PurposeThis study aimed to examine the long-term association between social activity, physical function decline and cognitive function, as well as verify the long-term mediating effect of physical function decline on the relationship between social activity and cognitive function.MethodsData from the Korean Longitudinal Study of Aging that was collected over 10 years was analyzed. The sample included 10,240 adults aged 45–93 years. Multivariate latent growth modeling was applied to verify the long-term effect of social activity and physical function on cognitive function.ResultsThe (...) results revealed that social activity had a positive impact on cognitive function and negative impact on physical function decline after controlling for age and education level. Additionally, physical function decline negatively influenced cognitive function. Finally, social activity indirectly affected cognitive function through physical function decline.ConclusionThe contribution of this study was to test the long-term effect social activity on physical and cognitive function. (shrink)

Purpose: The purpose of this study was to verify the long-term effect of adverse childhood experiences, school disengagement, and the reasons for leaving school on adolescent delinquency while adjusting for sex.Methods: Data were collected from 663 teenagers [male 368, female 295; mean age = 16.81 ; age range = 13–19 years] through a Longitudinal Survey and Support Plan for Dropouts.Results: Multivariate latent growth modeling demonstrated that ACEs and school disengagement are positively associated with delinquency and the mediating effect of school (...) disengagement on association between ACEs and delinquency was verified. Teenagers who quit school for personal reasons reported fewer instances of delinquent behavior than adolescents who left because of school reasons.Conclusion: This study suggests that researchers and teachers need to consider ACEs and school disengagement as a warning index for delinquency with school dropout. In addition, the reason for leaving school should be considered to clarify the effect of school dropout on delinquency in adolescents who dropout. (shrink)

Relational database management system is the most popular database system. It is important to maintain data security from information leakage and data corruption. RDBMS can be attacked by an outsider or an insider. It is difficult to detect an insider attack because its patterns are constantly changing and evolving. In this paper, we propose an adaptive database intrusion detection system that can be resistant to potential insider misuse using evolutionary reinforcement learning, which combines reinforcement learning and evolutionary learning. The model (...) consists of two neural networks, an evaluation network and an action network. The action network detects the intrusion, and the evaluation network provides feedback to the detection of the action network. Evolutionary learning is effective for dynamic patterns and atypical patterns, and reinforcement learning enables online learning. Experimental results show that the performance for detecting abnormal queries improves as the proposed model learns the intrusion adaptively using Transaction Processing performance Council-E scenario-based virtual query data. The proposed method achieves the highest performance at 94.86%, and we demonstrate the usefulness of the proposed method by performing 5-fold cross-validation. (shrink)

Role-based database management systems are most widely used for information storage and analysis but are known as vulnerable to insider attacks. The core of intrusion detection lies in an adaptive system, where an insider attack can be judged if it is different from the predicted role by performing classification on the user’s queries accessing the database and comparing it with the authorized role. In order to handle the high similarity of user queries for misclassified roles, this paper proposes a deep (...) metric neural network with strategic sampling algorithm that properly extracts salient features and directly learns a quantitative measure of similarity. A strategic sampling method of heuristically generating and learning training pairs through Monte Carlo search is proposed to select a training pair that can represent the entire dataset. With the TPC-E–based benchmark data trained with 11,000 queries for 11 roles, the proposed model produces the classification accuracy of 95.41%, which is the highest compared with the previous models. The results are verified through comparison of quantitative and qualitative evaluations, and the feature space modelled in the neural network is analysed by t-SNE algorithm. (shrink)

Nowadays, the quality standards of higher education institutions pay special attention to the performance and evaluation of the students. Then, having a complete academic record of each student, such as number of attempts, average grade and so on, plays a key role. In this context, the existence of missing data, which can happen for different reasons, leads to affect adversely interesting future analysis. Therefore, the use of imputation techniques is presented as a helpful tool to estimate the value of missing (...) data. This work deals with the academic records of engineering students, in which imputation techniques are applied. More specifically, it is assessed and compared to the performance of the multivariate imputation by chained equations methodology, the adaptive assignation algorithm based on multivariate adaptive regression splines and a hybridization based on self-organisation maps with Mahalanobis distances and AAA algorithm. The results show that proposed methods obtain successfully results regardless the number of missing values, in general terms. (shrink)

This study examines a deep-seated anti-missionary sentiment of Korean theologians and church historians. Chai-Choon Kim and Jong-Sung Rhee were arguably most responsible for popularizing anti-missionary sentiment among Korean Christians. The main reason for the criticisms of both Kim and Rhee against the American Presbyterian Korea missionaries was the supposedly fundamentalist schisms of the Presbyterian Church of Korea in the 1950s, which both Kim and Rhee reasoned to have been originated from their Old Princeton theology. The theological rationale of both (...) Kim and Rhee was the Barthian triumph frame that the Reformed Orthodoxy including the Old Princeton theology, which had been suspected of having a fundamentalist tendency, was overcome by Karl Barth’s Neo-Orthodoxy. These theological anti-missionary criticisms facilitated some younger Korean church historians, especially both Kyung-Bae Min and Man-Yul Lee, to view Korean church history from an anti-missionary, Korean ethnic nationalist perspective. Min emphasizes some seemingly good but anecdotal works of individual Korean native Christians, hence resulting in depreciation of the works of the missionaries and their Korean coworkers. Following Min, Lee goes even further, praising what some individual Korean Christians did for socio-political (anti-establishment) purposes and ignoring what the missionaries and their Korean coworkers did cooperatively for their Korean churches. Those Korean theologians and church historians with quite a strong anti-missionary sentiment might have succeeded in arousing Korean Christians’ ethnic nationalism, but in so doing, they have quite surely deprived Korean Christians of their critically significant and rich ecclesiastical and theological elements which have been originated from the missionaries. (shrink)

When I was first invited by Prof. Kim Yong -pyo, editor of the IJBTC, to review this book, I declined, due to the fact that Prof. Park was my teacher and mentor at SUNY Stony Brook, not only as a graduate student, but as an undergraduate as well. For this reason I was afraid that I would not be able to bring the requisite critical distance to the task. After having had the opportunity to read the book, however, I changed (...) my mind, for two main reasons: I realized that it might be personally satisfying to take the opportunity to re-engage myself in the kind of Buddhist soteriological discourse that originally attracted me to Buddhist Studies to begin with, and the potential for lapses in proper critical distance notwithstanding, I felt that there is some sense in which I could bring some insights into the appraisal of this book probably only accessible to myself, given my long relationship with Sung Bae Park and my deep personal interest in his project. So I hope readers of this review will accept it with these factors in mind. There is one question that we may want to ask before dealing with a book like this: Is there a place in our Buddhist Studies academia for the discussion of personal religious experience, or for the investigation of the phenomenon of religiosity? I know of more than a few who would answer such a question with an outright "no." Others might say, "It depends upon how one goes about it." And still others may be very excited by such a prospect. (shrink)

"Few thinkers have stood as squarely at both the center and the periphery of an intellectual movement as has Shao Yung (1011-1077). Ethical model and eccentric, socialite and eremite, Shao Yung is perhaps not only the greatest enigma of early Neo-Confucianism, but also one of its undisputed giants. In this impressive life-and-thought study, Don J. Wyatt painstakingly sifts through all available evidence relating to Shao Yung and his scholarship to provide a portrait that fully exposes the moral center of the (...) man and his work. Drawing on the abundant store of letters and accounts by Shao's contemporaries and his own much-neglected poetry, Wyatt has assembled a study that intimately relates Shao's life to his thought. He challenges the assumptions of previous Western scholarship by persuasively arguing against the acceptance of works traditionally ascribed to Shao - specifically, the Kuan-wu wai-p'ien (Outer Chapters on Observing Things), the Yu-ch'iao wen-ta (Fisherman and Woodcutter Dialogue), and the cryptic quasi-autobiographical essay Wu-ming kung chuan (Biography of the Nameless Lord)." "Shao is presented as an independent thinker whose philosophical lexicon functioned according to a profound interdependence that was unique among the systems of his peers. His metaphysical concepts, which appear impervious to and beyond the scope of human influence - namely, his ching-shih (world ordering), kuan-wu (observing things), and I-Ching - derived hsien-t'ien (before Heaven) methodologies - are essentially the products of a morally reflective life. Wyatt's discoveries, therefore, refute the common assertion of Shao Yung's moral indifference. Moreover, by meticulously integrating the progress of this Neo-Confucian's thought into the course of his life, the author has produced one of the most textured and accessible works on a philosopher of the Sung era."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

Wenn man den freien Willen nicht mehr als ursachenlose Ursache bzw. als Erstauslöser deutet, sondern als neuronal und kulturell bedingte Fähigkeit begreift, für verschiedene Gründe zugänglich zu sein und ungehindert Entschlüsse fassen zu können, so kann man durch Tadel im Sinne eines asymmetrischen Sprachspiels - so die These - lernen, willensfrei(er) zu werden und aus Gründen zu handeln. Tadel ist somit in der Erziehung unentbehrlich, denn bevor man sich für einleuchtende Gründe entscheidet, muss man überhaupt aus Gründen handeln und ungehindert (...) entscheiden können. Obwohl dieser Eingriff als eine die Freiheit nicht fördernde Intervention erscheinen mag, kann er mentale Ereignisse in Gang setzen, mit denen Entschlüsse erneut abgewogen werden können, wodurch sich ein Zuwachs an Willensfreiheit doch noch ereignet. Die alte pädagogische Antinomie von Zwang und Freiheit ist damit auflösbar, ohne die neuronale Bedingtheit mentaler Phänomene zu leugnen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:174 HISTORY OF PHILOSOPHY (960-1279) was in many aspects one of the most brilliant eras in Chinese history. One sees in this period the improvement of the bureaucratic system, the flourishing of a new poetic genre, the tz'u, a fresh approach to the study of Confucian cla~ics, the advancement of historiography and the rise of Neo-Confucianism. Ou-yang Hsiu (1907-1072) pioneered in all these magnificent political, cultural, and literary achievements. (...) Inevitably, he became a controversial figure to his contemporaries, and to later generations as well. There has not been a complete and balanced study, however, of this well-known and well-remembered man. Perhaps he was too broad and diverse a historical figure to be approached and studied easily. Professor Liu's book deserves our congratulations not merely for its well organized and scholarly presentation, but also for its successful approach to the subject from various angles. Ou-yang Hsiu was an official, a classicist, a political theorist, a historian, an essayist, and a poet. Accordingly this book gives separate chapters on Ou-yang Hsiu the classicist, the his= torian, the political theorist, the master of Sung literature, etc. With profound knowledge and sure control, the author organizes his materials so that the reader will not lose sight of the main points of the study. The best feature of this book (this reviewer feels) is that the author gives equal recognition to Ou-yang Hsiu the man and to the period in which he lived. Professor Liu ably and thoughtfully presents the historical characteristics of the Sung dynasty through Ou-yang Hsiu, and evaluates the merits and shortcomings, accomplishments and hmitations of Ouyang Hsiu against the peculiarity of his time. The subtitle of this book, An Eleventh=Century Neo=Con]ucianist, is most suitable. NeoConfucianism has always been studied abstractly as a philosophy, but Professor Liu's book shows us how this philosophy has been embodied in, substantialized, and practiced by "a key historical figure" who "gives us a finer perspective of his whole era." CONSTAN~II~.TUNG Pomona College Oeuvres philosophiques. u II (1638-1642). By Ren~ Descartes. Textes ~tablis, pr~sent~s et annot~s par Ferdinand Alqui~. ]~dition illustr~e. (Paris: Gamier Fr~res, 1967. [Classiques Gamier.] Pp. 1148.12 plates. Fr 29.-) Opere scientifiehe di Ren$ Descartes. A cura di Gianni Micheli. Vol. I: La Biologia. (Torino: Unione Tipographico-Editrice Torinese, 1966. Pp. 520. 6 plates.-Classici della scienza, ed. Ludovico Geymonat, No. 6/I. L 6,000.) The second volume of the Edition Alqui~ confirms what was said here when Volume I appeared (JHP, II [1964], 260f.): this edition supersedes all currently available study editions. Volume II continues the rigorously chronological arrangement which singularly suits the philosophical writings of Descartes' "metaphysical period." Like no other edition, this one illuminates the often forgotten character of Descartes' philosophizing as an interaction between an ongoing dialogue (correspondence and replies to critics) and rigorously systematic thought. Imbedded in the stream of letters we find the Meditations not as a monolithic block, but as a sequence of three publications: the Latin text inserted at the time-point of its completion, April 1640; the French text with the first six Objections and Responses, August 1641; and at the end of the volume, the Seventh Objections and Responses and the letter to Diner. Only the Objections of Gassendi and Bourdin have been slightly cut. The volume concludes with the Recherche de la v~rit~ of unascertainable date (Aliqui~ thinks that it fits best into the 1641-42 context, without insisting on his conjecture). We thus have an edition that allows us to read the Meditations as Descartes' contemporaries---friends and adversaries --did. Once again the editor's notes are admirable, and there are brief but important critiques of the revised AT volume containing the Meditations, based on source studies by the editor, Henri Gouhier, and by Leslie J. Beck. Since the Edition Alqui$ covers only the philosophical works, it is a pleasure to report a new Italian collection and translation of Descartes' scientific works by Professor Gianni BOOK REVIEWS 175 Micheli of the Institute of History of Philosophy at the University of Milan. The first volume contains... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Historical Violence, Censorship, and the Serial Killer: The Case of American PsychoCarla Freccero (bio)R.L.: Do you believe in God?B.E.E.: Are you asking me if I was raised in a religious family or if I go to church? I was raised an agnostic. I don’t know—I hate to fly, I have a fear of flying. That means either that I have no faith in air traffic controllers or that I’ve (...) done something really bad, and this is God’s way of getting at me. Maybe I’m caught in the middle.... But no, I don’t believe in God. That’s such a strange thing to admit in an interview.—Robert Love, “Psycho Analysis,” Rolling Stone interview with Bret Easton EllisBefore Capitol Hill acts on these dimwitted proposals, we should remember what the writer Bret Easton Ellis might have said, but didn’t: “Doing bad stuff is wrong.”—Ted Rall, “Meet the Cusp Kids”US mass media has become a much-publicized target of censorious commentary within American public culture in recent years. Censorship, as E. S. Burt notes, may take at least two forms: philosophical censorship, such as that discussed by Leo Strauss’s Persecution and the Art of Writing, and the more commonly applied form of US censorship enacted against “pornography” or “obscenity.” Philosophical censorship, in this reading, entails the state’s persecution of message-bearing texts or utterances that counter the doxa and threaten to disrupt the state, while the second form of censorship involves “a language use that falls outside the interpretive scheme defining the work as the intentional act of a moral being” [Burt 25]. In the United States, state censorship of the first kind may perhaps be practiced through the “incitement to riot” escape clause provision in the First Amendment, while obscenity censorship—in certain forms—is explicitly written into legislation as excluded from speech protection.Extending Strauss’s argument to the liberal state, Burt suggests in effect that these two forms of censorship become related insofar as the state’s censorious intent is directed not so much at the content of the expression as at the degree to which it confirms the axiom, what Burt calls the “very fundamental, convening assumption of the... liberal state” [25] that “virtue is knowledge” [see Strauss 25]. Thus obscenity is a form of expression that cannot be interpreted as productive knowledge but instead as a certain repetitive excess, “dirt for dirt’s sake” [Burt, quoting Judge Woolsey 28]. The problem here, of course, is that such distinctions do not apply comfortably to that category of utterance termed the literary, and especially to the use of figurative language, where “art for art’s sake” can be [End Page 44] seen precisely to resemble the nonproductivity of obscenity. The text I am going to discuss in depth here, Bret Easton Ellis’s American Psycho, has been attacked on both grounds—as an active (and violent) disruption of the doxa that is also obscenely nonproductive of knowledge—and as such, it serves as an illustrative, and I will argue, noncoincidental, case of “censorship” in the liberal state.It may be useful here to begin by surveying and making distinctions among the various popular and popularized censorships in recent US media: Ice-T’s “Cop Killer” was probably the most authentic case of “philosophical” censorship, even though its silencing did not derive directly from the state (the liberal state often does not function in some of the ways supposed when the definition of censorship is restricted to state censorship). “Cop Killer” is a song about killing policemen, and thus came closest—in the list I am going to propose of silenced works—to tempting the state’s retaliation. It was written and sung by a black man (a black man who often plays a gangster and a cop in popular films), in a genre already regarded as threateningly disruptive to the state: rap. The result is that the CD containing this song was pulled from the shelves of music stores and can no longer be purchased. There was no trial. The author withdrew his work from public circulation in the face of... (shrink)

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world we made. (...) It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)

Auf den ersten Blick scheint Selbstbewusstsein zu dem zu gehören, was sich nahezu von selbst versteht. In anhaltendem Nachdenken stellt sich aber heraus, dass mit ihm der Philosophie eines ihrer schwierigsten und folgenreichsten Probleme aufgegeben ist. Vor über fünfzig Jahren erschien Dieter Henrichs Abhandlung Fichtes ursprüngliche Einsicht, welche dieses Problem ausarbeitete. Sie zeigte, dass es Fichte war, der als erster das Problem sicher erfasste und zum Leitthema seines Denkens werden liess. Dem unveränderten Abdruck dieses Textes folgt nun -- als um (...) ein Vielfaches umfangreicherer Haupttext -- eine neue Folge von Überlegungen. Sie betreffen Selbstbewusstsein im Zusammenhang einer philosophischen Grundlegung und die Probleme, die Fichtes Systembildung unter dem Leitgedanken seiner ursprünglichen Einsicht in eine Bewegung ohne definitive Lösung versetzten. Henrichs Buch lässt sich als eine Erneuerung von Kants Denkart betrachten - in der Beziehung auf ein Thema, dessen Bedeutung für die Philosophie kaum noch bestritten wird, in einer der Erfahrungsart der Gegenwart gemässen Perspektive und in der Folge von Klärungen, die zu gewinnen sind, wenn man der Dynamik in Fichtes Systembildungen nachdenkt."--Page 4 of cover. (shrink)

The thirty-three sections of the Chuang Tzu annotated by Kuo Hsiang of the Chin dynasty were published during the period of the Northern Sung dynasty. Meanwhile, a preface allegedly by Kuo Hsiang was also printed in the book. The preface is as follows:Chuang Tzu was a man who had good knowledge of the origins of things in the universe and avoided no fantastic ideas. His remarks are hard to understand yet pertinent to phenomena. Any remark which is hard to (...) understand yet pertinent to phenomena may be true but useless; any remark which touches no actual things may be lofty but impracticable. This is surely different from a reluctant rise after inability. If the mind is free from preoccupations, it will respond to events at any time, and as a result, remarks will be cautious. Adapting himself to changes in the universe, Chuang Tzu was not merely turning out writings in the form of dialogues on things beyond human experience. (shrink)

The article analyses Dante’s explanatory paraphrase and exegesis of the Lord’s Prayer, which opens the eleventh canto of Purgatory. The author reminds us that the prayer is the only one fully recited in the entire Comedy and this devotional practice is in line with the Franciscan prescription to recite it in the sixth hour of the Divine Office when Christ died on the cross. The prayer is reported by the poet on the first terrace of Purgatory, where the proud and (...) vainglorious must learn the virtue of humility, and therefore it symbolizes the perfect reciprocity between man and Godhead. Dante collates and amplifies the two complementary Latin versions of the Lord’s Prayer from Matthew 6: 9–13 and Luke 11: 2–4. The two synoptic texts are supplemented by the Gospel of John, from which Dante takes the concept of celestial bread – the flesh and the blood of Christ – which nourishes, liberates and sanctifies Christians. Apart from the Bible, Dante also draws upon the Augustinian and Tomistic traditions. However, the main hypotext behind the prayer, which is neither cited nor acknowledged in any explicit form in the Comedy, is the Franciscan Laudes creaturarum, also known as the Canticle of the Brother Sun. Written in vernacular by St. Francis himself, who is also the author of the Expositio in Pater noster, the Canticle was still recited and sung together with the Lord’s Prayer in the Franciscan communities in Dante’s time. Moreover, following the parallel readings popular nowadays in Dante studies, the author argues that Purgatorio 11 may be elucidated in the context of Paradiso 11, which is the Franciscan canto par excellence, and taken together they both offset cantos 10, 11, 12 of Inferno, which are based on the sin of pride. The denunciation of pride in and around canto 11 of Inferno alludes to humility – the remedy of such pride in Purgatory 11, which in turn prepares the reader for the encounter with St. Francis – the paragon of humility – in Paradiso 11. The author concludes that the Dantean paraphrase of the Lord’s Prayer is no less than an elaborate exegesis and homage to Christ and His teachings, something which is encompassed in a nutshell in the Sermon on the Mount. (shrink)

By Portuguese myths we mean several kinds of narratives, all of which actualize fundamental aspects of the Portuguese national imagination. Some are foundation narratives (Sâo Mamede, Ourique); others are historical facts that were sung so often over the years by Portuguese and foreign poets that they came to signify basic schemes of the human imagination (Inês de Castro's pure love, whose realization was frustrated by a fight between two men, father and son); other so-called Portuguese myths, on the contrary, (...) are built around concepts that give metaphysical shape to supposed characteristics that define the national soul (saudosismo, the doctrine of nostalgia, which attempts to define the Portuguese national soul as the search for a mythical initial unity that would create a wholeness in which contraries would be abolished; the Fifth Empire as its realization on Earth); other Portuguese myths express the supposed divine predestination of the people and of the Portuguese Man, based upon divine intervention in the founding of the nation in Ourique (the Fifth Empire that would be the Age of Spirit announced by Joachim de Fiore); still others are based on historically negative facts (King Sebastian and the defeat at Alcazarquibir) but transformed through archetypal elements to show the capacity for renewal out of the defeat, a renewal that goes beyond real historical renewal to include spiritual renewal of the Portuguese Man and his fatherland, which should produce the Fifth Empire conceived either in earthly or spiritual terms. To these myths I will add a legend preceding the formation of the nation, King Roderick's Legend, because it attempts to justify the loss of Visigothic Spain to the Arabs. (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

By Portuguese myths we mean several kinds of narratives, all of which actualize fundamental aspects of the Portuguese national imagination. Some are foundation narratives (Sâo Mamede, Ourique); others are historical facts that were sung so often over the years by Portuguese and foreign poets that they came to signify basic schemes of the human imagination (Inês de Castro's pure love, whose realization was frustrated by a fight between two men, father and son); other so-called Portuguese myths, on the contrary, (...) are built around concepts that give metaphysical shape to supposed characteristics that define the national soul (saudosismo, the doctrine of nostalgia, which attempts to define the Portuguese national soul as the search for a mythical initial unity that would create a wholeness in which contraries would be abolished; the Fifth Empire as its realization on Earth); other Portuguese myths express the supposed divine predestination of the people and of the Portuguese Man, based upon divine intervention in the founding of the nation in Ourique (the Fifth Empire that would be the Age of Spirit announced by Joachim de Fiore); still others are based on historically negative facts (King Sebastian and the defeat at Alcazarquibir) but transformed through archetypal elements to show the capacity for renewal out of the defeat, a renewal that goes beyond real historical renewal to include spiritual renewal of the Portuguese Man and his fatherland, which should produce the Fifth Empire conceived either in earthly or spiritual terms. To these myths I will add a legend preceding the formation of the nation, King Roderick's Legend, because it attempts to justify the loss of Visigothic Spain to the Arabs. (shrink)

Der Begriff der ›Welt‹ hat, wenn wir darunter das »Ganze aller Erscheinungen« verstehen, nicht den Status eines Begriffs, dem ein Gegenstand der sinnlichen Anschauung korrespondieren könnte. Er fungiert vielmehr als transzendentale Idee. Eine solche Idee, die Kant in der Kritik der reinen Vernunft als notwendig für die Vereinigung unserer Erfahrung bestimmt, lässt sich »niemals im Bilde ent- werfen« und bleibt »ein Problem ohne alle Auflösung«. Die Antinomien der reinen Vernunft entspringen für Kant gerade daraus, dass man Ideen dieser Art als (...) Begriffe von gegebenen Gegenständen missdeutet. Dass Welt sich gegen eine derartige Vergegenständlichung sperrt, bedeutet jedoch nicht, dass sie überhaupt nicht im Medium der Anschauung zur Darstellung käme. Der Beitrag geht anhand von Kants Kritik der Urteilskraft der Weise nach, wie die Idee der Welt auf Anschauung und Einbildungs- kraft bezogen ist und wie Welt im Medium anschaulicher Darstellung zur Artikulation und Reflexion kommt. (shrink)

Working speed as a latent variable reflects a respondent’s efficiency to apply a specific skill, or a piece of knowledge to solve a problem. In this study, the common assumption of many response time models is relaxed in which respondents work with a constant speed across all test items. It is more likely that respondents work with different speed levels across items, in specific when these items measure different dimensions of ability in a multidimensional test. Multiple speed factors are used (...) to model the speed process by allowing speed to vary across different domains of ability. A joint model for multidimensional abilities and multifactor speed is proposed. Real response time data are analyzed with an exploratory factor analysis as an example to uncover the complex structure of working speed. The feasibility of the proposed model is examined using simulation data. An empirical example with responses and response times is presented to illustrate the proposed model’s applicability and rationality. (shrink)

Hilbert algebras are important tools for certain investigations in intuitionistic logic and other non-classical logic and as a generalization of Hilbert algebra a new algebraic structure, called a GE-algebra, is introduced and studied its properties. We consider filters, upper sets and congruence kernels in a GE-algebra. We also characterize congruence kernels of transitive GE-algebras.

This study focuses on CEO hubris and its detrimental effect on corporate financial performance along with an examination of critical corporate governance contingencies that may moderate the negative effect. From 654 observations of 164 Korean firms over the years 2001–2008, we found that CEO power exacerbated the negative effect of CEO hubris on corporate financial performance, whereas board vigilance mitigated it. This study provides empirical evidence that entrenchment problems arising from CEO hubris would be exacerbated as CEOs become more powerful, (...) but weakened as board of directors become more vigilant. Theoretical contributions and practical implications will be discussed. (shrink)

We review the psychological literature on the organization of valence, discussing theoretical perspectives that favor a single dimension of valence, multiple valence dimensions, and positivity and negativity as dynamic and flexible properties of mental experience that are contingent upon context. Turning to the neuroscience literature that spans three levels of analysis, we discuss how positivity and negativity can be represented in the brain. We show that the evidence points toward both separable and overlapping brain systems that support affective processes depending (...) on the level of resolution studied. We move from large-scale brain networks that underlie generalized processing, to functionally specific subcircuits, finally to intraregional neuronal distributions, where the organization and interaction across levels allow for multiple types of valence and mixed evaluations. (shrink)

This Korean study replicated a previously published American study. The conceptual framework and method combined ethical enquiry and phenomenology. The research questions were: (1) What is nursing students’ experience of ethical problems involving nursing practice? and, (2) What is nursing students’ experience of using an ethical decision-making model? The participants were 97 senior baccalaureate nursing students, each of whom described one ethical problem and chose to use one of five ethical decision-making models. From 97 ethical problems, five content categories emerged, (...) the largest being health professionals (69%). The basic nature of the ethical problems was the students’ experience of conflict, resolution and rationale. Using an ethical decision-making model helped 94% of the students. A comparison of the Korean and American results yields important implications for nursing ethics education, practice and research. (shrink)

Bodies in China uses Chinese philosophy to reframe Western scholarship on gender, body, and aesthetics. Does Confucianism rule out the capacity of women as moral subjects and hence as aesthetic subjects? Do forms of Chinese philosophy contribute or correspond to patriarchal Confucian culture? Can Chinese philosophy provide alternative perspectives for Western feminist scholars? The first section considers theoretical and philosophical discussions of Western traditions and how the ideas offered by Confucians and Daoists can provide alternative body ontologies for critical feminist (...) practices. The second section reviews female aesthetical representations ranging from The Book of Songs to the work of the controversial body artist He Chengyao. The third section traces changing perceptions of femininity from imperial to its current cosmopolitan era using a range of case studies including Ming dynasty literature, Hong Kong women's fashion in the 1960s, and the 2008 Summer Olympics in Beijing. Overall, this book discusses new conceptual models that feminist scholars are using to displace dualism and emancipate notions of the body from Cartesian models and metaphors. (shrink)

Background: The complexity and variety of ethical issues in nursing is always increasing, and those issues lead to special concerns for nurses because they have critical impacts on nursing practice. Research objectives: The purpose of this study was to gather comprehensive information about ethical issues in nursing practice, comparing the issues in different types of nursing units including general units, oncology units, intensive care units, operating rooms, and outpatient departments. Research design: The study used a descriptive research design. Ethics/human rights (...) issues encountered by nurses in their daily nursing practice were identified by using the Ethical Issues Scale. Participants: The study sample included 993 staff nurses working in a university hospital in South Korea. Ethical considerations: This study was approved by the University Institutional Review Board. Completed questionnaires were returned sealed with signed informed consent. Findings: The most frequently and disturbingly encountered issues across nursing units were “conflicts in the nurse–physician relationship,” “providing care with a possible risk to your health,” and “staffing patterns that limit patient access to nursing care.” The findings of this study showed that nurses from different nursing units experienced differences in the types or frequency of ethical issues. In particular, intensive care units had the greatest means of all the units in all three component scales including end-of-life treatment issues, patient care issues, and human rights issues. Discussion: Nurses experienced various ethical challenges in their daily practice. Of the ethical issues, some were distinctively and frequently experienced by nurses in a specific unit. Conclusion: This study suggested that identifying and understanding specific ethical issues faced by nurses in their own areas may be an effective educational approach to motivate nurses and to facilitate nurses’ reflection on their experiences. (shrink)

Professional values are standards for action and provide a framework for evaluating behavior. This study examined changes in the professional values of nursing students between their entrance to and graduation from an undergraduate nursing program. A pre- and post-test design was employed. A convenience sample of 94 students from a university in Taiwan was surveyed. Data were collected from students during the sophomore and senior years. Total scores obtained for the revised Nurses Professional Values Scale during the senior year of (...) the nursing program were significantly higher than upon program entry. The ‘caring’ subscale was scored highest at both program entry and graduation, but the pre- and post-test scores were not significantly different from each other. The students scored significantly higher on the ‘professionalism’ and ‘activism’ subscales at post-test than they did at pre-test. Professional values changed in a positive direction between the beginning of the student nurses’ educational experience and their graduation. The results supported the premise that education had a positive effect on these students’ professional values but causality could not be assumed. (shrink)

This study aims to examine how service employees’ perceptions of corporate social responsibility affect their creativity at work and its mediated link through compassion at work and their intrinsic motivation. Working with a sample of 250 hotel employees in South Korea, structural equation modeling is employed to test research hypotheses. The results of this research suggest that employees’ perceptions of CSR are positively related to employee creativity. Second, compassion at work mediated the positive relationship between employees’ perceptions of CSR and (...) creativity. Third, employees’ intrinsic motivation also mediated the positive relationship between employees’ perceptions of CSR and employee creativity. Finally, the relationship between employees’ perceptions of CSR and employee creativity is sequentially and fully mediated by compassion at work and their intrinsic motivation. The theoretical and managerial implications of the results and limitations of the study are discussed, and future research directions are suggested. (shrink)

BackgroundAlthough the Life-Sustaining Treatment (LST) Decision Act was enforced in 2018 in Korea, data on whether it is well established in actual clinical settings are limited. Hospital-acquired pneumonia (HAP) is a common nosocomial infection with high mortality. However, there are limited data on the end-of-life (EOL) decision of patients with HAP. Therefore, we aimed to examine clinical characteristics and outcomes according to the EOL decision for patients with HAP.MethodsThis multicenter study enrolled patients with HAP at 16 referral hospitals retrospectively from (...) January to December 2019. EOL decisions included do-not-resuscitate (DNR), withholding of LST, and withdrawal of LST. Descriptive and Kaplan–Meier curve analyses for survival were performed.ResultsOf 1,131 patients with HAP, 283 deceased patients with EOL decisions (105 cases of DNR, 108 cases of withholding of LST, and 70 cases of withdrawal of LST) were analyzed. The median age was 74 (IQR 63–81) years. The prevalence of solid malignant tumors was high (32.4% vs. 46.3% vs. 54.3%, P = 0.011), and the ICU admission rate was lower (42.9% vs. 35.2% vs. 24.3%, P = 0.042) in the withdrawal group. The prevalence of multidrug-resistant pathogens, impaired consciousness, and cough was significantly lower in the withdrawal group. Kaplan–Meier curve analysis revealed that 30-day and 60-day survival rates were higher in the withdrawal group than in the DNR and withholding groups (log-rank P = 0.021 and 0.018). The survival of the withdrawal group was markedly decreased after 40 days; thus, the withdrawal decision was made around this time. Among patients aged below 80 years, the rates of EOL decisions were not different (P = 0.430); however, mong patients aged over 80 years, the rate of withdrawal was significantly lower than that of DNR and withholding (P = 0.001).ConclusionsAfter the LST Decision Act was enforced in Korea, a DNR order was still common in EOL decisions. Baseline characteristics and outcomes were similar between the DNR and withholding groups; however, differences were observed in the withdrawal group. Withdrawal decisions seemed to be made at the late stage of dying. Therefore, advance care planning for patients with HAP is needed. (shrink)

In response to the Covid-19 pandemic, online learning has been carried out in many countries with different types of online learning models being promoted and implemented. In the global pandemic continues, the education environment is forced to change from traditional classroom or blended teaching mode to online learning teaching model. With the outbreak of COVID-19, China was the first to announce that online courses are to be implemented in February 2020. In China, whether online learning can replace traditional offline teaching (...) has become a topic worth discussing. Therefore, this study investigates university students in China by questionnaires and discussions of this topic. The study is based on the Push–Pull Mooring model. Based on 854 valid responses collected from an online survey questionnaire, structural equation modeling was employed to examine the research model. The results show that push effects, pull effects, and mooring effects all significantly influence users' switching intentions from offline to online learning platform. Finally, this study explores whether push–pull–mooring can be a reference for promoting and implementing online learning courses in Chinese colleges and universities in the future after the pandemic. (shrink)