Three approaches have been used to investigate the inhibitory role of the cytokinin class of phytohormones in plant senescence: external application of cytokinins, measurement of endogenous cytokinin levels before and during senescence, and manipulation of endogenous cytokinin production in transgenic plants. In transgenic plant studies, endogenous cytokinin levels are manipulated by expression of IPT, a gene encoding isopentenyl transferase. Transgenic plants expressing IPT from a variety of promoters exhibit developmental and morphological alterations and often display retarded leaf senescence. A recently (...) developed autoregulatory senescence‐inhibition system targets cytokinin production quantitatively, spatially and temporally, and results in transgenic plants that exhibit significantly delayed senescence without abnormalities. These transgenic studies not only confirm the regulatory role of cytokinins in plant senescence, but also provide a way to manipulate senescence for potential agricultural applications. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 14-30 [Access article in PDF] Mallarmé Contra Wagner Eric Gans I In early 1885, Edouard Dujardin wrote to Stéphane Mallarmé for a contribution to his newly founded Revue wagnérienne. Mallarmé, admitting that he had never seen--and perhaps never heard--anything of Wagner, replied to Dujardin in July that he was working on a "half article, half prose poem," and that "never has anything seemed (...) to me more difficult." 1 A month later, the Revue published a text, more prose poem than article, entitled "Richard Wagner, rêverie d'un poète français." 2Wagner was an increasingly obligatory reference for the French avant-garde after his death in 1883. But as far back as 1862, the 20-year-old Mallarmé, no doubt influenced by Baudelaire's enthusiastic groundbreaking article "Richard Wagner et Tannhäuser à Paris" of the year before, had included Wagner along with Mozart and Beethoven in a group of three creators of the "mystery" of music, in a brief article entitled "Artistic Heresies: Art for Everyone." Characteristically enough, what fascinated the young Mallarmé was not music itself so much as the "signes sévères, chastes, inconnus" ("severe, chaste, unknown signs") (OC, p. 257) with which it was written, which give music the advantage over poetry--written in the universally understood alphabet--of being inaccessible to the uninitiated. This characteristic emphasis on writing over sound reappears in the "Hommage" sonnet for Wagner published in Dujardin's journal in January 1886, where Wagner's music is described as "mal tu par l'encre même en sanglots sibyllins" ("badly silenced by the ink itself in Sibylline sobs") (OC, p. 71). As we shall see, however, the relation between music and poetry suggested in "Art for Everyone" had by then been reversed. [End Page 14]Unlike most of his circle, Mallarmé was no Wagnerite; his "Rêverie," like his sonnet, expresses reluctant praise and reflects a certain professional jealousy. The theater had long been Mallarmé's chief preoccupation, as it had been for so many nineteenth-century writers who would be forced to make their reputation in other genres. The unfinished poem "Hérodiade," which occupied him throughout his life, took the form of a drama, and an early version of the "Après-midi d'un faune" had actually been presented to a theater director. References to music in Mallarmé's writings increase in number and specificity after 1885, and it is not unreasonable to assume that for him the prime representative of "music" in this period was Wagner. However much Mallarmé's own theater had become internalized and idealized, Wagner's theatrical success, as well as his near-deification by friends and disciples like Dujardin or Villiers de l'Isle-Adam, could not leave the poet indifferent. II What I would like to explore, however, is something more fundamental than the personal equation. Mallarmé's rivalry with Wagner over the theatrical center of culture is the rivalry of two arts and their respective means. What makes Mallarmé's critique of Wagner of particular interest is the exemplary rigor of the former's artistic intentions. Mallarmé's poems are a series of attempts to produce literary form with a minimum of figural content. Each poem has been submitted, so to speak, to Ockham's razor. The ultimate aim of this labor may be described as the discovery of the originary scene of poetry itself, the minimal sine qua non of representation, and therefore of humanity. 3 On the contrary, Wagner did not shrink from saturating the figural imagination in the pursuit of his totalizing aims. The confrontation reveals that musical maximalism in the service of national myth becomes a threat to what we may call, from Mallarmé's minimalist perspective, the anthropological mission of true art.Mallarmé held no particular brief for the theater of words; his tastes in performance went rather to the ballet, or to the mime-show, the subject of one of his most aesthetically interesting reflections. 4 Mallarmé anticipated 20th-century dramaturgy in seeing the theater not as a place for ratiocination and... (shrink)

Watching Quentin Tarantino films is uncomfortable. They are mostly known for the all-too-real depictions of violence. The poster for his early film, Reservoir Dogs, has the main characters, all gan...

In lieu of an abstract, here is a brief excerpt of the content:Mimetic Theory and Its Rivals:A Reply to Pablo BanderaRichard van Oort (bio)There are three ways to respond to a rival theory. You can ignore it, you can assimilate it to what you already believe, or you can assess its merits independently and then either reject it or adopt it as the better, more powerful theory. Let us briefly review these three strategies.1. Assuming you are already in possession of (...) a sufficiently powerful theory, a safe bet is simply to ignore the newcomer. Contrary to appearances, this is not a totally unreasonable strategy. Time is in short supply. Those in possession of a theory adequate to their purposes will naturally be hesitant to investigate a new one, the understanding of which may require considerable investment in time and imaginative effort. Better to let others do the risky and quite possibly foolhardy work of inventing and elaborating new theories. Chances are their attempts will fail anyway. Truly original ideas are hard to come by and, given this fact, it only makes sense to stick with what works rather than waste time on unfamiliar and unproven ideas.2. The second response is, on the surface at least, more gracious and benevolent, but this benevolence masks an intransigence quite as dogmatic [End Page 189] as the first. Thus we welcome the new theory into the fold, but with a view to assimilating it to what we already know. The new theory is not our rival but our friend. Rather than emphasize the differences, we point to the theory's similarities with our existing framework. The new theory is said to improve our understanding of one or two details, but these are held to be merely minor modifications and not at odds with what we hold to be fundamentally true. Thus the new theory is not really new at all. It is but another disciple of the old. Its claim to a place at the table is not at the head, as a rival leader and master, but alongside the other disciples whose collective task it is to disseminate the teachings of the one true master. This strategy is in fact extremely common and entirely understandable, from the viewpoint of both the adherents of the old theory and those of the new. For while the adherents of the old theory receive further confirmation of the superiority of their way of looking at the world, the adherents of the new theory receive a measure of respect by gaining access to an existing center of attention. As we all know, the mimetic attention space is by definition limited. We can't focus on everything at once, and sometimes the best strategy for a new theory is, so to speak, to follow the money. One piggybacks on the existing centers of attention. But the drawback is that the more one piggybacks, the less "new" one becomes.3. The third and final response is to take the new theory seriously as a rival center of attention. But this forces us into a genuine dilemma. For now we have to choose between theories that are accepted, for the time being at least, as equals in terms of their rivalry for our attention. But if both claim to be equally foundational, equally deserving of our attention to first things, then both cannot be equally true. One theory must come first; one must be superior to the other. But which?In a recent issue of Contagion, Pablo Bandera urges Girardians to adopt the third strategy when assessing Eric Gans's generative anthropology.1 We must recognize the theory's status as a genuine rival. Bandera believes that once the assessment has been fairly made, we must end up rejecting Gans's theory, at least insofar as it purports to be a theory of mimetic desire. The trouble is, Bandera claims, that most Girardians have adopted the second strategy, that is, they have simply assimilated Gans as a (slightly modified) version of Girard, without bothering to notice the very real differences between the two. The first strategy, complete ignorance of Gans's work, Bandera believes to be inaccurate as a description of the current situation. Indeed, he goes so... (shrink)

This photodocumentary reveals the second city through the stories and black-and-white images of its inhabitants.

That India once had a sustained ‘dialogue’ with Scottish Philosophy is not gener- ally known, or that the exchange occurred in the medium of Sanskrit, not English. The essay explores an important cross-cultural encounter in the colonial context of mid 19th-century Benares where two Scots, John Muir and James Ballantyne, served as principals of a Sanskrit college established by the East India Company. Educated toward the end of the Scottish Enlightenment, they endeavoured to translate such distinctive concepts of ‘Scotch Metaphysics’ (...) as Externalism into Indian philosophical categories. The ensuing ‘dialogue’ with Brahmin interlocutors shows that the prob- lems they faced were less terminological than conceptual, having to do with contras- tive ways of understanding ‘mind’ and ‘man’. Between the two Scots, there were also signifi cant differences, although both had gone to India as Scottish Calvinists. While Muir remained largely impervious to Indian infl uence, Ballantyne was profoundly changed, becoming, in effect, a ‘Vedantic Calvinist’. (shrink)

(2005). Reflections on the Appointment of Dr. Edmund Pellegrino to the President's Council on Bioethics. The American Journal of Bioethics: Vol. 5, No. 6, pp. W8-W9. doi: 10.1080/15265160500388640.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.2 (2003) 277-278 [Access article in PDF] John Hedley Brooke, Margaret J. Osler, and Jitse M. van der Meer, editors. Science in Theistic Contexts: Cognitive Dimensions. Chicago: University of Chicago Press Journals Division, 2001. Pp. xiii + 376. Cloth, $39.00. Paper, $25.00. Some twenty years ago, when I submitted a dissertation proposal to explore connections between theologies of creation and views of scientific (...) knowledge in the seventeenth century, my doctoral committee was not initially enthusiastic—my idea might make a good dissertation in religion, but was it really history of science? I doubt I would have a similar experience today. Not only has the "warfare" thesis of science and religion been laid permanently to rest, historians have begun seriously to question whether it makes sense even to treat "religion" and "science" in an essentialist manner as separate ways of thinking that do not ordinarily interact. Many detailed case studies demonstrating a variety of fascinating, often important connections between science and religion have appeared from leading scholars in the past two decades. This trend continues in the latest volume of Osiris, which contains sixteen essays documenting various ways in which religious beliefs have influenced the actual content and presentation of science.The volume opens with two companion essays laying out the terrain. First, Brooke engages the new methodological and conceptual problems that confront historians following the demise of the "warfare" thesis. Then Stephen Wykstra offers criteria for sorting out the various roles for metaphysical and religious beliefs (which he distinguishes) in shaping scientific knowledge. The case studies begin with E. Jamil Ragep's essay on medieval Islamic astronomy, arguing that religion sometimes had a constructive role—a rather novel claim for Islamic science, he points out. Noah J. Efron and Menachem Fisch show how early modern Jewish exegetical practices influenced David b. Solomon Gans's interpretations of astronomical texts, and quite possibly his interpretation of nature also. A Christian astronomer is next, as Peter Barker and Bernard R. Goldstein detail how Johannes Kepler's theology contributed directly to the discovery of scientific laws. Maurice A. Finnocchiaro then reviews various accounts of the Galileo affair, finding far more conflict in the subsequent historiography of the events than in the trial itself.Moving from astronomy to natural philosophy, Margaret G. Cook's essay on Robert Boyle examines the web of connections between theology, the mechanical philosophy, and [End Page 277] "the Aristotelian philosophy that he sought to replace." She demonstrates that Boyle used the classical art/nature distinction "to interpret the biblical account of the Creation and to argue that chemical techniques offered experimental confirmation that the world, created by art, worked by the same mechanical principles as artificial objects, not by the inherent agency of Aristotelian nature" (136). Margaret J. Osler also writes about Boyle. Contrary to the traditional view that final causes were expunged from science by the mechanical philosophy—a view that originated in the "positivism and scientific optimism" of the postwar period (168)—she proves that final causality remained central to the thought of Boyle and Pierre Gassendi. The essay by Stephen D. Snobelen presents substantial evidence that the famous General Scholium, appended to the second edition of Isaac Newton's Principia, was a carefully worded declaration of Newton's heterodox theology. "A Trinitarian," Snobelen concludes, "could not have written the General Scholium" (186). He also shows the degree to which Newton's theology shaped his overall natural philosophy, decisively debunking the late Richard S. Westfall's view that such influences could not be found.The final seven essays are mainly devoted to nineteenth-century science. Michael J. Crowe documents several ways in which Christian beliefs about divine goodness and the Incarnation affected astronomy. Martin Fichman shows how Alfred Russel Wallace's theism—not merely a vague spiritualism, as traditional accounts claim—"shaped the cognitive content of his mature evolutionary synthesis, which included a theoretical reconceptualization of the scope of natural selection" (227). In a revisionist account of Charles Darwin's philosophy of "nature," Phillip R. Sloan challenges the received view that... (shrink)

This book casts new light on the work of the German poet Friedrich Hölderlin (1770 - 1843), and his translations of Greek tragedy. It shows Hölderlin's poetry is unique within Western literature (and art) as it retrieves the socio-politics of a Dionysiac space-time and language to challenge the estrangement of humans from nature and one other. In this book, author Lucas Murrey presents a new picture of ancient Greece, noting that money emerged and rapidly developed there in the sixth century (...) B.C. This act of monetization brought with it a concept of tragedy: money-tyrants struggling against the forces of earth and community who succumb to individual isolation, blindness and death. As Murrey points out, Hölderlin (unconsciously) retrieves the battle between money, nature and community and creatively applies its lessons to our time. But Hölderlin's poetry not only adapts tragedy to question the unlimited "machine process" of "a clever race" of money-tyrants. It also draws attention to Greece's warnings about the mortal danger of the eyes in myth, cult and theatre. This monograph thus introduces an urgently needed vision not only of Hölderlin hymns, but also the relevance of disciplines as diverse as Literary Studies, Philosophy, Psychology (Psychoanalysis) as well as Religious and Visual (Media) Studies to our present predicament, where a dangerous visual culture, through its support of the unlimitedness of money, is harming our relation to nature and one another. "Here triumphs a temperament guided by ancient religion and that excavates, in Hölderlin's translations, the central god Dionysus of Greek tragedy." -Bernhard Böschenstein, author of "Frucht des Gewitters". Zu Hölderlins Dionysos als Gott der Revolution and Paul Celan: Der Meridian. Endfassung-Entwürfe-Materialien. "Lucas Murrey shares with his subject, Hölderlin, a vision of the Greeks as bringing something vitally important into our poor world, a vision of which few classical scholars are now capable." -Richard Seaford, author of Money and the Early Greek Mind. Homer, Tragedy, Philosophy and Dionysus. "Hölderlin deserved such a book." -Jean-François Kervégan, author of Que faire de Carl Schmitt? "...fascinating material..." -Noam Chomsky, author of Media Control: The Spectacular Achievements of Propaganda and Nuclear War and Environmental Catastrophe. (shrink)

Charles Foster and Jonathan Herring are to be congratulated on their useful presentation of the roles played by concepts of personhood and identity in English medical law. 1 However, I fear that the project they have undertaken here is misconceived. It is an interesting and important misconception, which is widely shared in the literature on medical law and ethics; but a misconception it remains. The problem is this. What we call ‘the Law’ is in fact a complex assemblage of institutions, (...) rules, accredited persons, practices and systems. What it is not is a self-sufficient, integrated and self-interpreting system of doctrine. As such it does not have a clear structure which we can excavate and the idea that we can find concepts which explain and unify that structure at some deep level is thus quixotic. To approach ‘the Law’ in that way is to pursue a chimaera. We should instead... (shrink)

In this first complete account of Hartley's thought, Richard C. Allen explains Hartley's theories of physiology, perception and action, language and cognition, emotional development and transformation, and spiritual transcendence. By drawing a biographical portrait of its subject, the book explores the relationship of mind and body in Hartley's system, and surveys Hartley's influence upon later scientists and social reformers, particularly Joseph Priestley.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Columbia History of Western Philosophy ed. by Richard H. PopkinRichard E. AquilaRichard H. Popkin, editor. The Columbia History of Western Philosophy. New York: Columbia University Press, 1999. Pp. xxvi + 836. Cloth, $59.95.This volume aims to “… revise the general prevailing understanding of the history of philosophy among present-day academics.” It aims to do so by emphasizing the “full intellectual and social contexts” of the ideas (...) in question, with particular emphasis on developments in religion and science. Unsurprisingly, the theme of scepticism not only looms large in the sections devoted to the seventeenth- and eighteenth-century philosophers, but also, in the light of its more explicit and detailed connection to the context of religious controversy, its presentation is fuller than what might be expected under the “prevailing understanding.” (Both that theme, and also the influence of the Kaballah, are touched on twice in the general introduction. I take the occasion to note that the index, though extensive, is sometimes less useful than it might be, leaving to the reader’s own eventual discovery, for example, the often neglected connection of the latter with Spinoza.)Popkin also takes pain to lament the common attitude “that the history of philosophy is nothing but footnotes to Plato and Aristotle” (xviii). As if to underscore his point, the first chapter—going from the Pre-Socratics through early Christian philosophy—is not even presented as a chapter on “Ancient Philosophy”: what is in question is simply the “Origins of Western Philosophic Thinking.” In any case, although introduced by him, the chapter is apparently not edited by Popkin himself, who lays such claim only to the chapters on medieval Islamic and Jewish philosophy and the seventeenth and eighteenth centuries. (Popkin’s introduction effectively emphasizes the three-fold background of “Asian,” Biblical, and Egyptian influence, with the last of its four pages devoted to Bernal’s Black Athena. I confess to not having read Bernai previously. But Popkin’s reflections were effective; I immediately contacted Amazon.com.) Each of the other chapters is said to have an overall “editor or editors,” but their identity is not revealed. However, presuming that, except for the first, the editor is the author of the corresponding introduction, we might guess: Stephen Brown for medieval Christian, Brian Copenhaver for the Renaissance, Rudolf Makkreel for the nineteenth century, Avrum Stroll for twentieth-century analytic. There is no general introduction to the twentieth-century continental chapter.Each section of a chapter is followed by a bibliography, though with no overarching format: some are restricted to secondary sources, others not, and there is no clear pattern regarding inclusion of non-English materials. The Medieval Christian and Renaissance chapters conclude with general bibliographies by their (apparent) editors. In any case, the bibliographies should serve eminently well for the editor’s view of the volume as a [End Page 669] “launching pad” to further study. It is in fact a most effective launching pad. However, there are some possible eyebrow-raisers. For example, apart from anthologies, the only books listed on Spinoza are Popkin’s own on the history of scepticism, Strauss’s Spinoza’s Critique of Religion, andWolfson’s The Philosophy of Spinoza; the secondary references for the Kabbala denudata are about the same in number as those for Descartes and Spinoza together; those for Thomasius and Wolff outnumber those for Kant, and there is no reference, for example, to Heidegger among the latter (and for that matter virtually none in the indexes of the books cited for Kant).In addition to the main sections of each chapter, there are occasional mini-sections, sometimes less than a page, by Popkin and others. Besides facilitating continuity, they provide additional references. On at least one occasion (cf. his brief comment following Plato), they give Popkin the opportunity to suggest that there are also other ways to look at the philosopher in question. In fact Popkin takes pains to note that no effort has been made to “force the different authors into a common expository style or into a common point of view,” and that they often in fact differ with each other (xviii). This seems to me not always felicitous, e.g... (shrink)

In this book, Richard Dien Winfield builds upon Hegel’s Aesthetics to provide a comprehensive and systematic analysis of the individual fine arts, which remedies Hegel's inconsistencies and major omissions. In addition to conceiving the general aesthetics and particular stylistic forms of architecture, sculpture, painting, music, and literature, Winfield determines the fundamental character of the new arts of photography and cinema that the master thinkers of aesthetics never had the opportunity to consider. Winfield’s analysis covers a wide-ranging array of artistic (...) creations from diverse periods and cultures, while engaging in debate with the most important aesthetic theorists of the past and present. (shrink)

HellmanGeoffrey* * and ShapiroStewart.** ** Varieties of Continua—From Regions to Points and Back. Oxford University Press, 2018. ISBN: 978-0-19-871274-9. Pp. x + 208.

The legal literature generally assumes that an aggregate-risk-utility test is employed to determine whether conduct was reasonable or negligent. However, this test is infrequently mentioned by the courts and almost never explains their decisions. Instead, they apply, explicitly or implicitly, various justice-based standards that take into account the rights and relationships among the parties. This is true even for the two judges most closely identified with the aggregate-risk-utility test: Learned Hand and Richard Posner. During the five decades that Hand (...) served as a federal judge, he mentioned the test in only eleven opinions, between 1938 and 1949, and in none of those opinions did he actually apply the test to resolve the negligence issue. In his last reference to the test, in 1949, he essentially abandoned it. None of his fellow circuit judges ever mentioned the test. Posner claims that the Hand formula expresses an economic efficiency interpretation of negligence that has long been implicit in judicial opinions. However, Posner’s arguments are based on speculative and implausible assumptions, overbroad generalizations, selective quotations, and superficial descriptions of cases that misstate or ignore facts, language, rationales, and holdings that are inconsistent with his argument. The same flaws are apparent in Posner’s attempts to apply the Hand formula in his own judicial opinions. Neither he nor his like-minded colleague, Frank Easterbrook, has been able to employ the Hand formula to resolve the negligence issue in any case, and none of their fellow circuit judges has attempted to do so. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:PORTIA'S SUITORS by Richard Kuhns and Barbara Tovey I am always inclined to believe that Shakespeare has more allusions to particular facts and persons than his readers commonly suppose. —Samuel Johnson, "Merchant of Venice," Notes on Shakespeare's Plays. 66f\ver-name them," Portia says to Nerissa, "and as thou namest V^/them, I will describe them, and according to my description level at my affection." This passage in TL· Merchant of (...) Venice (Act I, Scene ii), where Portia describes her suitors, presents certain problems.1 To our knowledge interpreters have not addressed them. In the first place, the lengthy description ofthe discarded suitors serves no apparent function. The suitors play no role whatsoever in the subsequent development of the drama, and the protracted account of their failings retards rather than advances the action of the play. To be sure, Shakespeare wanted die audience to be aware that Portia had many suitors of high rank and from many different countries, but it was scarcely necessary for him to go to such lengths to make the point. In the second place, the denigration of the previous suitors in this scene does not accord with the account ofthem given by Bassanio when talking to Antonio in the first act: Nor is the wide world ignorant of her worth, For the four winds blow in from every coast Renowned suitors, and her sunny locks 325 326Philosophy and Literature Hang on her temples like a golden fleece, Which makes her seat of Belmont Colchos' strond, And many Jasons come in quest of her. (Li. 167-72) The suitors as described by Portia hardly deserve to be called "renowned," or to be referred to as "Jasons." The belittling of his competitors in this scene also has the undesirable effect of trivializing Bassanio 's achievement in Act III. Thirdly, there is something decidedly odd about the sort of failings attributed to the suitors by Portia. Had he so wished, Shakespeare could have utilized this passage to present a sort of catalogue of human frailties. One suitor might have been a representative of pride, another of avarice, another of envy, etc. But Shakespeare does nothing of the sort. With the exception of the German, who is a drunkard, the defects of the suitors can hardly be considered major vices. The Neapolitan Prince talks too much about his horse, the County Palatine frowns excessively, the French lord is an imitator of the others, the English baron is "oddly suited," and so on. Yet Shakespeare dwells at considerable length upon these more or less trivial failings. Now it may be suggested that Shakespeare, who is certainly deeply interested in national differences of character and behavior, may have inserted this discussion of the suitors into the play in order to provide himself with an opportunity for analysis of idiosyncratic national traits. The answer to this objection is simple. The characteristics ascribed to the suitors do not represent genuine or interesting national differences any more than they stand for major human vices. Is it true, as under this hypothesis Shakespeare would seem to be suggesting, that Neapolitans are fonder of horses than most other folk? Or that Frenchmen are particularly prone to imitating others? Or that Germans are uniquely predisposed to alcoholism? If not, we must admit that the discussion of the discarded suitors represents a puzzling and as yet unexplained digression. Commenting upon this scene, Samuel Johnson made a suggestion that we think merits serious consideration. Might it be the case that the suitors represent actual persons, whose descriptions give clues to their real identities? It is our suggestion that the six suitors make up a company of the most gifted, influential, and to Shakespeare—we suspect—the most interesting writers of the tradition in which he worked. These are the writers from whom he derived inspiration and plots. The question may Richard Kuhns and Barbara Tovey327 well be raised, as to why, if this is so, the suitors are depicted in such derogatory terms. We suggest that one very potent way in which to express the deepest gratitude and admiration is by means of a loving insult. This technique ofexpressing affection and indebtedness to one's literary mentors... (shrink)

This essay examines the ways narratives succeed or fail to provide a life with structure and direction, as exemplified in Louisa May Alcott's "Little Women" and George Eliot's "Middlemarch". Whether a narrative can be a moral compass depends on the presence of what Eliot calls "a coherent social faith." The debate between Edmund Burke and Thomas Paine provides a framework for my analysis of the problematic status of such a social faith in the modern world. This analysis in turn sheds (...) light on contemporary work on narrative, community, and ethics by Hans Frei, Stanley Hauerwas, George Lindbeck, and Alasdair MacIntyre. (shrink)

So-called democratic states rest upon acts of violence and exclusion which cannot themselves be justified democratically. Yet, much contemporary political theory takes these configurations for granted as the context for philo- sophical reflection. This paper explores some of the spatio-temporal paradoxes of popular sovereignty as conventionally understood – i.e., as the authorization of government through the consent of “the people.” I argue that, instead of treat- ing the borders of popular sovereignty as given, political philosophy would ben- efit from greater (...) attention to their continual contestation and critique. (shrink)

Personal reflections on the philosophical career of Henry Johnstone, B.S. Haverford College, 1942, and Ph.D. Harvard, 1950, professor at Williams College 1948-1952 and Pennsylvania State University, 1952 - 2000. Founder and editor of Philosophy and Rhetoric, Johnstone wrote eight books, including two logic texts, three monographs, and over 150 articles or reviews. The focus is on his efforts to resolve problems stemming from the conflict between the logical empiricism Johnstone embraced in his dissertation, and the arguments of his absolute idealist (...) colleagues at Williams, efforts he pursued in Philosophy and Argument (1959), and Validity and Rhetoric in Philosophical Argument (1978). (shrink)