This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections (...) in the preservation process, and hope you enjoy this valuable book. (shrink)

How does state policy shape our most intimate desires? This groundbreaking anthropological approach to the study of desire shows how Orthodox desires and their discontents are reshaped at the intersection of religion, reproduction and politics, highlighting how ethical choreographies between personal desire and the state emerge even in the most traditional settings.

In lieu of an abstract, here is a brief excerpt of the content:Four Prose PoemsRosmarie Waldrop (bio)Conversation 9 On Varieties of OblivionAfter bitter resistance the river disappears into the night, he says. Washes the daily war out into tides of wounded dream. I know no word to dive from, the dark so dense, so almost without dimension, swallowing the sounds back into eclipse while making love to my body. Fish smell travels the regions of sleep, westward like the dawn. Then (...) I wake, too early to bring anything back, unsure of what I want, terrified I’ll fail to seize it by a hair.We need a grand decor for oblivion, she says. But the sea takes all with equal tenderness. As the past does. Already it suffuses the present with more inclusive tonalities. Not constraining it in melodic sequence, but setting a rooster next to the silence that molds my words. Or injured flesh. Impersonal. Only an animal could be so.An avatar of the holy ghost, he chuckles. Or the angel of the annunciation beating his wings against a door slammed shut. Behind it, love already plays the organ. With or without him. He is invisible because we have rejected his message.On old photos, she says, I see a stranger standing in my skin. As if an apple could fall too far from the tree. Yet she is called my past and functions as near-certainty. The way some beliefs are exempt from doubt, are as it were the hinges on which my doubts and questions turn. So that I seem the same to you while I’ve already moved through the next door. From left to right. [End Page 63]Conversation 10 On SeparationMy separation from the landscape started even earlier, she says. In my mother’s mirror, which staged dialectic and confused my instincts. There are few trains in the thick smoke, the run-down station, more waste of grain, more images lost. I carry a mirror in my cortex, but cannot inhabit my womb. Or the silence that is the matter between parts of speech.A pebble in an eddy, he says, reveals the course of the current. Sometimes it’s a small difference that makes our closeness arch, for a moment, into a solid vault, a space thick with birdsong and green sun. Then it again slips through my fingers. I search for a word, and nothing exists but the gap beckoning me to some strange horizon without event.Only out of body could we be out of the panic of time, she says. Momentarily bracket it maybe, in illness, degrees of withdrawal. But hours reproduce, days go by consumed by heat, the flimmer above the lake. I can’t distinguish gravity from other distortions of space, or sign from symbol. My sense of time begins six billion years ago, when the fish stretched their fins onto dry land though the sea groaned in their belly, or forty, with breasts and monthly bleeding. The now always already darkening, the way a sentence anticipates the period it will stiffen in.The galaxies avoid collapsing onto each other by virtue of their recessional motion, he says. Father and son walk away from the bed in opposite directions. But sweat clings to our names, the secretions of closeness. As if we were submerged in one and the same sleep. If I withdraw into more impermeable regions, your shadow grows. All respiratory passages lead to you. As if you were the certainty the game of doubting presupposes. The niggling voice of death. [End Page 64]Conversation 11 On DepthIt would take more than a pebble, she says, to sound your undertones. Something slips away as you speak, tense with life, like a startled beast in the woods. Is it a lizard, snake, or unused thought that runs alongside your words, while the rustling vines close over the trace of flight?Isn’t this a case, he says, of deep breathing pulled into spasms of interpretation the way children are pulled into the future by the very gravity of their innocence. And with a speed unlimited by the young space. The joints between future and present swell and sweep apart whole galaxies, but even the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Form and Discontent*Rosmarie Waldrop (bio)1. Composition as ExplanationIn the beginning there is Gertrude Stein, who says in “Composition as Explanation”: “Everything is the same except composition and as the composition is different and always going to be different everything is not the same” [520].I could also say, in the beginning is Aristotle: “the fable is simply this, the combination of the incidents” [1460].2. A Look AroundThe forms that (...) have been striking me as “wild” have tended to be Steinian in this sense of stressing the horizontal, the axis of composition. I’m most struck by 3 tendencies: one is literally spatial composition, e.g. Susan Howe’s work; another, an emphasis on discontinuity, leaps on the level of syntax, of logic, of grammar. Breaks that do not immediately fold back into a smooth unity and may occur in mid-sentence:I was on my way from Carthage, it was night. It is not wax I am scorching was dead about her with knots.—Norma Cole, MarsI hide behind a category by misbehaving.—Carla Harryman, Under the BridgeLoop conceived in a line, the spine with its regions, reasons. On another, sweaters hang by the wrist to dry. The list is sweet. You lie. The eye is met by the season.—Ron Silliman, ParadiseYou took my temperature which I had meant to save for a more difficult day.—Rosmarie Waldrop, The Reproduction of ProfilesWent out so I’d take the car and a whole system of banking and money is based on a hierarchy.—Leslie Scalapino, Considering How Exaggerated the Music IsROAST POTATOESRoast Potatoes for.—Gertrude Stein, “Tender Buttons”Or, a subtler example, Mei-mei Berssenbrugge’s almost unnoticeable shifts from one grammatical structure into another: [End Page 54]Never mind if he calls, the places you get through inwardness take time, and to drift down to the shore of the island, you know by the sand moving, even the coarse sand here It’s hard to say if you can even stand up, there....[13]The third tendency is mathematical. There is a lot of counting. Not stresses, not even syllables—I’m not considering that most unimaginative bunch, the new formalists—but words per line, sentences per paragraph. You all know about Ron Silliman’s love for the Fibonacci number series, or Lyn Hejinian’s My Life, which began with 37 sections of 37 sentences each. When she published a second edition at age 45, she added 8 sentences to each section plus 8 new sections.Jacques Roubaud: “No ideas but in numbers” [291].Then, in a somewhat more remote way, a number of people use ideas of permutation. For example, Jackson Mac Low’s 4 Trains, of which I will quote the first two stanzas:Train rule atom intricate nitrogen. Rule unusual leotard entropy. Atom train ostrich might. Intricate nitrogen train rule intricate casual atom train entropy. Nitrogen intricate train rule ostrich genealogy entropy nitrogen.Rule unusual leotard entropy. Unusual nitrogen unusual social unusual atom leotard. Leotard entropy ostrich train atom rule dies. Entropy nitrogen train rule ostrich pope yearly.[7]As Zukofsky puts it: “[Thus] poetry may be defined as an order of words that as movement and tone (rhythm and pitch) approaches in varying degrees the wordless art of music as a kind of mathematical limit” [27].All these examples draw attention to arrangement, composition. They all listen to language. I once wrote:I don’t even have thoughts, I say, I have methods that make language think, take over and me by the hand. Into sense or offense, syntax stretched across rules, relations of force, fluid the dip of the plumb line, the pull of eyes.... No beginnings. All unrepentant middle.[A Form / of Taking / It All 74]And none of these forms are “organic form.” None relies primarily on metaphor, though from the Romantics on poetry has been more or less identified with it.3. Frameworka. HistoricalLet me step back for a moment to the beginnings of the concept of organic form, what it reacted against.When Goethe started to make a splash writing free verse, around 1770, the dominant aesthetic... (shrink)

This article addresses the ‘Indirection Problem’ in Sartrean ethics of authenticity and compares it to the problem of the same name in virtue ethics. Both ethical frameworks encounter a disharmony between core concepts and proper motivation. The article reviews the indirection problem in virtue ethics, highlighting Swanton's solution of defining virtues as promoting specific values. It then explores how Sartrean ethics faces a more profound indirection problem due to the elusive nature of its core concept—authenticity. The motivation for authenticity cannot (...) be its rationale (salvation). Freedom seems to be a more direct value, but the desire for freedom itself risks falling into being yet another pursuit of being. The article advocates a radically negative motivation for authenticity—a resignation from futile, inauthentic projects. (shrink)

Molecular and developmental studies of limb pattern formation have recently gained widespread attention. The fact that vertebrate limbs are amenable to both genetic and embryological manipulations has established this model system as a valuable paradigm for studying vertebrate development. Limb buds are polarised along all three major axes and the establishment of the dorso‐ventral (DV) polarity is dependent upon cues localised in the trunk, where a DV ectodermal interface is produced by confrontation of dorsal and ventral identities. By analogy to (...) Drosophila imaginal disc development, this interface has been proposed to determine and position an ectodermal organising centre, the Apical Ectodermal Ridge (AER), controlling limb bud outgrowth. Recent fate mapping studies(1) and studies of genes regulating DV limb polarity(2‐6), AER formation(7,8) and differentiation(9) suggest, however, that DV patterning and AER induction, though coordinately regulated during limb bud outgrowth, may early on be more dissociated than expected. (shrink)

ZELLER: GESCH. DEUT. PHILOS. SEIT LEIBNIZ GDW 13 2A.

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

In his paper, The logic of obligation and the obligations of the logician, A.N. Prior considers Hintikka's theorem, according to which a statement cannot be both impossible and permissible. This theorem has been seen as problematic for the very idea of a logic of obligation. However, Prior rejects the view that the logic of obligation cannot be formalised. He sees this resistance against such a view as an important part of what could be called the obligation of the logician. Prior (...) argues that Hintikka's theorem should not be seen as something paradoxical. On the contrary, it should be seen as a fully acceptable consequence of a basic and reasonable assumption in deontic logic, namely Hintikka's rule. (shrink)