seem to mark Clare’s work as what Fredric Jameson terms “strong” political art, that is, “authentic cultural creation … dependent for its existence on authentic collective life, on the vitality of the ‘organic’ social group.”3At the time his poems were published class difference in English rural life was a political issue sufficiently charged to make publisher and patrons wish to minimize its marks in Clare’s poetry. On the one hand, a clearly understood hierarchy was the form of social stability that rural scenes staged for their urban middle-class audiences. Evidence of class difference confirmed the survival of this hierarchy and the reader’s position in it. Clare’s poetry of place affirmed a system of social as well as geographical differences felt as a traditional—and essential—aspect of English national identity. On the other hand, however, the countryside was precisely where the erosion of the hierarchical relations of deference and responsibility was particularly noticeable, and disturbing, in the years after 1815. Sporadic outbreaks of protest against low wages and unemployment in 1816, 1822, and 1830 realized dramatically for the middle and upper classes what one might call a rural version of the process Marx was later to term alienation: the known and familiar inhabitants of the rural scene—laborers, village artisans—were suddenly made strange to their middle- and upper-class neighbors, so much so that many observers were convinced that they must be strangers, intruders from another pace .4 The elements of difference, or strangeness, in Clare’s poetry—the marks of his identity as rural laborer—thus also risked awaking specific anxieties among his early readers. Clare’s editor and publisher, John Taylor, punctuated, regularized meter, and replaced some of Clare’s unfamiliar local vocabulary. Nonetheless, his two most important early patrons, the evangelical aristocrat Lord Radstock and the middle-class Mrs. Emmerson, objected to some lines as “radical slang” and others as “vulgar.” The language of class risked rejection as politically subversive. Especially in an already politicized rural scene, the peasant poet could not be a neutral figure. 2. Both A Book of English Pastoral Verse, ed. John Barrell and John Bull and The Faber Book of Political Verse, ed. Tom Paulin restore Clare’s original orthography and lack of punctuation to support the label “peasant poet.”3. Fredric Jameson, “Reification and Utopia in Mass Culture,” Social Text 1 : 140. Elizabeth Helsinger is associate professor of English and general studies at the University of Chicago and a coeditor of Critical Inquiry. Her Ruskin and the Art of the Beholder was published in 1982. The present essay is part of a book in progress on representations of the rural scene in Victorian England. (shrink)

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The notion of (...) 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

Discrimination represents an important moral problem in the field of business ethics, and is often directed against minority groups. While most of the extant literature studies discrimination against employees, this paper studies discrimination against minority customers, addressing whether customers speaking English with an accent are discriminated against when contacting companies with a complaint. We draw upon the two literature streams of business ethics and service recovery to address discrimination in the service recovery process, as the recovery process (...) after a service failure constitutes a critical incident for customers, in which discrimination would be a particularly important moral problem. The findings confirm that customers speaking with an accent are discriminated against, as employees may evaluate customers as both less credible and less competent depending on their accent. We further show that this discrimination extends to negative outcomes: service employees offer customers speaking with an accent lower compensation, and are less likely to go the extra mile for them. Having identified the existence of a discriminatory practice in the service recovery process, we further uncover both an underlying reason and a potential solution. Our results show that employees’ level of cultural intelligence helps alleviate discrimination. We conclude that companies could benefit from including cultural intelligence in the recruitment and training of their employees. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:354 BOOK REVIEWS (continuously) revisable character, he falls back on an account of theology as rhetoric so as to make the best of a bad job. For persuasion is what we use when we know demonstration is hopeless. As a result, Professor Cunningham's study, which could most usefully have "placed" a variety of theologies of past, present, and, prospectively, future on the spectrum of (onto-) logic, poetic, and (...) rhetoric, concludes instead that theology must regard itself as rhetorical or perish! This inevitably narrows the several services theologies of different kinds can perform for the Church. Imagine how biblical studies would be reduced were the exegete only to treat his text as paraenesis, and never as history or as a symbolic world. Nonetheless, on the way from its (as I find) unsatisfactory startingpoint and to its depressing conclusion, Faithful Persuasion has worthwhile points to make about a number of authors (of various periods) and topics, though it might have made them more persuasively (its author's key term) had the intended audience (middle-brow or academic?) been more clearly viewed in advance. AIDAN NICHOLS, O.P. Blackfriars Cambridge, England Church and Culture: German Catholic Theology, 1860-1914. By THOMAS FRANKLIN O'MEARA, O.P. Notre Dame/London: University of Notre Dame Press, 1991. Pp. x + 260. $35.95 (cloth). " In 1925, Baden's Kultusminister, a Protestant, began an address to the Gorresgesellschaft in Heidelberg by describing this era: ' Brave men like Hertling, Schell, Julius Bachem, and Carl Muth, shook the German Catholic world in order to lead it out of its fortress, to lead it again into the midst of the life and activity of the entire people, even when this seemed at first strange and uncomfortable ' " (pp. 159f.). Even to many theologians, the era in question-the last four decades of the nineteenth century through the outbreak of the "Great War"is comparatively unknown. There has been, of course, renewed interest in prominent theological figures like John Henry Newman, but his German-speaking contemporaries are for the most part strangers to the English-speaking world. And this is the first reason why this book is important: it describes a forgotten world of a century or so ago, yet one whose theological problematic was strikingly similar to our own. The " contours " of this period, deftly described in the first part of this book, were both varied and complex. Politically speaking, during the nineteenth century, " Germany " changed from an assortment of BOOK REVIEWS 355 geographically contiguous minor and medium-sized states to an Empire dominated by Prussia. Such a political re.arrangement had ecclesiastical implications: Roman Catholics, who previously had been the majority in places like Bavaria found themselves a persecuted minority during the Kulturkampf under Bismarck. And like many other victims of persecution, Roman Catholics adopted a "fortress mentality"fearful of Berlin, which was influenced by both the Lutheran Reformation and the Enlightenment, and mesmerized by Rome, which was coming under the increasing influence of neoscholasticism in doctrine and ultramontanism in discipline. German Catholic theologians found themselves in a quandary: what direction should they take? Many, like Joseph Kleutgen, took refuge in Rome; a few, like Joseph Schnitzer, found the appeal of Berlin more attractive; still others, however, tried to steer an independent course in dialogue with the culture of their day. The second and major part of this book focuses on five such theologians: Matthias Joseph Scheeben, Alois Schmid, Paul Schanz, Herman Schell, and Carl Braig. Scheeben (1835-88), "the best known and the most read in the first half of the twentieth century " (p. 53), pursued an independent route in seeking a " transcendent synthesis " incorporating both patristic and idealist thought; indeed, his lengthy Mysteries of Christ"ianity continued to enjoy a certain popularity up till the time of Vatican II, though more as a resource for spiritual reading than as a work of systematic theology. Like Newman, Scheeben's thought was sui generis, "and inspired the most divergent evaluations " (p. 65) ; unlike Newman, Scheeben has few disciples today. In contrast to Scheeben, the other four theologians attempted to emerge from the " fortress " of Roman Catholic defensiveness and to engage the historical and philosophical currents of their age. The... (shrink)

Ian Duncan’s Human Forms and Devin Griffiths’s Age of Analogy attempt to illuminate inter­actions between evolutionary theories and literature from the late eighteenth century up through the nineteenth century. They do not advance knowledge about this subject. Both authors treat evolution as a semi-fictional construction that owes more to literary inspiration than to the scientific method, and they reduce literature to a battleground for ideological forces. They write using dense terminology, shifting rhetoric, and flights of verbal performance that obscure their (...) claims. In all these respects, they are representative of the field “science and literature”-and particularly of the subfield that studies evolution and literature. I analyze the history of this subfield of literary scholarship and attempt to explain how it developed into its present form. The subfield was founded in the 1980s on the basis of poststructuralist theory and has never escaped the core assumptions of that theory: our minds cannot reach outside culture; our thoughts, behaviors, and ideas about the world are primarily the result of our culture; some cultural traditions are oppressive while others are liberating; and the meaning of texts cannot be determined. Though Duncan and Griffiths represent the highest level of schol­arship on evolution and literature, I argue that they fail their fascinating subject by offering very little that is new within their own field, and nothing that is of value to other fields. (shrink)

Regardless of the increasing research attention paid to peer-to-peer accommodation worldwide, our understanding of consumer experiences across different languages and cultures is limited. Extant research tends to support the view that consumer experiences are homogeneous, while overlooking possible cultural divergence across cultures. To fill this gap, this study uses a cross-cultural perspective based on genre analysis and cross-cultural rhetoric study to compare English and Chinese reviews about users’ peer-to-peer accommodation experiences in two popular platforms in China, (...) Airbnb and Xiaozhu. Through analyzing 584 online reviews, we found similar moves in both sets of data, including reviews about the accommodation and about the host, expressing feelings, and making a recommendation. However, we found significant differences in expressing these moves in communication styles. We found that there was a stronger sense of a close and family- like relationship between the guest and the host in the Chinese reviews, while English reviews stressed the importance of space and privacy. (shrink)

Hobbes conception of reason as computation or reckoning is significantly different in Part I of De Corpore from what I take to be the later treatment in Leviathan. In the late actual computation with words starts with making an affirmation, framing a proposition. Reckoning then has to do with the consequences of propositions, or how they connect the facts, states of affairs or actions which they refer tor account. Starting from this it can be made clear how Hobbes understood the (...) crucial application of this conception to natural law, identified as 'right reason'. (shrink)

"1910 stands out as a model of interdisciplinary and comparative study.... It brilliantly illustrates the complexity of a crucial period in European culture... focusing in particular on the intellectual intricacies of Mitteleuropa on the eve of World War I and of the dissolution of the Austro-Hungarian empire."—Lucia Re "Compellingly original.... In Harrison's work, Michelstaedter and his confreres (Campana, Slataper, Kokoschke, Rilke, Kandinsky, Lukàcs, Trakl, et al.) turn out to be considerably more fascinating and more emblematic of their time than anyone (...) has been able to perceive before."—Gregory Lucente, University of Michigan. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.2 (2004) 324-341 [Access article in PDF] Charles Lamb: Professor of Indifference Tim Milnes University of Edinburgh Nothing puzzles me more than time and space, and yet nothing puzzles me less, for I never think about them.1 I The name of Charles Lamb—essayist, poet, and notorious punster—does not loom large in studies of the philosophy of the English Romantics. The reasons for this (...) initially unsurprising fact range from the personal and obvious to the cultural and curious. Tied for most of his adult life to a clerk's desk at the East India Company, and to the care of his mentally ill sister at home, Lamb was rarely permitted the leisure even to dally in the expansive visionary landscapes explored in the epic works of consciousness of his friends Samuel Taylor Coleridge, William Wordsworth and Robert Southey. And yet, as the 1810 quip to Manning recorded above suggests, his reluctance to engage with philosophy is not merely attributable to the straitened life of the journeyman scribe. Such a remark is quite typical of Lamb's conscious attempt, in the face of a culture increasingly driven by the dissemination of knowledge, to cultivate an imaginative space the reverse of the knowing or "philosophical." It is this attitude that makes him more, not less, interesting alike for the intellectual historian and the philosopher.Lamb's avowed carelessness about matters philosophical is as familiar to his readers as the persona of "Elia" adopted for the essays he wrote for the London Magazine in the early 1820s. It is also just as beguiling and intriguing. Lamb's resistance to philosophy and his epistemic insouciance both trade on the suggestion that the desirable mind is the [End Page 324] ironic mind, reflecting—or, perhaps, refracting—a transitional and forever "imperfect" subjectivity. Correspondingly, his essays frequently invoke figures of liminality, of being in two or more states at once: whether between dreams and consciousness in "Witches, and other Night Fears" (1821); past and present in "Distant Correspondents" (1822); truth and lies in "Imperfect Sympathies" (1821); or literal and figurative selves in the imponderable relationship between "Lamb" of "On Christ's Hospital" (1813) and "Elia" of "Christ's Hospital Five and Thirty Years Ago" (1820).2 Moreover, this self-styled figure of the writer as always between alternate and often contrary conditions, beliefs and identities—what Lamb termed his "bi-parted nature"—has itself become a stock descriptor among Lamb's commentators.3 It is not difficult, for example, to detect its presence in Coleridge's portrayal of his friend as "one hovering between earth and heaven,"4 as well as De Quincey's depiction of a sleeping Lamb as "the image of repose midway between life and death, like the repose of a sculpture."5 More recently, it has shaped Jane Aaron's exploration of his proclaimed "double singleness"6 and Seamus Perry's characterisation of his "borderland," "serious-non-seriousness."7Understandably, critics of a certain bent have sought to link these features of Lamb's work, arguing that the centrifugal properties of his writing display an aversion to categorical "difference" that is directly related to his suspicion of the dualisms of systematic belief-systems. Gerald Monsman, for example, argues that insofar as Lamb's essays undermine "all transcendental reconciliations or definitive closures," they "appear to be sly critiques of the central dogmas of romanticism."8 However, to class Lamb's writing as radically decentred or self-deconstructing is to miss the profound nostalgia it evinces at critical moments for a neutral ground and a sense of belonging. Lamb's indifference to knowledge, and to philosophy as the pursuit of certain knowledge, is constantly challenged by his fear of imaginative dissolution. Correspondingly, Lamb/Elia's indifferent location between the real and the fictive never quite manages completely to repress the desire for truth. And yet, "indifference," quite apart from being a term that both fascinated and repelled Lamb himself, aptly characterises both his attitude to philosophy and knowledge on one hand, and the liminal properties of his prose on the other. Freud provides a... (shrink)

The definition of 'Englishness' has become the subject of considerable debate, and in this important contribution tto Ideas in Context Julia Stapleton looks at the work of one of the most wide-ranging and influential theorists of the English nation, Ernest Barker. The first holder of the Chair of Political Science at Cambridge, Barker wrote prolifically on the history of political thought and contemporary political theory, and his writings are notable for fusing three of the dominant strands of late-nineteenth and (...) early-twentieth century political thought, Whiggism, Idealism and Pluralism. Infused with a strong cultural sense of nationhood, Barker's writings influenced a broad non-academic audience, and their subsequent neglect graphically demonstrates the fate of a certain vision of Liberal England in the generation after World War One. With, however, the erosion of a particular sense of Englishness, Barker's ideas have begun to assume renewed resonance. (shrink)

Did Chinese mysticism vanish after its first appearance in ancient Taoist philosophy, to surface only after a thousand years had passed, when the Chinese had adapted Buddhism to their own culture? This first integrated survey of the mystical dimension of Taoism disputes the commonly accepted idea of such a hiatus. Covering the period from the Daode jing to the end of the Tang, Livia Kohn reveals an often misunderstood Chinese mystical tradition that continued through the ages. Influenced by but ultimately (...) independent of Buddhism, it took forms more various than the quietistic withdrawal of Laozi or the sudden enlightenment of the Chan Buddhists. On the basis of a new theoretical evaluation of mysticism, this study analyzes the relationship between philosophical and religious Taoism and between Buddhism and the native Chinese tradition. Kohn shows how the quietistic and socially oriented Daode jing was combined with the ecstatic and individualistic mysticism of the Zhuangzi, with immortality beliefs and practices, and with Buddhist insight meditation, mind analysis, and doctrines of karma and retribution. She goes on to demonstrate that Chinese mysticism, a complex synthesis by the late Six Dynasties, reached its zenith in the Tang, laying the foundations for later developments in the Song traditions of Inner Alchemy, Chan Buddhism, and Neo-Confucianism. (shrink)

This article takes up Marilyn Strathern’s formulation of a law/culture ‘duplex’ – her term for the complementarity of anthropology and law as means to each other’s ends. She draws attention to the limitations of the duplex, and urges us to consider ethnography as (in part) a project of unwinding its entwinement. As a step toward that end, the article returns to classic texts by Emile Durkheim and Bronislaw Malinowski – texts that were foundational to the emergence of anthropology, and to (...) the establishment of law as an object of study for the social sciences. Re-read in light of Strathern’s insight, what has been widely taken as their relativism emerges instead as their defense of political community as a subject for ethnography, and (accordingly) the basis for a theoretical check on law conceived globally – within states or as colonial overrule. The article concludes with a discussion of the contemporary relevance of that position. (shrink)

Theodor Adorno is one of this century's most influential thinkers in the areas of social theory, philosophy, aesthetics, and music. Throughout the essays in this book, all of which concern musical matters, he displays an astonishing range of cultural reference, demonstrating that music is invariably social, political, even ethical. Adorno's insistence on the social character of aesthetic works will come as no surprise to those familiar with his writings, although many may be surprised by the volume's somewhat colloquial tone. (...) This colloquialism, in dialogue with Adorno's unceasing rigor, stems from the occasional sources of many of the essays, mainly public lectures and radio addresses. As such, this volume represents an important and, for English-language readers, largely unfamiliar side to Adorno. His arguments move more quickly than in his more formal and extended musicological works, and the writing is much more accessible and generous than his usually dense and frequently opaque prose. This volume includes essays on prominent figures in music (Alban Berg, Anton von Webern, Arturo Toscanini), compositional technique (the prehistory of the twelve-tone row, the function of counterpoint in new music), and the larger questions of musical sociology for which Adorno is most famous, including the relation of interpretation to audience, the ideological function of opera, and the historical meaning of musical technique. The essay on the sociology of music, for example, represents an early statement of what would soon become trademark principles of his mode of musical analysis, serving as a catalyst for his famous study Introduction to the Sociology of Music. Some forty years after most of these essays were written, they remain fresh and relevant. In part, this is because Adorno's method has only recently begun to make substantial inroads into Anglo-American musicology. And the interdisciplinary nature of his thought provides a precursor for today's interdisciplinary studies. (shrink)

This book argues for the importance of writing to conceptions of language, technology, and civilization in the early modern era.

Irish literature after Yeats and Joyce, from the 1920s onwards, includes texts that have been the subject of much contention. For a start, how should Irish literature be defined: as works which have been written in Irish or as works written in English by the Irish? It is a period in which ideas of Ireland--of people, community, and nation--have been both created and reflected, and in which conceptions of a distinct Irish identity have been articulated, defended, and challenged; a (...) period which has its origins in a time of intense political turmoil. Corcoran focuses his chapters on various themes such as "the Big House," and the rural and the provincial and offers discussions of authors ranging from Kinsella and Beckett to William Trevor, Seamus Heaney, and Mary Lavin, to provide a lucid and far-reaching introduction to modern Irish writing. (shrink)

The British journalist Christopher Hitchens has recently noted that the extraordinary excitement created by l’affaire Pound, an excitement sustained for now some forty years, is partly the result of having no fewer than three debates going on whenever the poet’s legal situation and his consequent hospitalization are discussed. As Hitchens says, those questions are: “First, was Pound guilty of treason? If not, or even if so, was he mad? Third, was he given privileged treatment for either condition?”1 I propose to (...) discuss all three issues in a way that fairly reflects the fact that I am neither a physician nor a lawyer. What I know of the state of medical expertise, both today and in the period of time from 1943 to 1958 , leads me, as a layman, to believe that there is an enormous latitude of understanding among medical professionals as to the precise meaning of “insanity.” At one extreme, for some distinguished physicians, the term means almost nothing. They see it as a legal term and as therefore irrelevant to them; some of them follow the line of reasoning developed by Thomas Szasz over his long writing career, namely that “mental illness” if not illness in any ordinary sense of the term.2 For other medical practitioners, it does mean something, but only when it is redefined into much smaller subcategories and enriched with much more precise terminology, and when the given patient and his full range of circumstances are considered.What I know of the legal understanding of insanity is that there has been and is now little firm agreement about “insanity” or “madness.” Equally competent juries and courts have been able to set down findings that are more or less plausible on their face but do not seem to comport at all with each other. I tentatively conclude that whatever “insanity” now is in the United States, and whatever it was when Pound was found unfit to stand trial in 1945, the standard is not the lucid simplicity of the M’Naghten test, namely, the ability of the accused to understand the difference between “right” and “wrong.” Human mind, self-awareness, and motivations are vastly more complicated than such a test would imply. 1. Christopher Hitchins, “American Notes,” Times Literary Supplement, 21 Oct. 1983, p. 1160.2. See Thomas Szasz, Insanity for a synthesis of his ideas as formulated in some eighteen books. William M. Chace is professor of English and Vice Provost for Academic Planning and Development at Stanford University. He is author of The Political Identities of Ezra Pound and T. S. Eliot , Lionel Trilling: Criticism and Politics , and scholarly essays on writers including Wyndham Lewis, D. H. Lawrence, T. E. Lawrence, and James Joyce. He is now working on a study of the ways in which American culture in this century has been subjected to critical analysis. (shrink)

For my present purposes, and in terms of my immediate concerns, the problem of ideology in American literary history has three different though closely related aspects: first, the multivolume American literary history I have begun to edit; then, the concept of ideology as a constituent part of literary study, and, finally, the current revaluation of the American Renaissance. I select this period because it has been widely regarded as both the source and the epitome of our literary tradition; because it (...) has become, accordingly, the focal point of the critical revision now under way in American studies; and because, from either of these perspectives, literary or critical, it seems to me a particularly fitting subject for the occasion. For one thing, we owe the idea of an American Renaissance to F. O. Matthiessen, who was a prime mover of the Salzburg Seminar, and a member of its first faculty in 1947. Moreover, American Renaissance was a classic work of revisionist criticism. It reset the terms for the study of American literary history; it gave us a new canon of classic texts; and it inspired the growth of American studies in the United States and abroad. It is not too much to say that Matthiessen, American Renaissance, and the Salzburg Seminar brought American literature to postwar Europe. What followed, from the late forties through the sixties, was the flowering of a new academic field, complete with programs of study, periodicals, theses, conferences, and distinguished procession of scholarly authorities, including many graduates of the Salzburg Seminar.Matthiessen figures as a watershed in this development. For if American Renaissance marked the seeding-time of a new academic field, it was also the harvest of some three decades of literary study. I refer, first of all, to the dual legacy that Matthiessen acknowledges of T. S. Eliot and Vernon Parrington—which is to say, the partnership in American Renaissance between the terms “literary” and “history”; or, in the words of Matthiessen’s subtitle, between Art and Expression in the Age of Emerson and Whitman: “art,” meaning a small group of aesthetic masterpieces, and “expression,” meaning representative works, reflecting and illuminating the culture at large. It was the remarkable achievement of Matthiessen that his book yokes these concepts gracefully together. Somehow, one concept seems to support the other. The historical designation American seems richer for its association with an aesthetic renaissance; Emerson’s and Whitman’s art gains substance by its capacity to express the age. Matthiessen himself did not feel it necessary to explain the connection. But we can see in retrospect that what made it work—what made it, indeed, unnecessary for Matthiessen to explain the connection—was an established consensus, or rather a consensus long in the making, which American Renaissance helped establish. I mean a consensus about the term “literary” that involved the legitimation of a certain canon, and a consensus about the term “history” that was legitimated by a certain concept of America. Sacvan Bercovitch is Carswell Professor of English and American Literature at Harvard University. He is the Author of The Puritan Origins of the American Self and The American Jeremiad, among other works. He has also edited several collections of essays, most recently Reconstructing American Literary History. (shrink)

Drawing on the theory of inter-cultural rhetoric analysis and considering the important role of newspaper editorials in shaping public opinions, this article examines the schematic structures of Persian and English newspaper editorials of criticism. The aim of this comparative study was to explore the discourse conventions employed in the editorials of The New York Times and Tehran Times. While revealing some interesting genre-specific features of schematic structures of the editorials in the two newspapers, the results of the study (...) also indicated that cultural constraints did not substantially affect the schematic structures of the editorials. However, they had implications for realization of certain rhetorical structures in the editorials. (shrink)

So Lentricchia has fulfilled one of his purposes in this essay. He has subverted the patriarchy from within: that is, he has subverted Bloom’s literary history as well as the essentialist feminism associated with it. But he has not fulfilled his affiliated purpose of establishing a dialogue between feminists and feminized males. The “feminization” of literary studies by patriarchal figures like Bloom does not account for the feminization of Stoddard, Gilder, Van Dyke, Woodberry, or Stedman. Their feminization, like that (...) of the Stevens who felt positively lady-like, was not the result of patriarchal oppression. And it will not disappear as the result of the subversion of the patriarchy by a feminized male. Mistaking the work of feminization with the work of the patriarch eradicates the feminine. By identifying the difference between a feminization produced by the patriarchy and a feminine cultural sphere, Lentricchia has made room for the different cultural conversation he wants to develop. But this conversation can take place only after the backdrop of an oppressive patriarch can drop away.This conversation might begin with an account of that cultural sphere in which women are the agency to which Lentricchia alludes. It might begin when we recall that the model for the culture’s “Emmeline Grangerfords” was Harriet Beecher Stowe’s Little Eva. The social change Little Eva helped effect was the emancipation of both slaves and slaveholders. Donald E. Pease is professor of English and American literature at Dartmouth College. His articles on nineteenth-century authors and literature have appeared in a number of journals. He is the coeditor, with Walter Benn Michaels, of American Renaissance Reconsidered, and is the author of Visionary Compacts: American Renaissance Writings in Cultural Contexts, which won the Mark H. Ingraham Prize in 1987. (shrink)

IntroductionEnabling education programs, otherwise known as Foundation Studies or Preparatory programs, provide pathways for students typically under-represented in higher education. Students in Enabling programs often face distinct challenges in their induction to academic culture which can implicate them in cases of misconduct. This case study addresses a gap in the enabling literature reporting on how a culture of academic integrity can be developed for students and staff in these programs through an educative approach.Case descriptionThis paper outlines how an educative (...) approach to academic integrity is implemented within the Enabling programs of two Australian universities.Discussion and reflectionThis case study reflects upon an approach which makes specific reference to the key elements of ‘support’, ‘approach’ and ‘responsibility’ as highlighted in Bretag and Mahmud’s seminal paper. The paper reports a reduction in misconduct cases at the two institutions suggesting a positive correlation between the interventions and students’ understanding of ethical academic practice. This study reflects upon practitioner experiences with academic integrity investigations to evaluate the effectiveness of this approach.ConclusionsThe authors show that it is possible to ensure academic integrity practices and values are upheld within a supportive learning environment appropriate to a students’ level of study. (shrink)

The chief difficulty with most social and psychological studies of violence lies in their assumption that violence is essentially a simple act of aggression that can be treated outside of a more complex moral and dramatic context. This may be the case with news reports of war, murder, assault, and other forms of violent crime, but it is certainly not a very adequate way to treat the fictional violence of a western, a detective story, or a gangster saga. It (...) is true that one can count and catalog the number of violent acts that occur in a day or a week of television and produce distressing statistics about the number of murders and assaults per minute on the typical television show. One can, like the redoubtable Dr. Wertham, amass specific instances where a young person has imitated or thinks he has imitated an act of violence he saw on television, though we should not forget that it can also be said without much fear of contradiction that the literary work which has directly caused more violence in the history of Western civilization than any other is the Bible. One can also construct laboratory experiments in which various groups are shown short films of violent acts and demonstrate that in certain circumstances this experience will cause further aggressive behavior. With procedures such as this, the evidence of a correlation between media violence and aggressive behavior becomes more and more persuasive. But do such studies tell us anything more than that this is a violent age and that there is probably some connection between the violence of actuality and the representation of violence in the media? John G. Cawelti, author of Apostles of the Self-made Man, Six-Gun Mystique, and Focus on Bonnie and Clyde, is professor in the Department of English and chairman of the Committee on General Studies in the Humanities at the University of Chicago. (shrink)

MARINA PAOLA BANCHETTI-ROBINO is Associate Professor and Chair of the Philosophy Department at Florida Atlantic University. Her areas of research include phenomenology, philosophy of language, philosophy of science, philosophy of mind, and zoosemiotics. Her publications have appeared in such journals as Synthese, Husserl Studies, Idealistic Studies, Philosophy East and West, and The Review of Metaphysics. She has also contributed essays to The Role of Pragmatics in Contemporary Philosophy (1997), Feminist Phenomenology (2000), and Islamic Philosophy and Occidental Phenomenology (...) on the Perennial Issue of Microcosm and Macrocosm (2006). She co-edited Philosophies of the Environment and Technology (1999) and is currently working on a book-length project entitled The Birth of Science Out of the Spirit of Myth: A Historico-Phenomenological Re-Examination of the Crisis of the European Sciences. BERNARD BOXILL was born in Saint Lucia, West Indies where he received his primary and secondary education. He studied philosophy at the University of New Brunswick, Canada and at the University of California, Los Angeles where he was awarded a doctorate in philosophy in 1971. He has published numerous articles, a book, Blacks and Social Justice (1992), and is professor of philosophy at the University of North Carolina at Chapel Hill. ED BRANDON was born and educated in England, studying philosophy and linguistics at The University of York, England, and later philosophy at The University of Oxford with the late John Mackie. After teaching in Sierra Leone and briefly in England, he went to teach philosophy of education at the University of the West Indies at Mona, Jamaica in 1978. From 1992 he has been attached to a policy unit of the Vice-Chancellery, based at the Cave Hill campus in Barbados, where he has been assisting since 2000 with a new major in philosophy. His academic work can be accessed from http://cavehill.uwi.edu/bnccde/epb/personalpage.html CAROLYN CUSICK is a doctoral candidate in the Department of Philosophy at Vanderbilt University. She is a founding member of the Phenomenology Roundtable. Her research focuses on feminist epistemology, Africana philosophy, and phenomenology. LEWIS GORDON is President of the Caribbean Philosophical Association. He is Laura H. Carnell Professor, the most distinguished chair, at Temple University, where he holds appointments in philosophy, religion, and Judaic studies and directs the Institute for the Study of Race and Social Thought and the Center for Afro-Jewish Studies. He is also Ongoing Visiting Professor of Philosophy and Government at the University of the West Indies at Mona, Jamaica. He is the author of several books, including the award-winning Her Majesty's Other Children: Sketches of Racism from a Neocolonial Age (Rowman and Littlefield, 1997), Disciplinary Decadence: Living Thought in Trying Times (Paradigm, 2006), An Introduction to Africana Philosophy (Cambridge University Press, forthcoming), and co-editor of A Companion to African-American Studies (Blackwell, 2006) and Not Only the Master's Tools: African-American Studies in Theory and Practice (Paradigm, 2005). CLEVIS HEADLEY is currently Associate Professor of Philosophy at Florida Atlantic University, director of the Ethnic Studies Certificate Program, as well as director of the Master's in Liberal Studies. Professionally, he serves as the Vice-President and Treasurer of the Caribbean Philosophical Association. Professor Headley has published widely in the areas of Critical Race Theory and Africana philosophy. He has also published in Analytic philosophy, focusing specifically on Gottlob Frege. PAGET HENRY is Professor of Sociology and Africana Studies at Brown University. He is the author of Caliban's Reason: Introducing Afro-Caribbean Philosophy, Peripheral Capitalism and Underdevelopment in Antigua, and the co-editor of C. L. R. James' Caribbean. Professor Henry also serves as the editor of the C. L. R. James Journal, and has published numerous articles on the political economy of the Caribbean as well as on African, African-American, and Afro-Caribbean philosophy. ESIABA IROBI is Associate Professor of International Theatre/Performance Studies at Ohio University, Athens. His groundbreaking book: A Theatre for Cannibals: Resisting Globalization on the Continent and Diaspora since 1441 will be published by Palgrave Macmillan, London, in 2007. He has been invited to be an External Resident Fellow at the prestigious Dartmouth College Humanities Institute for the 2007-2008 academic year. CHIKE JEFFERS is a graduate student in the Ph.D. program of the Philosophy Department at Northwestern University. His interests are in Africana philosophy, social and political philosophy, ethics, philosophy of religion and aesthetics. He is originally from Toronto, Ontario, Canada. CATHERINE JOHN is Associate Professor of African Diaspora Literary and Cultural Studies at the University of Oklahoma. Her book Clear Word and Third Sight: Folk Groundings and Diasporic Consciousness in African Caribbean Writing was co-published by Duke University Press and UWI Press in 2003. She has published several articles on Caribbean literature and culture and her current book project is entitled The Just Society and the Diasporic Imagination. She spends her summer working in Woodside, St. Mary, Jamaica helping with a summer school for children and participating in the community's emancipation celebration. KENNETH KNIES is a doctoral student in philosophy at Stony Brook University. His areas of focus are phenomenology and ancient philosophy. He is also a contributing editor for Political Affairs magazine. EDIZON LEN is a photographer and coordinator of the Fondo Documental Afro-Andino at the Universidad Andina Simòn Bolivar in Quito, Ecuador. In 2006, he was curator of the photo exhibit "The Color of the Diaspora" presented at the Cultural Center of the Catholic University of Ecuador and the University of Tennessee in Knoxville. He is currently completing his doctorate at the Universidad Andina Simòn Bolivar with a focus on Maroon thought. REKHA MENON is Associate Professor of Art History at State University of New York, Buffalo State. She is the author of Seductive Aesthetics of Post Colonialism (forthcoming). Her area of research focuses on current philosophical investigations in colonial and neocolonial aspects of Indian art, artistic/cultural practices and philosophies and their relationship to Western arts and philosophies. Her manuscripts under review are: Ashamed of Our Nakedness, Is There Ever a Naked Body? Ambivalence in Contemporary Indian Expressive Aesthetics and Insatiable Desire. MICHAEL R. MICHAU is a Ph.D. candidate in the Philosophy and Literature Program at Purdue University, and during the 2006-2007 school year, a lecturer in the Department of Comparative Studies and Department of Philosophy at Ohio State University. He is the co-founder and co-secretary of the North American Levinas Society. CHARLES W. MILLS is Distinguished Professor of Philosophy at the University of Illinois at Chicago. He works in the general area of oppositional political theory, and is the author of numerous articles and three books: The Racial Contract (Cornell University Press, 1997), Blackness Visible: Essays on Philosophy and Race (Cornell University Press, 1998), and From Class to Race: Essays in White Marxism and Black Radicalism (Rowman and Littlefield, 2003). MABOGO P. MORE is currently Associate Professor of Philosophy at the University of KwaZulu-Natal, South Africa. He has published articles on African philosophy and social and political philosophy in a number of academic journals, such as South African Journal of Philosophy, Dialogue and Universalism, Alternation, Theoria, and African Journal of Political Science. MARILYN NISSIM-SABAT, Ph.D., M.S.W. is Professor Emerita and Adjunct Professor of Philosophy, Lewis University. Dr. Nissim-Sabat is also a psychotherapist in private practice. She is the author of numerous book chapters and papers in the fields of philosophy (Husserlian phenomenology), psychoanalysis, feminism, and critical race theory. Citations of her works can be found on her website: marilynnissim-sabat.com. FREDERICK OCHIENG'-ODHIAMBO is a Senior Lecturer of Philosophy and Coordinator of the discipline at The University of the West Indies, Cave Hill, Barbados. His major research areas are African philosophy and social philosophy. He has published several articles on philosophic sagacity. IVAN PETRELLA is an Assistant Professor of Religious Studies at the University of Miami. He is author of The Future of Liberation Theology: An Argument and Manifesto (SCM Press, 2006) and editor of Latin American Liberation Theology: The Next Generation (Orbis Books, 2005) as well as co-editor of the series Reclaiming Liberation Theology (SCM Press) RICHARD PITHOUSE is a research fellow at the University of KwaZulu-Natal in Durban, South Africa. He is editor of Asinamali: University Struggles in Post-Apartheid South Africa (Africa World Press, 2006). SATHYA RAO is Assistant Professor in French translation at the Department of Modern Languages and Cultural Studies, University of Alberta, Canada. His research fields include: theory of translation, continental philosophy, postcolonial studies, discourses on Africa, and Francophone cinema and literature. He has published articles in various peer-reviewed journals and written chapters in several collective books such as: De l'Ecrit Africain a l'Oral le Phenomene Graphique Africain, Simon Battestini (Ed.) (Paris: L'Harmattan, 2006) and Thèorie-rèbellion. Un Ultimatum, Gilles Grelet (Ed.) (Paris: L'Harmattan, 2005). He has a co-edited a book on Francophone African cinema L'Afrique fait son cinema (Montreal: Memoires d'encrier, forthcoming). Sathya Rao is vice-president of the International Non-Philosophical Organisation (INPhO), member of the Canadian Association of Translatology (CATS), coordinator of the research team Poexil, and Secretary of the Caribbean Philosophical Association. He is co-founder of an online journal Alternative Francophone. CATHERINE WALSH is Professor and Director of the doctoral program in Latin American Cultural Studies at the Universidad Andina Simon Bolivar in Quito, Ecuador. Her research interests include the geopolitics of knowledge, interculturality and concerns related to the Afro-Andean Diaspora and the production of decolonial thought. Among her recent publications are Pensamiento crìtico y matriz colonial (Quito: Abya Yala, 2005), "Interculturality and the Coloniality of Power. An 'Other' Thinking and Positioning from the Colonial Difference," in Coloniality of Power, Transmodernity, and Border Thinking, R. Grosfoguel, J.D. Saldivar, and N. Maldonado-Torres (Eds.) (Durham: Duke University Press, forthcoming) and "Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies 'Others' in the Andes," Cultural Studies (forthcoming). KRISTIN WATERS has published widely in the areas of race and gender. Her anthology Enlightened Conversations: Women and Men Political Theorists (Blackwell, 2000) challenges political theorists to be more inclusive of race and gender in their research and teaching. Her book Black Women's Intellectual Traditions: Speaking Their Minds, co-edited with Carol Conaway (University of Vermont Press, forthcoming), addresses the varied intellectual traditions of black women's thought that spans more than two hundred years in North America. She is currently Professor of Philosophy at Worcester State College and Visiting Research Associate at Brandeis University. (shrink)

It was [Maria] Edgeworth’s deeply personal motive in writing Harrington that made possible the special self-reflexive quality that informs her novel. In the act of reviewing her role as a reader and a writer of anti-Semitic portraits, she was able to recognize a tradition of discourse she had at once inherited and perpetuated. And only by recognizing such a tradition was she able both to subvert it in Harrington and to articulate for future writers the way to move beyond it. (...) In short, she boldly turned her personal self-examination into a cultural critique: she diagnosed a disorder in “the imaginations of the good people of England,”4 and in so doing she issued a challenge and founded a new tradition. In Harrington Edgeworth inquires into the trials that the English imagination must undergo if it is to exorcise the powerful figure of Shylock, and thereby issues a challenge taken up in subsequent novels : the tradition I am designating “the novel of Jewish Identity” attempts to articulate, investigate, and subvert The Merchant of Venice’s function as the English master text for representing “the Jew.” Maria Edgeworth, Harrington, vol. 9 of Tales and Novels , p. 148; hereafter cited by page number. Michael Ragussis, professor of English at Georgetown University, is the author of The Subterfuge of Art: Language and the Romantic Tradition and Acts of Naming: The Family Plot in Fiction . He is currently working on a book-length study entitled “Figures of Conversion: Jewish Identity and British Fiction.”. (shrink)

In order to recuperate these two representatives of medieval frauenlieder, The Wife’s Lament and Wulf and Eadwacer, a feminist poetics must acknowledge the medieval attitudes toward authority and authorship that allow the medievalist to privilege the voice of the text over the historical author or implied author. The modern concept of authorship, derived from a modern concept of the text as private property, valorizes the signature of the author and the author’s presumed control over and legal responsibility for his or (...) her text. With reference to modern literature, contemporary theory has interrogated this “author-function” quite aggressively in an attempt to pry the text away from the author and to valorize the functions of the reader, as Roland Barthes’s “Death of the Author” illustrates,13 or to reconsider the privileges of the subject, in order to “seize its functions, its interventions in discourse, and its system of dependencies,” as Michel Foucault’s essay “What Is an Author?” propoes.14 Foucault’s proposals concerning the place of the subject and the author-function directly challenge modern assumptions about the text as the property of an author: “We can easily imagine a culture where discourse would circulate without any need for an author. Discourses, whatever their status, form, or value, regardless of our manner of handling them, would unfold in a pervasive anonymity.”15 13. See Roland Barthes, “The Death of the Author,” Image, Music, Text, trans. Stephen Heath , pp. 142-48.14. Michel Foucault, “What Is an Author?” Language, Counter-Memory, Practice: Selected Essays and Interviews, trans. Donald F. Bouchard and Sherry Simon, ed. Bouchard , p. 137.15. Ibid., p. 138. Indeed, Foucault does press his argument to the limits of its implications for the subject, and he ends his essay with a question that challenges the voice of a text as well as its author: “‘What Matter who’s speaking?’” . Nancy K. Miller engages directly in the implications of this position for feminist theory. She states: “What matter who’s speaking? I would answer it matters, for example, to women who have lost and still routinely lose their proper name in marriage, and whose signature—not merely their voice—has not been worth the paper it was written on” . Marilynn Desmond is an assistant professor of English, general literature, and rhetoric at the State University of New York—Binghamton. She is the author of Reading Dido: Textuality and Sexuality in the Late Medieval Reception of Aeneid 4 ; her current work is a study of ekphrasis in late medieval literature. (shrink)

The millennial interest in the fable told by Apuleius in The Golden Ass has produced periods of intense preoccupation. Of these uses of the legend none is more interesting, varied, and profound—none possesses greater implications for contemporary life and manners—than the obsessive concern of pre-Romantic and Romantic writers and artists. Hellenistic, Roman, and early Christian culture had produced at least twenty surviving statues of Psyche alone, some seven Christian sarcophagi that used the legend, and a set of mosaics on a (...) Christian ceiling in Rome from the early fourth century;1 and of course to late antiquity belongs the distinction of having produced the seminal telling of the tale by Apuleius in about A. D. 125. But what we possess from that remote time is thin and lacks the power to engage the modern spirit. The allegorizing and erotic responses made in the Renaissance, Mannerist, and Baroque culture produced monuments of painting that the later period cannot rival; but the impregnation of literature by the legend was slight, and the intellectual or moral content was often only a perfunctory and dutiful addendum. The revival of the story in the aesthetic movement of the late Victorians and early moderns has its examples of beauty, particularly in Rodin and in the lush harmonies and occasionally piercing melodies of César Franck's Psyché, a tone poem for chorus and orchestra; but the long retellings by Morris, Bridges, and John Jay Chapman oppress with luxuriant sweetness and remain of interest only as period pieces. · 1. See Elizabeth Hazelton Haight, Apuleius and His Influence , p. 164, and Maxime Collignon, "Essai sur les monuments grecs et romains . . . ," in Bibliothèque des écoles françaises d'Athène et de Rome , fasc. 2, pp. 285-446, esp. pp. 364, 436-38. Jean H. Hagstrum, John C. Shaffer Professor of English and Humanities at Northwestern University, is currently preparing a book on the theme of love in European literature and art from the mid-seventeenth century through the Romantic period. He is the author of books and articles on Blake and Samuel Johnson, and of The Sister Arts, a study of the relations of poetry and painting from antiquity through the eighteenth century. (shrink)

The only complete study of Buber as a political thinker. Shed new light upon Buber's I Thou, while also attempting to understand Buber's Zionist thought and activity in a new and fresh manner.

This book collects sixteen theses written by Professor Tang Yijie, one of the most prominent scholars of traditional Chinese philosophy. He argues that a general understanding of traditional Chinese philosophy can be achieved by a concise elaboration of its truth, goodness and beauty. He also asserts that goodness and beauty in Chinese philosophy, combined with the integration of man and heaven, knowledge and practice, scenery and feeling, reflect a pursuit of an ideal goal in traditional Chinese philosophy characterized by (...) the thought mode uniting man and nature. He also discusses the anti-traditionalism of the May Fourth Movement, explaining that the true value of "sagacity theory" in traditional Chinese philosophy, especially in Neo-Confucianism in the Song and Ming dynasties, lies in its insights into universal life. In addition, he stresses that existing ideas, issues, terminologies, concepts, and logic of Chinese philosophical thought were shaped by Western philosophy. It is necessary to be alienated from traditional status for the creation of a viable "Chinese philosophy." "Modern Chinese philosophy" in the 1930s and 1940s was comprised of scholarly work that characteristically continued rather than followed the traditional discourse of Chinese philosophy. That is to say, in the process of studying and adapting Western philosophy, Chinese philosophers transformed Chinese philosophy from traditional to modern. In Chapter 13, he puts forward the idea of a "New Axial Age." He emphasizes that the rejuvenation of Chinese culture we endeavor to pursue has to be deeply rooted in our mainstream culture with universal values incorporating cultures of other nations, especially the cultural essence of the West. (shrink)

"A consistently informative and often impressively detailed analysis of Anglo-Saxon heroic stories (especially Beowulf, Brunanburh, Maldon), this study pulls them out from under the pall of pseudo-mystical Germani-schism that has shrouded them for generations and returns them to something of their own historical, and especially political, origins."--R. A. Shoaf, University of Florida Anglo-Saxon poems and fragments seem to preserve a long-standing Germanic code of heroic values, but John Hill shows that these values are probably not much older than the poems (...) that record and advance them. In the first book-length application of anthropological research to Old English heroic literature, Hill demonstrates that the loyalties and values celebrated in "The Battle of Brunanburh," "The Battle of Maldon," and numerous other heroic episodes in Old English literature are not aspects of an archaic or ancient ethical life but instead political models serving the interests of West Saxon kingship and hegemony. Using the much more complicated Beowulf as an illuminating counterpoint, Hill works out the development in the heroic literature of these new ideals. Employing anthropological and psychoanalytic perspectives, Hill reopens for study an important subject of Old English literature long thought settled, and he provides a window onto the process of Anglo-Saxon state formation that should appeal to medievalists in both literary studies and history. John M. Hill is professor of English at the U.S. Naval Academy and author of several books, including Chaucerian Belief and The Cultural World in Beowulf. (shrink)

Language evolves continuously through the creation of neologisms, reflecting shifts in cultural, scientific, and social paradigms. This study provides a philosophical analysis of English cultural and scientific neologisms through the lens of social semantics, exploring how language identity and conceptual meaning change over time. Drawing on theories of linguistic identity, meaning construction, and cultural semiotics, the study compares the formation, dissemination, and contextual integration of neologisms from cultural and scientific domains. Findings reveal that cultural (...) neologisms often emerge from socio-political discourses and popular media, emphasizing collective identity and social norms, while scientific neologisms are rooted in technological advancements and epistemological precision. The interplay between these linguistic forms underscores a dynamic process where language both shapes and is shaped by human experience. This inquiry highlights the philosophical significance of neologisms as carriers of evolving meaning, cultural heritage, and intellectual identity, offering insights into the relationship between language, belief systems, and societal change. (shrink)

The hope of moving beyond formalism is one of two things that unites an otherwise diverse group of literary theorists who have begun to explore the role of desire in narrative. Peter Brooks, for example, in Reading for the Plot, says in more than one place that his interest in desire “derives from my dissatisfaction with the various formalisms that have dominated critical thinking about narrative.”3 Leo Bersani sees desire as establishing a crucial link between social and literary structures. Teresa (...) de Lauretis faults structuralist models for their inability to disclose the ways in which narrative operates, through the desire it excites and fulfills, to construct the social world as a system of sexual differences. Other names could be added, both within and outside the field of narrative theory—Nancy Armstrong, Roland Barthes, Georges Bataille, Jessica Benjamin, Gilles Deleuze and Félix Guattari, René Girard, Luce Irigaray, Fredric Jameson, Peggy Kamuf, Linda Kauffman, Julia Kristeva, Jacques Lacan, Jean Laplance, Catharine A. McKinnon, and Eve Kosofsky Sedgwick—for desire has become one of the master tropes of contemporary criticism. 3. Peter Brooks, Reading for the Plot: Design and Intention in Narrative , p. 47; hereafter abbreviated RP.4. Leo, Bersani, A Future for Astyanax: Character and Desire in Literature , p. 13; hereafter abbreviated FA.5. Bersani and Ulysse Dutoit, The Forms of Violence: Narrative in Assyrian Art and Modern Culture , p. v; hereafter abbreviated FV. Although Bersani coauthored this book with Dutoit, for convenience I refer to it by Bersani’s name alone. This practice is justified by two considerations: first, most of the arguments about narrative, violence, and desire are elaborations of positions that Bersani has taken in earlier works; second, passages and examples in the sections with which I shall be dealing are reprinted with only minor changes from an article that Bersani published under his own name. Jay Clayton, associate professor of English at Vanderbilt University, is the author of Romantic Vision and the Novel and coeditor of Contemporary Literature and Contemporary Theory . He is currently completing a study of contemporary American literature and theory, Narrative Power. (shrink)

It should not be possible to read nineteenth-century British literature without remembering that imperialism, understood as England’s social mission, was a crucial part of the cultural representation of England to the English. The role of literature in the production of cultural representation should not be ignored. These two obvious “facts” continue to be disregarded in the reading of nineteenth-century British literature. This itself attests to the continuing success of the imperialist project, displaced and dispersed into more modern (...) forms.If these “facts” were remembered, not only in the study of British literature but in the study of the literature of the European colonizing cultures of the great age of imperialism, we would produce a narrative, in literary history, of the “worlding” of what is now called “the Third World.” To consider the Third World as distant cultures, exploited but with rich intact literary heritages waiting to be recovered, interpreted, and curricularized in English translation fosters the emergence of “the Third World” as a signifier that allows us to forget that “worlding,” even as it expands the empire of the literary discipline.1[…]In this essay, I will attempt to examine the operation of the “worlding” of what is today “the Third World” by what has become a cult text of feminism: Jane Eyre.2 I plot the novel’s reach and grasp, and locate its structural motors. I read Wide Sargasso Sea as Jane Eyre’s reinscription and Frankenstein as an analysis—even a deconstruction—of a “worlding” such as Jane Eyre’s.3 Gayatri Chakravorty Spivak is Longstreet Professor of English at Emory University. She is the translator of Jacques Derrida’s De la grammatologie and is presently finishing a book entitled Master Discourse, Native Informant. Her previous contributions to Critical Inquiry are “ ‘Draupadi’ by Mahasveta Devi” and “The Politics of Interpretations”. (shrink)

The Carol J. Adams Reader gathers together Adams's foundational and recent articles in the fields of critical studies, animal studies, media studies, vegan studies, ecofeminism and feminism, as well as relevant interviews and conversations in which Adams identifies key concepts and new developments in her decades-long work. This volume, a companion to The Sexual Politics of Meat (Bloomsbury Revelations), offers insight into a variety of urgent issues for our contemporary world: Why do batterers harm animals? (...) What is the relationship between genocide and attitudes toward other animals? How do activism and theory feed each other? How do race, gender, and species categories interact in strengthening oppressive attitudes? In clear language, Adams identifies the often hidden aspects of cultural presumptions. The essays and conversations found here capture the decades-long energy and vision that continue to shape new ways of thinking about and responding to oppression. (shrink)

1. To list Pound’s triumphs of recognition in the realm of art, music, or literature is by itself no more enlightening than to catalog his oversights. Thus, for example, his instant and almost uncanny responsiveness to the work of Henri Gaudier-Brzeska is not more informative than his bizarre ranking of Francis Picabia’s paintings above those of Picasso or Matisse. Clearly it is essential to know, with as much specificity as possible, exactly what Pound said about a particular work of art (...) or literature and, equally important, given the frequent shifts of emphasis and interest throughout his long career, just when these opinions were first formulated. Like every reader of the The Cantos, I am conscious of the enormous service rendered by Pound scholars whose research is giving us a more complete inventory of the poet’s various statements and positions, and it would be foolish to take my point here as a derogation of such efforts. But a list, no matter how complete, is not an argument, and an inventory, no matter how scrupulously assembled, is not an explanation; a recurrent problem in Pound studies is that too often the compoilation of discrete items of information is seen as a sufficient answer to problems of interpretation and understanding. In other words, I think it essential that discussions of pound and the Visual Arts move beyond the quagmire resulting from still another frain-storm of “factual atoms” chronicling his various passions and dislikes.2. Far from implying, however, that we must therefore simply accept Pound’s brilliant discoveries and pass over his “howling blunders,” my position would emphasize the need to take his ideas seriously enough to confront them, to test them against the material to which they are a response and for which they often seek to provide an explanatory account. There are times, as I have argued in an analogous context, when it is less demeaning to give a man credit for his worst errors than to remove from him the capacity to err.3. What we require, I believe, is less a catalog of all of Pound’s specific statements about various artists, with each utterance assigned a positive or negative prefix depending upon our own personal and currently sanctioned hierarchy of values, than a careful study of the place of those statements in the logic and texture of Pound’s own work. The attempt to focus attention on The Cantos’ network of artistic references—its invocation of masterpieces and privileged moments of cultural achievement—will yield only trivial results unless the inner dynamic linking Pound’s various exampla and the actual role these play in the poem’s argument become clearer in the process. Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione , a volume of verse. He is currently completing a study of the Abject Hero and literary genealogy. His previous contribution to. (shrink)

Paradoxically, abolitionism contained the seeds of empire. If we accept the general outline of Eric Williams’ thesis in Capitalism and Slavery that abolition was not purely altruistic but was as economically conditioned as Britain’s later empire building in Africa, the contradiction between the ideologies of antislavery and imperialism seems more apparent than real. Although the idealism that motivated the great abolitionists such as William Wilberforce and Thomas Clarkson is unquestionable, Williams argues that Britain could afford to legislate against the slave (...) trade only after that trade had helped to provide the surplus capital necessary for industrial “take-off.” Britain had lost much of its slave-owning territory as a result of the American Revolution; as the leading industrial power in the world, Britain found in abolition a way to work against the interests of its rivals who were still heavily involved in colonial slavery and a plantation economy.3The British abolitionist program entailed deeper and deeper involvement in Africa—the creation of Sierra Leone as a haven for freed slaves was just a start—but British abolitionists before the 1840s were neither jingoists nor deliberate expansionists. Humanitarianism applied to Africa, however, did point insistently toward imperialism.4 By mid-century, the success of the antislavery movement, the impact of the great Victorian explorers, and the merger of racist and evolutionary doctrines in the social sciences had combined to give the British public a widely shared view of Africa that demanded imperialization on moral, religious, and scientific grounds. It is this view that I have called the myth of the Dark Continent; by mythology I mean a form of modern, secularized, “depoliticized speech” —discourse which treats its subject as universally accepted. Scientifically established, and therefore no longer open to criticism by a political or theoretical opposition. In The Idea of Race in Science: Great Britain, 1800-1960, Nancy Stepan writes:A fundamental question about the history of racism in the first half of the nineteenth century is why it was that, just as the battle against slavery was being won by abolitionists, the war against racism was being lost. The Negro was legally freed by the Emancipation Act of 1833, but in the British mind he was still mentally, morally and physically a slave.5It is this “fundamental question” which a genealogy of the myth of the Dark Continent can help to answer. Patrick Brantlinger, professor of English at Indiana University, is the editor of Victorian Studies. He has written The Spirit of Reform: British Literature and Politics, 1832-1867 and Bread and Circuses: Theories of Mass Culture and Social Decay. (shrink)

The dictionary tells us that metalinguistics is simply "the study of the interrelationship between language and other cultural behavioral phenomena."1 However, because most studies are in fact expressed in language, the study itself becomes a candidate for metalinguistic inquiry. In other words, language is not only capable of interrelationships with kinship systems or economic systems or rituals but it is capable of intrarelationships. . . . Language often becomes a subject in science fiction because science fiction writers realize (...) that they must account for the communication between characters from different planets or different epochs. Wells' Time Traveller, when he first encounters the effete and childlike Eloi, notices that they speak "a strange and very sweet and liquid tongue" which he never does come to understand. This failure of understanding is realistic and leads to some lovely pathos as the Time Traveller tries to apprehend a world solely by means of observation and exchanges of facial expression and gesture. Although language conveniently drops from consideration once it is established that there won't be any significant talking, that it is considered at all adds plausibility to this fantastic tale. · 1. American Heritage Dictionary, New College Edition, 1976. Eric S. Rabkin, professor of English and director of the Collegiate Institute for Values and Science at the University of Michigan, is the author of Narrative Suspense, The Fantastic in Literature, Arthur C. Clarke and the editor of Fantastic Worlds: Myths, Tales, and Stories. His previous contribution to Critical Inquiry, "Spatial Form and Plot," appeared in the Winter 1977 issue. See also: "The Shape of the Signifier" by Walter Benn Michaels in Vol. 27, No. 2. (shrink)

The Israeli invasion of Lebanon in 1982 seems to have broken, for the first time, the immunity from sustained criticism previously enjoyed by Israel and its American supporters. For a variety of reasons, Israel’s status in European and American public life and discourse has always been special, just as the position of Jews in the West has always been special, sometimes for its tragedy and horrendous suffering, at other times for its uniquely impressive intellectual and aesthetic triumphs. On behalf of (...) Israel, anomalous norms, exceptional arguments, eccentric claims were made, all of them forcibly conveying the notion that Israel does not entirely belong to the world of normal politics. Nevertheless, Israel—and with it, Zionism—had gained this unusual status politically, not miraculously: it merged with a variety of currents in the West whose power and attractiveness for supporters of Israel effaced anything as concrete as, for example, an Israeli policy of rigid separation between Jew and non-Jew, or a military rule over hundreds of thousands of Arabs that was as repressive as any tyranny in Latin America or Eastern Europe. There are any number of credible accounts of this, from daily fare in the Israeli press to studies by Amnesty International, to reports by various U.N. bodies, Western journalists, church groups, and, not least, dissenting supporters of Israel. In other words, even though Israel was a Jewish state established by force on territory already inhabited by a native population largely of Muslim Arabs, in a part of the world overwhelmingly Muslim and Arab, it appeared to most of Israel’s supporters in the West that the Palestinian Arabs who paid a large part of the price for Israel’s establishment were neither relevant nor necessarily even real. What changed in 1982 was that the distance between Arab and Jew was for the first time perceived more or less universally as not so great and, indeed, that any consideration of Israel, and any perception of Israel at all, would have to include some consideration of the Palestinian Arabs, their travail, their claims, their humanity.Changes of this sort seem to occur dramatically, although it is more accurate to comprehend them as complex, cumulative, often contradictory processes occurring over a long period of time. Above all else, however, no such process can be viewed neutrally, since for better or for worse there are many interests at work in it and, therefore, many interests also at work whenever it is interpreted or reported. Moreover, while it is worthwhile and even possible to reduce and curtail the gross pressure of those interests for the purpose of analysis or reflection, it is useless to deny that any such analysis is inevitably grounded in, or inevitably affiliated to, a particular historical moment and a specific political situation. Edward Said, Parr Professor of English and Comparative Literature at Columbia University, is the author of, among other works, The Question of Palestine , The World, the Text, and the Critic , and After the Last Sky . He will give the 1985 T. S. Eliot Lectures, on Culture and Imperialism, at the University of Kent later this year. His previous contributions to Critical Inquiry include “Opponents, Audiences, Constituencies, and Community” and “On Professionalism: Response to Stanley Fish”. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)