Though he has worked almost exclusively in collaborative mediums like radio and film, Orson Welles has always tended to think of himself as an individual author. "Any production in any medium is a one-man production," he said to me. On the question of sharing creative responsibility for the works that bear his name, he is deeply ambivalent. His insistence on multiple billings for himself is legendary. As I can well testify, the very mention of the term collaboration at a wrong (...) moment can be enough to send him into a rage. The controversy over who scripted Citizen Kane initiated by Pauline Kael hurt him very deeply. That the wound still festers to this day is evident in the rancor with which he speaks of former associates like John Houseman. Yet in quieter moments he will fully concede how indispensable his principal collaborators have been to him and will openly discuss the nature and extent of their contributions. He is especially full of praise for cinematographers with whom he has worked over the years, such as Gregg Toland, Russell Metty, and, more recently, Gary Graver. On Citizen Kane, he singles out four individuals whom he thinks deserve special recognition: writer Herman Mankiewicz, art director Perry Ferguson, composer Bernard Herrmann, and Toland. Of these, he says, Toland's contribution to the film was the greatest, second in importance only to his own. In this essay I deal with the history and nature of Welles' collaboration with Toland on Citizen Kane—what brought them together, their working relationship, and the characteristics and rationale of the visual plan they created for the film. As we shall see, Toland brought a largely pre-conceived visual plan to Citizen Kanewhich he had been working out in his previous films. Welles accepted Toland's plan so readily because he recognized how dramatically appropriate it was to the story material. Toland's cinematography for Citizen Kane also left a major legacy to Hollywood films of the 1940s.Robert L. Carringer, is associate professor of English and cinema studies at the University of Illinois at Urbana-Champaign. This essay is excerpted from his book in progress, The Road through Xanadu. His most recent contribution to Critical Inquiry was "The Scripts of Citizen Kane". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 3-6MuseSearchJournalsThis JournalContents[Access article in PDF]Whispers of the Flesh Essays in Memory of Pierre KlossowskiIan JamesRussell Ford Pierre Klossowski—novelist, essayist, painter, and translator—was one of the most startling, original, and influential figures in twentieth-century French intellectual culture. The older brother of the well-known painter Balthus and a close associate of Georges Bataille, Klossowski's diverse oeuvre includes novels, philosophical essays, and translations, as well as paintings and films. (...) Confined thus far to an undeserved but somehow fitting shadow existence in the margins and notes of theorists who have become mainstays of Anglo-American criticism, Klossowski's own work has increasingly become a focus of critical interest for its decisive contribution to the development of thought and aesthetics in France from the 1950s onward. Born in 1905, the eldest son of Polish émigrés, Klossowski spent his first ten years in Paris in an artistic milieu, heavily influenced by the neoimpressionism of figures such as Bonnard and Derain. His father, Erich Klossowski de Rola, was a painter and art historian, the author of an important monograph on Daumier. His mother, Baladine, was also a painter and trained under Bonnard. While still a teenager Klossowski was introduced to the German poet Rainer Maria Rilke, with whom he became close and who in turn introduced him to the novelist André Gide. At eighteen he became Gide's secretary and assisted him with the drafts of his famous novel Les faux-monnayeurs.Not until 1930, however, did Klossowski's own career properly begin, when he translated with Jean-Pierre Jouve a collection of poems by Friedrich Hölderlin. Throughout his life Klossowski was a prolific and influential translator from both German and Latin into French, translating amongst others Nietzsche, Kafka, Heidegger, and Wittgenstein from the German, and Suetonius, Virgil, Augustine, and Tertullian from the Latin. While working for the prominent Parisian psychoanalyst René Laforgue, Klossowski published his first philosophical essay on the Marquis de Sade in 1933 in the Revue française de la psychanalyse. Scandalized by Klossowski's Nietzschean-inflected psychoanalytic interpretation of Sade's writing, Laforgue dismissed Klossowski immediately. Throughout the 1930s Klossowski made a number of key friendships and acquaintances, most importantly with Georges Bataille, but also many others, including Walter Benjamin, André Masson, Jean Wahl, and Maurice Heine. During this period he published several articles and collaborated with Bataille on the review Acéphale and in the avant-garde experiment of the Collège de Sociologie (where, it is said, he would attend meetings dressed in a soutane). During the war years Klossowski trained in a number of Catholic seminaries, a vocation which ultimately failed and led to the writing of his first novel, La vocation suspendue. In the postwar period he married [End Page 3] a war widow, Denise Morin Sinclair, who had been interned in Ravensbrück for her activities in the Resistance and who became the model for Roberte, a key figure in much of Klossowski's fiction and painting. After the war Klossowski began to publish the influential works for which he will chiefly be remembered: literary-philosophical essays on Sade and Nietzsche (among others), as well as six important novels written between 1950 and 1965, La vocation suspendue (1950), the three works, originally published separately, which went on to form the Lois de l'hospitalité trilogy—Roberte ce soir (1954), La révocation de l'Édit de Nantes (1959) and Le souffleur ou le théâtre de société (1960)‚—and, finally, Le Baphomet (1965).Klossowski's seminal 1947 work, Sade mon prochain, was one of the first full-length literary and philosophical studies of Sade's work to be published in France and marked a decisive break from earlier accounts. Whereas earlier treatments of Sade had focused either on biographical detail or on the medical and psychosexual import of his life and writing, Klossowski's reading was concerned with the intertwined figures of law and transgression in Sade's work. After Sade mon prochain French intellectuals and writers... (shrink)

This collection of 21 essays explores the creative interaction among the cognitive neurosciences, philosophy, and theology. It is the result of an international research conference co-sponsored by the Vatican Observatory, Rome, and the Center for Theology and the Natural Sciences, Berkeley.

Addressing both collegiate and professional sports, the updated edition of Fair Play explores the ethical presuppositions of competitive athletics and their ...

__Scientific Perspectives on Divine Action: Twenty Years of Challenge and Progress_ _is a collection of thirteen essays assessing the scholarly contributions to the _Scientific Perspectives on Divine Action_ series, which is comprised of five volumes resulting from international research conferences co-sponsored by the Vatican Observatory and the Center for Theology and the Natural Sciences between 1991 and 2000. The overarching goal of the series is to advance the engagement of constructive theology with the natural sciences with special attention to the (...) theme of divine action and to investigate the philosophical and theological elements within science. This volume is divided into three sections: In Section One, contributors review the history of the series and the development of new research methodology and discuss philosophical issues raised by the laws of nature and the limits of science; in Section Two, authors provide philosophical analysis of specific issues in the series; and in Section Three, contributors offer theological analyses of specific issues. The five volumes in the series include: _Quantum Cosmology and the Laws of Nature_ ; _Chaos and Complexity_ ; _Molecular and Evolutionary Biology_ ; _Neuroscience and the Person_ ; and _Quantum Mechanics _, and are distributed by University of Notre Dame Press. (shrink)

A standard objection to act utilitarian theories is that they are not helpful in deciding what it is morally permissible for us to do when we actually have to make a choice between alternatives. That is, such theories are worthless as decision procedures. A standard reply to this objection is that act utilitarian theories can be evaluated solely as theories about right-making characteristics and, when so evaluated, their inadequacy as decision procedures is irrelevant. Even if somewhat unappealing, this is an (...) effective reply to the standard objection. (shrink)

Der Autor beginnt mit einer Erörterung der Leibnizschen These, man müsse substantielle Formen annehmen, wenn man die inertia erklären wolle, und fragt dann, in welcher Weise man den Begriff der substantiellen Form zu dem in Beziehung zu setzen habe, was Leibniz über materielle Substanzen sagt. Der zentrale Begriff ist hier der Begriff der Repräsentation von einem bestimmten Gesichtspunkt oder einer bestimmten Lage aus, welche die Substanz von ihrer materia prima gewinnt. Bei der Erörterung der Frage, wie Leibniz' Substanzbegriff mit den (...) anderen Teilen seiner Philosophie zusammenstimmt, merkt der Verfasser an, Leibniz sei versucht zu sagen, materielle Dinge seien nur Phänomene. Aber diese Auffassung würde die konkreten Teile der Leibnizschen Philosophie zerstören. Davon abgesehen macht Leibniz es aufgrund seines Bestehens auf dem vollständigen In-sich-selbst-Enthaltensein (self-containedness) der Substanz schwer, die Einheit einer zusammengesetzten Substanz zu erklären. Anschließend behandelt der Autor einige Auffassungen, die er für Mißverständnisse Leibnizens hält. Wenn man behauptet, Raum und Zeit seien Ordnungen, so besagt das nicht, daß Monaden keine raum-zeitlichen Beziehungen zukommen. In gleicher Weise folgt aus der Behauptung, materielle Dinge seien phaenomena bene fundata, nicht, daß sie nur Repräsentationen im Geiste seien. Zum Schluß legt der Verfasser dar, daß Leibniz' scheinbar paradoxe Behauptung, Substanzen handelten nicht aufeinander, mit den'Lehren der modernen Wissenschaft übereinstimmt. (shrink)

With this issue we initiate the policy of expanding the scope of Tulane Studies in Philosophy to include, in addition to the work of members of the department, contributions from philosophers who have earned advanced degrees from Tulane and who are now teaching in other colleges and universities. The Editor THE LOGIC OF OUR LANGUAGE ROBERT L. ARRINGTON Wittgenstein wrote in the Tractatus that "logic is not a body of doctrine, but a mirror-image of the world. " 1 In (...) line with his suggestion that a proposition is a 'picture', Wittgenstein argued that propositions 'show' the logical structure of the real. He was insistent, however, that "the apparent logical form of a proposition need not be its real one. " 2 As a result of this we can misunderstand the structure of fact. Philosophical problems arise just when "the logic of our language is mis understood. " 3 It is common knowledge that much of this view of logic was rejected by Wittgenstein himself in the Philosophical Investi gations. There we are told that language has no ideal or sublime 4 logic which mirrors the structure of the extra-linguistic world. Consequently, inferences from the structure of language to the structure of that extra-linguistic world are invalid. Reality can be 'cut up' in any of a number of ways by language. Wittgenstein adopted a view of philosophy which would render that discipline a non-explanatory, non-critical study of the multiple ways in which language can be used. (shrink)

A beloved Buddhist teacher and a psychologist specializing in Compassion-Focused Therapy (CFT) provide practical methods for living a life filled with compassion. A life overflowing with compassion. It sounds wonderful in theory, but how do you do it? This guide provides practical methods to living with this wonderful quality, based on traditional Buddhist teachings and on methods from modern psychology particularly a technique called Compassion-Focused Therapy (CFT). The methods presented by the two authors--a psychotherapist and a Tibetan Buddhist nun--turn out (...) to have a good deal in common. In fact, they complement each other in wonderful ways. Each of the 64 short chapters ends with a reflection or exercise for putting compassion into practice in various life situations. (shrink)

This article discusses the concept of suffering in the Old Testament. It first looks at passages in the Pentateuch that describe life before the fall, which paints a picture of human existence before suffering. It then examines what the Pentateuch and Proverbs teach about avoiding suffering through living a life of faithful obedience. Next, it examines suffering in the books of Job and Ecclesiastes, which tackle head-on the issue of the suffering of the righteous. It then moves to the New (...) Testament to examine how suffering differs on this side of the cross and how modern-day Christians must live in light of the reality of suffering. The article concludes with few proposals for how to apply the biblical theology of suffering. (shrink)