In 2009, the United States Air Force aired a series of science fiction-themed recruitment commercials on network television and their official YouTube channel. In these advertisements, the superimposition of science fiction imagery over depictions of Air Force operations frames these missions as near-future sci-fi adventure, ironically summarized by the tagline: “It’s not science fiction. It’s what we do every day.” Focusing on an early advertisement for the Air Force’s Reaper unmanned aerial vehicle, this essay explores how themes essential to the (...) science fiction genre play a role in influencing contemporary attitudes about autonomous and semi-autonomous robotic weapons, as well as the way in which the aesthetic and functional qualities of these advanced technologies are used to frame moral arguments about their use. As a reconfiguration of the near-future battleground in the guise of science fiction, the “Reaper” ad reveals the way in which science fiction has come to serve as a functional-aesthetic benchmark and cultural sounding board, against which “every day” technologies can be measured and claims about their value, ethos, and social appeal are made. This essay explores the ethical entanglements between science fiction film and video games, and military technology, and the complex role science fiction plays in influencing public attitudes towards military technologies. (shrink)

The particle internal clock conjectured by de Broglie in 1924 was investigated in a channeling experiment using a beam of ∼80 MeV electrons aligned along the 〈110〉 direction of a 1 μm thick silicon crystal. Some of the electrons undergo a rosette motion, in which they interact with a single atomic row. When the electron energy is finely varied, the rate of electron transmission at 0° shows a 8% dip within 0.5% of the resonance energy, 80.874 MeV, for which the (...) frequency of atomic collisions matches the electron’s internal clock frequency. A model is presented to show the compatibility of our data with the de Broglie hypothesis. (shrink)

When first confronted by the Historia Romana of Velleius Paterculus, it is easy for a reader to assume on the basis of the title and the surviving part of the text that it is a history of Rome, albeit a short one. In the following discussion I intend to demonstrate, first, why that initial assumption should be rejected and, secondly, how the work fits into the tradition of Roman historical writing.

This paper examines Johann Ulrich Bilguer’s 1761 dissertation on the inutility of amputation practices, examining reasons for its influence despite its nonconformance to genre expectations. I argue that Bilguer’s narratives of patient suffering, his rhetorical likening of surgeons to soldiers, and his attention to the horrific experiences of war surgeons all contribute to the dissertation’s wide impact. Ultimately, the dissertation offers an example of affective rhetorics employed during the Enlightenment, demonstrating how bodies and environments—those “ambient rhetorics” made visible in (...) a text—can contribute to an analysis of genre deviations and widen the scope of genre studies. (shrink)

The purpose of this paper is to enter the conversation about stakeholder theory with the goal of clarifying certain foundational issues. I want to show, along with Boatright, that there is no stakeholder paradox, and that the principle on which such a paradox is built, the Separation Thesis, is nicely self-serving to business and ethics academics. If we give up such a thesis we find there is no stakeholder theory but that stakeholder theory becomes a genre that is quite (...) rich. It becomes one of many ways to blend together the central concepts of business with those of ethics. Rather than take each concept of business singly or the whole of “business” together and hold it to the light of ethical standards, we can use the stakeholder concept to create more fine-grained analyses that combine business and ethics; or more simply, we can tell many more, and more interesting, stories about business. (shrink)

The genesis of God in human culture seems to be undeniably linked to fear of uncontrollable forces of Nature, and uncertanitity of individual destiny, which have been innate to the human ethos ever since the very emergence of modern man. Two opposite concepts of poly and monotheism, exemplified by Hinduism and Christianity, are analysed. Search for enduring and universal values and truisms through history of the two systems is deployed to identify commonalities. How far is plurality fissiparous, and partisan singularity (...) unifying, is also compared. It is argued that progressive transcension must form the goal of all spiritual systems irrespective of regional or ethnic backrounds. Realities of the one world concept dictated by the inescapable Space ship Earth paradigm unequivocally lead to one species, one people, and one kind, hosowever anamolous the current trends. This inevitability must necessarily entail a unifying, single ethicality, with or without notion of Godhead. In essence, all spirituality stems from the need for individual or personal salvation and satisfaction. Group or species obligations come next, although it may be expected that with further human evolution these may supersede the selfish propensities predominant hitherto. It is emphasized that the evolutionarily transcendent human must suscribe to a universal ethical force which must necessarily belong to the genre of a singularity embracing the whole human kind. This could be called UNIETHICS, the epithet denoting the universal, the unitary and the unifying. Global consensus are tentatively emerging in several area, dictated by survival needs. Inviolable edicts of the now imperative UES or Uniethics have been spelled out, as also desiderata for achieving them. (shrink)

Le texte d'Exode 20,5b et ses parallèles ont soulevé différentes questions et difficultés aux rabbins. Laquelle parmi les nombreuses significations de 7PD convient à ce texte? De quel péché s'agit-il par l'expression « haïr »? A qui «ceux qui Me haïssent» fait-il référence, aux pères, aux enfants ou aux deux? Le texte biblique enseigne-t-il vraiment qu'après le péché d'une personne, ses enfants seront punis? Cela ne serait-il pas très injuste, et en contradiction avec la justice et la misericorde de Dieu? (...) Comment notre texte peut-il être réconcilié avec d'autres passages bibliques qui s'opposent à l'idée que la punition divine s'étend à plusieurs générations? Puisque la Torah touche profondément à la vie religieuse personnelle, l'interprète rabbinique demanderait sans doute aussi quel rapport cet enseignement sur une punition collective a avec sa propre expérience de Dieu. Le combat avec ce genre de questions a conduit les interprètes à des intuitions plus profondes sur Exode 20,5b et ses parallèles. (shrink)

Purpose. The article is devoted to the analysis of corporality as an attribute of plastic art in the Ancient art, the Middle Ages, the Renaissance, the modernism and the postmodernism. Theoretical basis. The authors consider historical development of the art as a change of paradigms. Within each paradigm a special understanding of art is created, which is characterized both by the act of creativity itself and by the evaluation of its results. Particularly urgent is the task to identify the origins (...) of these changes, to indicate their stages, the direction of the evolution of artistic creativity. In this context, corporality as a paradigm of European plastic art is considered in the article in the concrete historical dimension from the classics to the postmodernism. Originality. Postmodern experiments stimulate blurring the borders between the traditional forms and genres of art. Review of canonical ideas about the creation and destruction, order and chaos in art illustrates conscious reorientation from the classical understanding of artistic creativity to the construction of artifacts-simulacra, which is a characteristic feature in the oeuvre of contemporary artists, ranging from the pop art to the present day. Conclusions. The ideas of postmodern philosophers found their visual embodiment in modern artistic practices. Reconstruction of the body, re-switching of its elements according to the principle of chaotic collage, the interpretation of the human body as a separate substance isolated from the individual him/herself, which is presented as a phenomenon of mass culture, became the basis of the creative method of contemporary plastic art. The ideas of postmodern philosophers have found their visual embodiment in the contemporary artistic practices. (shrink)

This volume, edited by a philosopher and an anthropologist, is a collection of essays on the philosophical implications of laboratory and field research. While neither the best nor the worst of the genre, it is a collection that offers a representative sample of traditional themes. As practicing scientists who view the implications of behavioural research from a somewhat different perspective we offer this critical review.

Interpretive Political Science is the second of two volumes featuring a selection of key writings by R.A.W. Rhodes. Volume II looks forward and explores the 'interpretive turn' and its implications for the craft of political science, especially public administration, and draws together articles from 2005 onwards on the theme of 'the interpretive turn' in political science. Part I provides a summary statement of the interpretive approach, and Part II develops the theme of blurring genres and discusses a variety of research (...) methods common in the humanities, including: ethnographic fieldwork, life history, and focus groups. Part III demonstrates how the genres of thought and presentation found in the humanities can be used in political science. It presents four examples of such blurring 'at work' with studies of: applied anthropology and civil service reform; women's studies and government departments; and storytelling and local knowledge. The book concludes with a summary of what is edifying about an interpretive approach, and why this approach matters, and revisits some of the more common criticisms before indulging in plausible conjectures about the future of interpretivism. The author seeks new and interesting ways to explore governance, high politics, public policies, and the study of public administration in general. (shrink)

The article dwells on the problem of Rakhmaninov’s art, style and poetics influence on the process of formation and development of national music cultures, national composer schools and some individual author’s styles of the former USSR. Three evolution stages of all national music cultures are determined: “preprofessional”, “professional” and the stage of “new music”. Two work concepts are introduced: a Rakhmaninov’s musical and style canon as an individual system including characteristic properties of the composer’s style and poetics, and a national (...) musical and style canon as a system of musical and expressive language principles typical for every musical culture and possessive of the national character. The signs representing the Rakhmaninov’s style are revealed and considered on the piano concerto genre. These two spheres outlined are disclosed in folklore and neofolklore conditions as the main evolution directions of the national musical thinking. The main principles of the Rakhmaninov’s and national canons interaction are singled out: adaptation corresponding to the early development stages of national music cultures (forlklore stage) and assimilation (by G. Golovinsky) characteristic for “new music” (neofollore stage). The problems are considered on the example of piano concertos by Z. Ismagilov, A. Khatchaturyan, A. Eshpay, R. Gazizov and some others. (shrink)

Is the essay literature or philosophy? A form of art or a form of knowledge? The contemporary essay is torn between its belletrist ancestry and its claim to philosophical legitimacy. The Spanish philosopher Eduardo Nicol captured the genre's uncertain status when he dubbed it “almost literature and almost philosophy” (Nicol 1961:207). The problem is hardly a new one. It goes back to what Plato called the “ancient quarrel” between poetry and philosophy, and more recently to the German Romantic theorist, (...) Friedrich Schlegel, who called for a mode of criticism which would be at once philosophical and poetic. But today, when the status of critical discourse is up for grabs, reflecting the crisis of knowledge in the universities, the question of the essay takes on a new urgency. Now the predominant form of writing in the human sciences, it cannot avoid the challenge to define itself according to the prevailing standards of scientific knowledge and method. (shrink)

Een poging om de geschiedenis van een denkwijze door de eeuwen heen, in dit geval die van het schema van “het midden- en middellijkheidsdenken” , resp. het “denken in termen van ‘midden’ en ‘bemiddeling’” , kritisch in kaart te brengen valt op het eerste gezicht onder het genre Ideengeschichte of history of ideas. Zeker wanneer men ideeëngeschiedenis enerzijds enger, maar anderzijds daarbinnen weer breder opvat dan de invulling die Arthur Lovejoy daaraan gaf in zijn bekende The Great Chain of (...) Being .Het enerzijds betreft de inperking tot het terrein van de filosofie. Het anderzijds raakt hetgeen als idea wordt geaccepteerd. Lovejoy spreekt over ideeën vaak als “unit ideas” en vergt dat deze eenvoudig en ook enkelvoudig zijn. Ik zou in de ideeëngeschiedenis ook ruimte willen maken voor meer complexe filosofische noties, schema’s en zelfs filosofische theorieën. Wel lijkt me dat moet worden vastgehouden aan de eis dat deze ideeën naspeurbaar zijn door filosofische stromingen heen en dat zij bij voorkeur een zekere breedheid vertonen, ook in de zin van toepassing blijken te vinden in meerdere deelgebieden van de filosofie. En hier zij alvast maar genoteerd dat ook Van der Hoeven Lovejoy en diens studie noemt. (shrink)

Although the number of articles on Sartre’s aesthetic is great, book-length treatments of the subject in any language are rare. In English, we have been practically limited to Eugene Kaelin’s important study of Sartre and Merleau-Ponty published ten years ago. This work by George Bauer provides a valuable complement to Kaelin’s theoretical analysis. The book consists of seven chapters and an appendix which treat of Sartre’s pronouncements on art and the artist as expressed in his novels and plays as well (...) as in his art and literary criticism, genre by genre and artist by artist. Philosophically, the most interesting portion of the book is probably the introductory chapter presenting an eleven-page synopsis of the elements of Sartrean aesthetics: the separation of prose from poetry with its attendant problem of committed literature, the work of art as imaginary object, and the aesthetic significance of Sartre’s distinction between existence and being. It is this last element which Bauer exploits as he examines Sartre’s repeated strictures against artists who confuse the being of the art object with physical being or who flee the responsibility of human existence for some "project of being." If art is not "reality" for Sartre, neither is it a legitimate means of escape. Because his evaluations involve reference to content as well as form, Sartre’s criticism has assumed a sociopolitical posture from the very start. The overall impression left by Bauer’s work is that Sartre’s art criticism involves the often inconsistent application of relatively few criteria to quite select works of the artists in question in accord with a general theory of human freedom. Despite the occasional brilliance and unfailing intelligence of the judgments so produced, Sartre’s method leaves him vulnerable to the charge of unfairness and inadequacy. Readers desiring an extended analysis of Sartre’s general aesthetic theory will still find Kaelin’s book indispensable. Physically, this is a most attractive volume, featuring thirty-two prints as well as a Calder cartoon of Sartre on its cover.—T. R. F. (shrink)

The science fiction films of Andrei Tarkovsky, Solaris (1973) and Stalker (1979), are complex responses to the repressive atmosphere of Brezhnev’s rule, after the 7-year delay in seeing Andrei Rublev (1971) released publicly. By using science fiction—a genre that Tarkovsky openly maligned—he was able to fly beneath the radar of State censorship, and develop a nuanced response to the application of Marxist theory of religion in the Soviet experience. Arguing in these films (and in others in his oeuvre) that (...) humans still need the affective dimension of religion (though not the hierarchical, institutional elements of it that Marx had identified with sedation), Tarkovsky hid within his science fiction films a thoroughgoing critique of the Soviet application of Marx. This article uses the concept of “war machine” from the philosophy of Gilles Deleuze and Félix Guattari to analyze how Tarkovsky did this, and demonstrates that Tarkovsky’s engagement with Marx’s philosophy in these two films shares much in common with Deleuze and Guattari’s way of understanding human meaning making. (shrink)

One of the more telling symptoms of the postmodern condition is the tendency of criticism to renounce any claim to explanatory or evaluative competence vis-à-vis its objects, and in some cases even to deny that it differs from those objects. This is especially evident in American deconstructionists of the Yale school, who have, with Derrida, rediscovered Nietzsche's insight that all language, whatever the genre, is inescapably metaphorical. From the admitted difficulty of drawing absolute ontological distinctions between the language of (...) literature and that of criticism, these critics infer that the attempt to maintain even a generic division between the two languages is at best a convenient fiction, at worst a repressive one. (shrink)

Throughout the nineteenth and early twentieth centuries, judges and lawmakers sought to erase the visibility of unmarried women. In the public law arena, for example, legislators conflated women and wives for the purpose of the franchise, arguing that women did not need the vote because their husbands voted for them. In the private law arena, doctrines intended to guarantee support to unmarried women functioned by constructing single women's legal identities in relation to marriage, thereby suggesting that marriage could provide for (...) all women's material needs. This essay argues that understanding the history of single women's legal rights is critical to understanding the legal construction of marriage as the dominant institution for regulating all women's private relationships to men and public relationships to the state. Denying single women's existence allowed the law to ignore the potential threat they posed to a marriage-centric socio-legal order. Legal and political changes in the early decades of the twentieth century, however, made it increasingly difficult for the law to deny the existence of unmarried women. As single women gained social prominence, nonlegal writers in the 1930s and 1940s produced a new genre of prescriptive and descriptive literature for and about women living outside of marriage. Unlike earlier legal texts, these works embraced single women as a permanent and visible part of society. Like their legal predecessors, however, these modern authors sought to minimize the threat posed by single women to the institution of marriage, pointing to single women as proof of marriage's modern, consensual, democratic nature. (shrink)

Hollywood films partially construct how Americans think about education. Recent work on the representation of schools in American cinema has highlighted the role of class difference in shaping school film genres. It has also advanced the idea that a nuanced understanding of American individualism helps to explain why the different class genres are shaped as they are. This article attempts to refine this theoretical approach by focusing on the paradox of individualism, which suggests that individualism must always be dependent on (...) community. We examine 5 films (Rushmore 1988, The Breakfast Club 1985, Mona Lisa Smile 2003, School of Rock 2003, and Stand and Deliver 1988) and argue that, although the values of individualism are certainly celebrated, these films also show, perhaps unwittingly, that the achievements of individualism require robust student communities. We describe how student communities function in these films, what achievements they make possible, and what obstacles they face. (shrink)

One of the main difficulties that Neoplatonic commentators of Aristotle face is the different treatment that the Categories and the Metaphysics offer to the question of the substance. After describing briefly the status quaestionis ousiae in Aristotle, and after tracing the main Neoplatonic interpretations of this doctrine, this article attempts to demonstrate that the Neoplatonists of Athens and Alexandria, Syrianus and Ammonius, inaugurate a new interpretation of the Aristotelian doctrine. With regard to the category of substance in general and to (...) the question of substantiality of “immanent form” in particular, this new interpretation goes beyond the positions of Plotinus and Porphyry and returns the ontological value to the Aristotelian substances. Unlike Plotinus, who recognized as ousia only that one intelligible, that is five genres of the Platonic Sophist, and unlike Porphyry, who defused the anti–Platonic fuse of the Categories, giving to this treaty a mainly semantic skopos, these philosophers, through their original study of the theory of the three states of katholou, already shed in the Porphyrian Eisagôgê, fit the immanent forms of Aristotle, recognized as substances and as a reflection of the transcendental universal, into the late antique Neoplatonic metaphysical triadic structure. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:An American Scholar Recalls Karl Barth’s Golden Years as a Teacher (1958–1964) by Raymond Kemp Anderson, and: The Westminster Handbook to Karl Barth ed. by Richard E. BurnettMatthew R. JantzenAn American Scholar Recalls Karl Barth’s Golden Years as a Teacher (1958–1964) Raymond Kemp Anderson lewiston, ny: edwin mellen press, 2013. 438 pp. $159.95The Westminster Handbook to Karl Barth Edited by Richard E. Burnett louisville, ky: westminster john knox (...) press, 2013. 242 pp. $35.00On April 2, 1966, Karl Barth received a letter from Peter Vogelsanger, informing him that Emil Brunner—the recipient of Barth’s thunderous “Nein!” on the subject of natural theology in 1934—was on his deathbed. Two days later, Barth responded and asked Vogelsanger to tell Brunner that “the time when I thought I should say No to him is long since past, and we all live only by the fact that a great and merciful God speaks his gracious Yes to all of us.” The irenic, compassionate, and affirming tone of this letter is typical of the “mature” Barth, whom Raymond Anderson studied under from 1958 to 1964 as a ThD student at the University of Basel. This period of doctoral study is the subject of Anderson’s interesting and eminently readable new book. Anderson enjoyably weaves together several different genres in his reflections on his experience with Barth, smoothly transitioning back and forth between personal memoir, constructive theological argument, and thoughtful interpretation of Barth’s life and writings.Structurally, the book offers a series of recollections and reflections gathered loosely around common themes rather than a tightly knit argument pursued rigorously from beginning to end. In other words, the work is a series of sketches from the artist’s notebook, as opposed to one intricate and detailed portrait focusing on a single subject. [End Page 207]In the first five chapters of the book, Anderson sketches a picture of the elderly Karl Barth who served as his “doktorvater,” drawing material from his student notes and personal memories of the years he spent with Barth in Basel. While Anderson finds continuity between the earlier and later writings of Barth, he suggests that the older Barth began to increasingly unfold the “fuller, grace-centered and human-shaped positive implications” of the earlier writings (viii). In Anderson’s experience, Barth’s early appeal to “Let God be God!” had in those later years “mellowed to an even deeper appeal to let God be himself, human as well, in the most unexpected ways” (11). This mellowing extended beyond Barth’s writing to his personality and demeanor as a teacher and theologian. The Barth whom Anderson knew was humble, understated, and compassionate, a sympathetic listener and a generous interpreter—in short, an “un-dogmatic” dogmatician (139).In the sixth chapter, Anderson shifts gears and reproduces extensive transcriptions of his own notes from several of Barth’s biweekly English-language colloquia on the topics of natural theology, the Old Testament promise, Paul Tillich, and existentialism. Anderson suggests that these notes are particularly valuable because in them one witnesses Barth explaining the bare essentials of his thinking in clear and simple English terms. This is true for large portions of the transcriptions. However, it must be said that there are also portions of these transcriptions that suffer from the lack of clarity that one might expect to find in student notes of discussions conducted in a language with which Barth was not completely comfortable. Nevertheless, these transcriptions provide previously unpublished primary source material from Barth that is worth examining.From chapter 7 until the end of the book, Anderson takes up the task of “sketching key insights and special teachings from the mature Barth that in the years since Barth’s death have shown themselves to carry special significance for our American college classroom, church school, and pulpit” (205). These include, but are not limited to, Barth’s attitude toward America, his emphasis on the priority of grace, his theology of nature (not his natural theology), and his positions on theories of religion, satisfaction theories of the atonement, election, universalism, and even the possibility of extraterrestrial life. This section also includes... (shrink)

When I say “I know Sarah,” or “I know Berlin,” what sort of knowledge am I claiming? Such knowledge of a particular is, I claim, not reducible to either propositional knowledge-that or to traditional physical know-how. Mere, bare knowledge by acquaintance also does not capture the kind of knowledge being claimed here. Using knowledge of a place as my central example, I argue that this kind of knowledge-of, or “objectual knowledge” as it is sometimes called, is of a distinctive epistemological (...) sort. It is a genre of inherently first-personal aesthetic knowledge, but it also, like know-how, involves active skill. I end by exploring a couple of classic problems in aesthetic epistemology, applied to the case of knowledge-of as active aesthetic knowledge. (shrink)

Muʽtazilah is one of the kalām schools in which intellectual freedom is seen the most and therefore divergences within the sect are the most common. Although al-usûl al-ḥamsa/five principles constitute the main framework on which Muʽtazilah has agreed, opposing ideas have emerged within the sect on the principles of ʽadl (divine justice) and al-manzilah bayna al-manzilatayn and on the issues of nature and imamah. As a matter of fact, Muʽtâzilī scholars wrote many refutations to each other on the disputed issues. (...) One of those who have opposing views within the Muʽtazilah is Muḥammad b. Shabīb al-Baṣrī (d. mid 3rd/9th century), who lived between the end of 2nd and the middle of the 3rd century of hijra. Ibn Shabīb is one of the students of Ibrāhīm Ibn Sayyār al-Naẓẓām (d. 231/845), who was one of the leading scholars of Muʽtazilah. He initially opposed the principle of al-manzilah bayna al-manzilatayn, while he was Muʽtezilî, and accepted the Murji’ah approach on this issue. However, after he accepted the idea of irjā’, he continued his loyalty to Muʽtazilah with regard to the principles of tawhīd (divine unity) and ʽadl. Ibn Shabīb, who had a theological assembly of his own and is respected by the people in Baṣra, was an important scholar who stands out with his comprehensive knowledge of religious and philosophical schools of his time. In the doxographical tradition, his adoption of Murjī’ ideas is generally emphasized, except that he has not been referred to much. However, when the sources of kalām are examined meticulously, it is understood that he influenced many Muslim theologians with his works and views and that he was a source for them regarding many topics. The most important reason for this is that he was one of the first scholars to defend the Islamic belief against various philosophical and religious movements. Naturally, this situation provided him with a wide knowledge of religious and philosophical trends. Considering the quotations made from him, it is understood that he recorded this accumulation in a doxographical work. Another remarkable feature of Ibn Shabīb is that he was one of the first scholars to write in the genre of Kitāb al-Tawhīd. It is possible to see both contextual and methodological effects of this work in the quotations and narratives of Al-Māturīdī's book with the same name. What makes him different is that he adopts Muʽtazilī and Murjī’ ideas at the same time and develops a unique discourse on the subjects of grave sins and waʽīd (divine warning). Although he was raised in a strong tradition of thought such as Muʽtazilah, his ability to oppose his sect and his teacher Al-Naẓẓām and also to develop a different definition of faith despite accepting the doctrine of irjā’, makes him stand out as an original and intellectual personality. His different definition of faith is important in that it represents a more moderate approach to the issue of takfīr. For, he drew an encompassing framework based on the Quran and the Sunnah regarding the definition of faith and the conditions of takfīr, thus, he tried to preserve the unity of Muslims. He did not consider the denial of controversial issues that are not explicitly included in the Quran and Sunnah as a reason for takfīr. With this attitude, Ibn Shabīb took an important approach in ensuring social peace and free thought. In this article, all the information contained in Muʽtazilī sources, and doxographical works related to the life, scientific personality and theological views of Ibn Shabīb are gathered and analyzed, and then his theological thought is reconstructed based on these data. From this point of view, identifications and evaluations have been made regarding the issues that make him different and unique in the history of Muslim thought. (shrink)

The cento of Proba has recently enjoyed a remarkable upsurge of scholarly interest. A welcome translation was provided in 1981, and an article of five years later, scrutinizing the evidence for its date and authorship, has aroused much controversy. In two recent contributions vindicating the traditional date new or more precise suggestions have been made about the poem's historical context. In between these, yet another article has argued, without confirming or refuting the revised dating and attribution, that in various ways (...) the work reflects the interest of the aristocratic ladies of the Anician family. And now there is a second article by Danuta Shanzer, repeating many of her early points and adding some interesting new ones. All this sudden attention is not unmerited, for as Herzog observed long ago the work is not of the comic or trivializing kind that Ausonius envisaged in his comments on the genre and does not degrade Vergil but rather, at least in the often quoted words of its prefatory poem, ‘improves’ him. (shrink)

Este artículo busca conocer las políticas que guían el quehacer institucional en dos grandes temáticas, participación de las mujeres y violencia doméstica, temas priorizados por las mujeres integrantes de las respectivas comunas. La investigación asume una perspectiva de género, y se propone detectar el grado de legitimación de dichas políticas sociales nacionales, e identificar los niveles de involucramiento de las mujeres en dichas políticas sociales. En sus conclusiones, aparecen constatadas diversas limitaciones en la implementación de dichas políticas.

In this book, Westphal offers an original interpretation of Hegel's moral philosophy. Building on his previous study of the role of natural law in Hume's and Kant's accounts of justice, Westphal argues that Hegel developed and justified a robust form of civic republicanism. Westphal identifies, for the first time, the proper genre to which Hegel's Philosophical Outlines of Justice belongs and to which it so prodigiously contributes, which he calls Natural Law Constructivism, an approach developed by Hume, Rousseau, Kant, (...) and Hegel. He brings to bear Hegel's adoption and augmentation of Kant's Critique of rational judgment and justification in all non-formal domains to his moral philosophy in his Outlines. Westphal argues that Hegel's justification for the standards of political legitimacy successfully integrates Rousseau's Independence Requirement into the role of public reason within a constitutional republic. In these regards, Hegel's moral and political principles are progressive not only in principle, but also in practice. Hegel's Civic Republicanism will be of interest to scholars of moral philosophy, social and political philosophy, philosophy of law, Hegel, eighteenth- and nineteenth-century philosophy. (shrink)

Dans ses écrits biologiques et éthiques, Aristote affirme explicitement que les animaux non humains sont capables d’action volontaire. Mais d’autres aspects de son traitement du volontaire dans ces mêmes écrits semblent contredire cette affirmation et impliquer que le volontaire nécessite une faculté rationnelle spécifiquement humaine. Les lecteurs d’Aristote ont proposé diverses solutions à ce problème. Un premier groupe dit qu’Aristote définit le volontaire uniquement en termes de capacités que nous partageons avec les autres animaux. D’autres proposent que le volontaire au (...) sens propre soit uniquement humain, et qu’Aristote attribue le volontaire aux autres animaux seulement par métaphore. Un troisième groupe soutient qu’Aristote distingue implicitement le volontaire, que nous partageons avec les autres animaux, et la responsabilité morale, qui n’appartient qu’aux êtres rationnels. Je propose une alternative à ces approches habituelles. Je démontre que le volontaire chez Aristote fonctionne comme un genre, divisé en espèces rationnelle et non rationnelle. (shrink)

An impressive addition to the growing corpus of phenomenologica by a young phenomenologist who has already contributed significantly to phenomenology as a translator of two works of Mikel Dufrenne and as the author of almost a dozen articles centering upon the role of imagination in philosophy, art, and psychology. Imagining attends to the very core of phenomenological method which rests upon the technique of imaginative variation as the means to eidetic intuition. Though guided by Husserl especially, the work is not (...) about phenomenology, but is an actual specimen of phenomenology. Significantly, too, the author also takes his bearings from suggestions in Wittgenstein, Strawson, Austin, and Ryle and displays an awareness of the whole history of the treatment of imagination in philosophy, psychology, and art criticism. But the focus is upon the Sache selbst, on the phenomena of imagining as they present themselves directly in experience. If at times the works of phenomenologists appear to be diffuse, cumbersome, and linguistically opaque, the present work is remarkably clear and well-organized—almost establishing a new genre in phenomenological writing. Perhaps some indebtedness to Weiss shows through in the author’s attempt, not only to describe, but to systematize the field of the phenomena in question; the influence of the analysts appears in the clarity of the overall style. (shrink)

Always connect—that is the imperative of today’s media. But what about those moments when media cease to function properly, when messages go beyond the sender and receiver to become excluded from the world of communication itself—those messages that state: “There will be no more messages”? In this book, Alexander R. Galloway, Eugene Thacker, and McKenzie Wark turn our usual understanding of media and mediation on its head by arguing that these moments reveal the ways the impossibility of communication is integral (...) to communication itself—instances they call excommunication. In three linked essays, _Excommunication_ pursues this elusive topic by looking at mediation in the face of banishment, exclusion, and heresy, and by contemplating the possibilities of communication with the great beyond. First, Galloway proposes an original theory of mediation based on classical literature and philosophy, using Hermes, Iris, and the Furies to map out three of the most prevalent modes of mediation today—mediation as exchange, as illumination, and as network. Then, Thacker goes boldly beyond Galloway’s classification scheme by examining the concept of excommunication through the secret link between the modern horror genre and medieval mysticism. Charting a trajectory of examples from H. P. Lovecraft to Meister Eckhart, Thacker explores those instances when one communicates or connects with the inaccessible, dubbing such modes of mediation “haunted” or “weird” to underscore their inaccessibility. Finally, Wark evokes the poetics of the infuriated swarm as a queer politics of heresy that deviates from both media theory and the traditional left. He posits a critical theory that celebrates heresy and that is distinct from those that now venerate Saint Paul. Reexamining commonplace definitions of media, mediation, and communication, _Excommunication_ offers a glimpse into the realm of the nonhuman to find a theory of mediation adequate to our present condition. (shrink)

One longstanding criticism of Chinese thought is that is not truly “philosophical” because it lacks viable protocols of argumentation. Thus it qualifies at best as “wisdom”; Confucius, for example, might provide valuable guidance, or thoughtful epigrams to ponder, but nothing in the way of formal reasoning that would permit his audience to reconstruct and reconsider his arguments in any conceivable context. This criticism seems to be based on the tacit premise that acceptable argumentation must be deductive, whereas most famous Chinese (...) arguments tend to be non-deductive. This paper will survey the types of non-deductive argumentation commonly found in Chinese philosophy. One of the most prolific is appeal to example, which is the basis of the strong interest in anecdotes as a genre of philosophical literature from the Springs and Autumns at least through the Six Dynasties. There are important examples of deductive argument as well, which will be briefly reviewed. Whether these observations are sufficient to rescue Chinese thought from the wilderness of “wisdom” and enshrine it in the halls of “philosophy” will be left for the reader to decide, but a conception of “philosophy” that can account for Chinese thought is naturally more interesting than one that cannot. -/- . (shrink)

Although the Shang dynasty sometimes seems archaic and alien from the point of view of later periods, there are important elements of Shang culture that persevered in recognizable forms, even after allowing for adaptation to new historical realities, beyond the Zhou conquest in 1045 B.C. These points of continuity being generally underappreciated, five of the most salient are sketched below, in the hope of spurring renewed interest in China’s first historical dynasty: the ritual use of writing, particularly as a mode (...) of communication with the spirit world; the status of Chinese as the sole written language; the notion that some days are auspicious and others inauspicious; a patrilocal and patrilineal family structure that nevertheless accommodated mothers within its ritual order; and “the Deity’s command”. In keeping with the genre of “brief communication,” the examples adduced are illustrative rather than exhaustive; a full study of these themes would require an entire monograph. (shrink)

Interpreters of Acts face three recurrent questions: 1) What is its genre? 2) Why was it written? and 3) How is Scripture used? In deciding genre, readers must decide if Acts is history, and, if so, in what sense. Determining its literary or theological purpose can be done in terms of asking what Acts accomplishes.

_The Routledge Companion to Philosophy and Film_ is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The _Companion_ features sixty specially commissioned chapters from international scholars and is divided into four clear parts: • issues and concepts • authors and trends • genres • film as philosophy. Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and spectatorship and (...) style. Part two covers authors and scholars of film and significant theories Part three examines genres such as documentary, experimental cinema, horror, comedy and tragedy. Part four includes chapters on key directors such as Tarkovsky, Bergman and Terrence Malick and on particular films including _Memento_. Each chapter includes a section of annotated further reading and is cross-referenced to related entries. _The Routledge Companion to Philosophy and Film_ is essential reading for anyone interested in philosophy of film, aesthetics and film and cinema studies. (shrink)

The amplitude and the diversity of Ricoeur’s philosophical production is astonishing. Three factors shed light upon this fact. First, his philosophical career covers seventy years wherein he witnessed the rise and the decline of tlve philosophical -isms. Further, he is a typical dialogical thinker: in conversation with the great classical and modern philosophers, and eager to listen to the methods and results of human an linguistics sciences. A third reason, particularly of differentiation, stems from his double conviction and commitment. On (...) the one hand, he wants to be a rigorous philosopher, even keeping on a methodic agnosticism. On the other hand, however, he is a convinced Christian, and so he also likes to think critically – a rigorous philosophizing here is inappropriate – on religion, belief, and biblical language and topics. Nevertheless, it is only since 2000 that he is getting fully aware of the disintegrated impression many readers have from his publications. In his opinion, this impression is perfectly understandable: a reading public and myself are on completely different wavelengths. From reading my books people spontaneously nurture their own expectation with regard to coming publications, whereas my concern always was: am I answering your questions? So, in four recent articles Ricoeur speaks of his technical philosophy composed of eleven books: from The voluntary and the Involontary to the Course of Recognition . He argues that the continuity of his basic philosophical writings is, each time, determined by a residue, a question the preceding publication left open. But, where to situate then his twenty-two other books into a global and consistent picture? All these other works are explorations of specific philosophical issues, and reflections and topics as prophecy, tragedy and religion bordering philosophy. For this matter, a fully rigorous philosophical discourse is not always possible. These writings, however, find their setting around the hard core of his philosophy. Ricoeur himself only mentions two genres: volumes of articles for a larger audience as History and Truth and university lectures as Lectures on Ideology and Utopia . But other headings need to be added to umbrella other publications: historical and autobiographic writings, collection of articles on political topics, on the sacred and biblical language, on philosophy of law, and on medical ethical issues. On a more remote distance from the heart of his philosophy are located hundred of articles and interviews on philosophical topics, reflections on actual themes, an even some homilies. To amazement of many, two eminent Ricoeur commentators recently characterized his philosophy as “An Ontology of Life”. This is not as strange as it looks! Already in The voluntary and the Involontary. Ricoeur offers a phenomenology of “life, to be in life and birth”. To him, life also is a lived and hard-won value. In fact, belief in life is related to his main category of “originative affirmation” and of “hope”. Hope, however, is never a knowledge but only the regulative idea of my metaphysical thinking, and it remains inextricably bound up with the anguish for a senseless totality. “Nothing is closer to the anguish of nonsense than timid hope.”. (shrink)

Language and Materiality integrates linguistic anthropological and sociolinguistic scholarship on a range of topics: semiotic approaches to language, language commodification, sound, embodiment, mediatization, and aesthetics. Empirically rigorous, the volume engages scholars and students interested in language, its use, and meanings. It consists of three sections - 'Texts, Objects, Mediality', 'Sound, Aesthetics, Embodiment', and 'Time, Place, Circulation' - containing chapters and short commentaries, framed by a curated conversation about semiotics and materiality in anthropology. Each section theorizes intersections, connections, and relationships between (...) language and materiality across diverse topics and ethnographic contexts. The volume shows that materiality may be approached as a feature of political economy, sensual experience, aesthetics, and affective relationships in its relation to language as talk, register, genre, ideology, and acoustic object. It consists of new perspectives on materiality as a vital dimension of social life and signification in global capitalism, connecting inquiries on subjects as diverse as food, media, fonts, and music. (shrink)

The Clitophon, a dialogue generally ascribed to Plato, is significant for focusing on Socrates' role as an exhorter of other people to engage in philosophy. It was almost certainly intended to bear closely on Plato's Republic and is a fascinating specimen of the philosophical protreptic, an important genre very fashionable at the time. This 1999 volume is a critical edition of this dialogue, in which Professor Slings provides a text based on an examination of all relevant manuscripts and accompanies (...) it with a translation. His extensive introduction studies philosophical exhortation in the classical era, and tries to account for Plato's dialogues in general as a special type of exhortation. The Clitophon is seen as a defence of the Platonic dialogue. The commentary elucidates the Greek and discusses many passages where the meaning is not entirely clear. (shrink)

Immortality is a subject which has long been explored and imagined by science fiction writers. In his intriguing new study, Stephen R.L.Clark argues that the genre of science fiction writing allows investigation of philosophical questions about immortality without the constraints of academic philosophy. He reveals how fantasy accounts of issues such as resurrection, disembodied survival, reincarnation and devices or drugs for preserving life can be used as an important resource for philosophical inquiry and examines how a society of immortals (...) might function through a reading of the vampire myth. _How to Live Forever_ is a compelling study which introduces students and professional philosophers to the possibilities of using science fiction in their work. It includes extensive suggestions for further reading, both fictional and philosophical, and examines the work of such major science fiction authors as _Arthur C. Clarke, Frank Herbert, Larry Niven, William Gibson_, and _Colin Wilson_. (shrink)

It’s not uncommon for people to make reference to atmospheres, including in relationship with educational spaces. In this article, we investigate educational atmospheres by turning to Western and Chinese literature on the air and wind. We pursue this task in three phases. First, we examine the Western literature to see the possible strings of thought that would help us reinvigorate the element of air/atmosphere as a foundational component of an educational sphere. Second, we historicize the Chinese notion of wind as (...) a style of reasoning which structures ancient Chinese cosmology, tempo-spatiality, teaching, and governing into a grid of intelligibility. Third, we argue for a bracketing of a trap of philology and a signifier-signified representational logic through reconceptualizing the atmosphere as a thing that blurs the material-figural boundary and that pushes into a new genre of educational life. (shrink)

Si le développement du web a rendu accessibles des masses de données numériques, facilitant la collecte de textes et le développement de corpus, il a également donné naissance à de nouveaux genres qui défient les représentations, les méthodes et les grilles d’analyses développées jusqu’à présent. Ainsi a-t-on vu apparaître des corpus assez éloignés des premiers corpus écrits traditionnels, regroupés sous la bannière de la CMR (Communication Médiée par les Réseaux / Computer-Mediated Communica...

I admire Robert Denham's enlightening and often very amusing response to my "Coherent Readers, Incoherent Texts" Critical Inquiry 3 [Summer 1977]:781-802). Not surprisingly, however, I remain unconvinced by its arguments, large or small. This may sound defensive, partly because it is, but I do wonder if his use of pluralistic sound sense is quite so fresh or so formidable as he takes it to be. . . . I think Denham understands quite accurately my use of "genre" as representing (...) a traditional structure for organizing plot, character, images, tones, and the like. I think it is true, also, that I use the word to refer both to narrative pattern and to what he calls "intention," that I use both Frye and Sacks as examples of convincing distinctions among ordering patterns. Of course Denham is right in saying that these systems are not necessarily coordinate, that they cover species and subspecies alike, and that the generic patterns are not of the same order. One might have a represented action that is comic, tragic, or even "serious." I wonder if all this really makes my argument "sometimes difficult to follow" . I had thought that I was signaling clearly the switch from Frye to Sacks, that neither was using "genre" in an unfamiliar or restrictive sense, and that both presented useful systems that were comprehensive and thus adaptable—as time has surely shown—for the labeling and pigeonholing needs of those seeking coherence at all costs. Since Frye sees narrative patterns as "pre-generic," it would not be difficult to work out coordination simply by saying that Sacks' three general categories of fiction could each exist in any of Frye's twenty-four phases. But things are not that simple, and more important, such devices would surely distract a reader I wanted to be in search of other game. Most of us switch freely from system to system, understanding "genre" to refer to a class that includes epic-drama-lyric-novel, a class that includes comedy-tragedy-romance-irony, a class that includes apologue-satire-represented action. As I see it, the only danger lies in mixing incompatible systems. James R. Kincaid is professor of English at the University of Colorado at Boulder. His works include Dickens and the Rhetoric of Laughter, Tennyson's Major Poems: The Comic and Ironic Patterns, and The Novels of Anthony Trollope. His contributions to Critical Inquiry are "Coherent Readers, Incoherent Text" , and "Fiction and the Shape of Belief: Fifteen Years Later". (shrink)

Re/reading the Past is concerned with the discourses of history, from the complementary perspectives of Critical Discourse Analysis (CDA) and Systemic Functional Linguistics (SFL). The papers in the book stress the discursive construction of the past, focussing on the different social narratives which compete for official acknowledgement. Issues of collective and cultural memory are addressed, reflecting the "linguistic turn" in the Social Sciences. The book covers a range of discourses, interpreting texts from popular culture to academic discourse including the construction (...) and evaluation of past events in a variety of places around the world. It is especially timely in its focus on the construction of time and value in a post-colonial world where history discourses are central to on-going processes of reconciliation, debates on war crimes, and the issues of amnesty and restitution. As such the book fills a significant gap in interdisciplinary debates as well as in register and genre analysis, and will be of general interest to historians, political scientists and discourse analysts as well as students and teachers of ESP (English for Specific Purposes) and EAP (English for Academic Purposes). (shrink)

This essay presents a careful interpretation of Adorno’s classical text The Essay as Form, published in 1958 as the introduction to his Notes on Literature. Since it thickly condenses many of Adorno’s general views, the Essay poses great hermeneutic challenges to readers. The paper, first, elaborates on the essay more broadly as a genre and identifies a spectrum between science and art each individual essay draws from to forge its particular hybridity. Second, the example is discussed as an epistemologically (...) potent trope oscillating between subsumption and singularity. This internal tension renders the example particularly qualified to serve as the conceptual basis on which interpretative themes in the essay can be discovered. Three lines of interpretation are suggested: (a) poetological for the essay/ Essay’s definition, goal, and method; (b) critical/dialectical for its treatment of concepts and in relation to content; and (c) epistemic for the modern separation of art and science. The conclusion comes back to the issue of exemplarity. (shrink)

In this engaging book, Douglas Anderson begins with the assumption that philosophy—the Greek love of wisdom—is alive and well in American culture. At the same time, professional philosophy remains relatively invisible. Anderson traverses American life to find places in the wider culture where professional philosophy in the distinctively American tradition can strike up a conversation. How might American philosophers talk to us about our religious experience, or political engagement, or literature—or even, popular music? Anderson’s second aim is to find places (...) where philosophy happens in nonprofessional guises—cultural places such as country music, rock’n roll, and Beat literature. He not only enlarges the tradition of American philosophers such as John Dewey and William James by examining lesser-known figures such as Henry Bugbee and Thomas Davidson, but finds the theme and ideas of American philosophy in some unexpected places, such as the music of Hank Williams, Tammy Wynette, and Bruce Springsteen, and the writingsof Jack Kerouac.The idea of “philosophy Americana” trades on the emergent genre of “music Americana,” rooted in traditional themes and styles yet engaging our present experiences. The music is “popular” but not thoroughly driven by economic considerations, and Anderson seeks out an analogous role for philosophical practice, where philosophy and popular culture are co-adventurers in the life of ideas. Philosophy Americana takes seriously Emerson’s quest for the extraordinary in the ordinary and James’s belief that popular philosophy can still be philosophy. (shrink)