Fashion are implemented with regard to social context through a variety of studies, including the examination of fashion style. The period between 2010 and 2019 was selected as the guiding time frame. The objective of this study is to present an implementation process of a fashion style in Indonesia, both in synchronic and diachronic perspectives. This qualitative research with a historical approach employs a variety of data source including literature data from journals, books, fashion (...) magazines, interviews with fashion experts, and focus group discussions. The study proposes four dominant styles of trend fashion in Indonesia between 2010 to 2019, namely: modest, an emerged particular theme in Indonesia; athleisure, a reflection view of health and well-being; informality, the roles of millennial as leadership changes; and traditional, that represented the traditional culture of Indonesia. The finding of this study can be summarized as follows: The acceptance process of the four dominant styles can be attributed to the reflection ideas among fashion consumers in Indonesia. Additionally, the shift and the acceptance of fashion styles from 2010 to 2019 was mainly influenced by the affirmation process between role models and followers. Furthermore, the pattern of fashion in Indonesia shows different indications compared to global fashion trends, because of the cultural aspects as distinctive characteristics of fashion styles based on traditional values and meanings. (shrink)

Perfumes embody a chemical record of style and technology. Blurring the boundary between what counts as natural and artificial in both a material and a perceptual sense, perfumery presents us with a domain of multiple disciplinary identities relevant to social studies: art, craft, and techno‐science. Despite its profound impact as a cultural practice, perfume has seldom featured in historical scholarship. The reason for this neglect is its inherently qualitative dimension: perfume cannot be understood via codified representation but requires direct (...) acquaintance with its sensory and material basis. The historical study of perfumery thus necessitates an experimental approach that comes not without challenge. This article looks at contemporary recreations of old perfumes to identify the difficulties involved in the experimental recreation of fragrances as sensory and performative artifacts. We highlight the need for a reconceptualization of methodology for inconcrete objects of study as part of the broader interest in experimental approaches to the humanities. (shrink)

Fashion is at once a familiar yet mysteriously elite world that we all experience, whether we’re buying a new pair of jeans, reading _Vogue_, or watching the latest episode of _Project Runway_. Lars Svendsen dives into that world in _Fashion_, exploring the myths, ideas, and history that make up haute couture, the must-have trends over the centuries, and the very concept of fashion itself. _Fashion _opens with an exploration of all the possible meanings encompassed by the word “ (...) class='Hi'>fashion,” as Svendsen probes its elusive place in art, politics, and history. Ultimately, however, he focuses on the most common use of the term: clothing. With his trademark dry wit, he deftly dismantles many of the axioms of the industry and its supporters. For example, he points out that some of the latest fashions shown on runways aren’t actually “fashionable” in any sense of the word, arguing that they’re more akin to modern art works, and he argues against the increasingly prevalent idea that plastic surgery and body modification are part of a new wave of consumerism. Svendsen draws upon the writings of thinkers from Adam Smith to Roland Barthes to analyze fashion as both a historical phenomenon and a philosophy of aesthetics. He also traces the connections between the concepts of fashion and modernity and ultimately considers the importance of evolving fashions to such fields as art, politics, and philosophy. Whether critiquing a relentless media culture that promotes perfect bodies or parsing the never-ending debate over the merits of conformity versus individual style, Lars Svendsen offers an engaging and intriguing analysis of fashion and the motivations behind its constant pursuit of the new. (shrink)

One of the prestige of young people’s identity today is through fashion. Fashion has even become a “religion” that binds the identity of the individual who wears it. The Sneaker, a form of fashion, also has a big role; even now, it has become a commodity and prestige with a fetish nuance. Therefore, this study aims to identify how the sneaker fetish becomes a space for simulating the lives of young people in Indonesia. Furthermore, this study (...) also examines the problem of the representation of youth-lifestyle simulations in Indonesia. This research uses a qualitative case study approach to play on Jean Baudrillard’s approach to simulacra and hyperreality, which also discusses David Chaney’s approach to fashion. Data collection was obtained from audience studies by examining tagging on social media, Instagram, from July 2022 to October 2022. The results of the study show that the sneaker trend does not only act as a complement to appearances, more than that, but it can also display the personal identity of the wearer. A sneaker community also facilitates the lifestyle of young people towards sneakers. Finally, the community shifted the concept of young people towards sneaker consumption to be more consumptive than before. On the other hand, young people do not realize that what they have done is a hyperreality that tries to identify itself with the best possible image and continues to shape it through massive consumption activities. This is where the sneaker concept shifts from a “community” to a “commodity”. (shrink)

The subject of the study is traditional Chinese costumes, their origin and forms of inheritance in the "new Chinese style". The object of the study is national clothing, the existence of which is a cultural epic spanning thousands of years and including the epochs of the reign of the largest Chinese dynasties. Turning to the past allows the author to demonstrate the depth and unique charm of oriental culture, to show the reasons for its relevance in the world of modern (...) fashion. Such aspects of the topic as the reflection of the history and spiritual values of the nation in the objects and elements of Chinese clothing, as well as their impact on the global fashion industry, are considered in detail. Special attention is paid to the aesthetics of the Hanfu costumes, the baturukongkamshurd vest, the dianzi hair ornament, the head with one hieroglyph hairstyle, the Zhongshan and Cheongsam costumes. The work uses historical, cultural, comparative and analytical research methods. They allow us to trace not only the evolution of Chinese clothing, but also how representatives of the "new Chinese style" skillfully embody traditional drawings in modern design concepts, creating works that combine both cultural heritage and current fashion trends. The novelty of the research lies in identifying ways to transform traditional Chinese costumes into the fashion trends of the "new Chinese style". The author analyzed its wide popularity among modern youth, as well as its large-scale presence in the global media space. The findings of the study reveal the value of clothing as a unique cultural medium, and also reflect the outstanding contribution of the "new Chinese style" in its innovative reinvention. The author's contribution to the study is observations on the use of "folk Chinese aesthetics" in world fashion, which include Zhongshan, Cheongsam, Qipao costumes, as well as ancient techniques for creating jacquard, knotted batik, and antique embroidery. The "New Chinese Style" not only gave national elements a new life in modern society, but also opened the way for the inheritance and development of Chinese culture. (shrink)

Recent years have seen a considerable resurgence in the popularity of tattooing and piercing, a development that some have dismissed as a fashionable trend. Others have argued that the relative permanence of such forms of body modification militates against their full absorption into the fashion system. Drawing on interviews with a variety of body modifiers, the article examines this debate, and notes that certain tattooees and piercees appear, in some respects, to regard their tattoos and piercings as decorative (...) accessories. At the same time, however, such corporeal artifacts are approached and experienced as distinct from other, more free-floating products in the `supermarket of style'. Whether or not their meaning is fixed in these terms, tattoos and piercings are employed by some as a form of anti-fashion and as a way of fixing or anchoring the reflexively constructed self. In this sense they share both affinities and differences with other forms of contemporary body project. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nomadic Turns:Epistemology, Experience, and Women University Band DirectorsElizabeth GouldMusic education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.1 Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.2 At the (...) postsecondary level in the U.S., women constitute less than 10%.3 In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.In terms of women university band directors, researchers have investigated employment trends,4 personal and occupational characteristics,5 occupational role models, and professional identity.6 Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies7 demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,8 their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities9 of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,10 is central.Postmodern/Feminist AnalysisDescribed variously as a "philosophical perspective,"11 a "sensibility,"12 and a historical moment,13 postmodernism resists definition. It may be understood as a way of perceiving the world that accepts and even embraces contradictions and uncertainties while rejecting commonly accepted cultural beliefs and practices, including humanist understandings of identity, representation, and the subject. This is a "postmodernism of resistance"14 that interrogates cultural practices, focusing on what is unexpected, marginalized, and silenced, opening spaces for change. In contrast, analysis based on modernism is constrained by binary oppositions that inscribe the positionalities of social groups. These oppositions are exemplified by Subject/Other (for example, male/female, reason/emotion) and consist of asymmetrical power relations in which the former is privileged over the latter, and the latter is defined in terms of not-the former. Postmodern analysis [End Page 148] reveals what these dualisms exclude, distort, or obscure, and provides flexibility for research from a variety of perspectives. Braidotti describes it as a "new kind of theoretical style"15 in terms of thinking, design, and analysis of research, a style... (shrink)

continent. 1.3 (2011): 201-207. “Poetry is experience, linked to a vital approach, to a movement which is accomplished in the serious, purposeful course of life. In order to write a single line, one must have exhausted life.” —Maurice Blanchot (1982, 89) Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school graduation he was incessantly educated, reading the entire private library of his granddad, comprising mainly (...) the Orthodox Church Fathers and the ancient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again: “I carry sorrow like a cage/ I got no birds/ as I come back from her hair/ I see the profit emptied/ cool from terror.” (1993, Ι, 101) Nowadays—and ridiculously recently—we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expenditure without any type of investment, sometimes not (even) symbolic. In the vaults of the European unconscious, this imprudent stance still conjures a “capital punishment” in the form of de-capitation, reflecting back the fear of excess and the terror of its consequences.1 Thus the Greek way of living is very close to what a stranger could have termed as “the Greek way of dying.” Yet, what is not often understood is that the Greek esprit , the same one that invented the maxim μηδ?ν ?γαν (“nothing in excess”), does not experience death solely as an imminent fear of bankruptcy. For it miraculously combines its unconditional acceptance with the promise of a resurrection that is always there in the scents of Spring, from Dionysus to the orthodox Christ: “Everyone resurrects himself through dying [….] Resurrection is the switching of mortalities.” (2002, 94) Hence, if an entire library was imprudently traded for a plate with seven olives, a sliced tomato and some fresh goat cheese, let us not be fooled: this is not the meal of the pauper, but that of “an aristocrat from God” (1993, II, 491) feeding his eloquent loudmouth, ridiculously cut open in an otherwise rock-solid caput . *** To speak of the Greek experience is to speak about a half-dead language that still utters in life what is seemingly excluded from it and thus forbidden to be talked about: death. Death as anything that is out of this world, as something that will never return . Still, along with an experience of death that recently waned as a worn-out academic fashion, the Greek experience is dead too. Nearly 2300 years of written words separating Homer from the fall of Byzantium equal 500 books on a library traded for money: “I am with the killed. Hence my deepest solitude. I do not feel this tremendous macho society, beyond from the fact that it is a ruthlessly consuming one. It is me who pays all the time .” (2002, 57) Let us do the math and see how much this dealing with the Greek experience is costing the poet and how much dealing with the Greek experience might cost us today. *** “I do not guarantee a single word.” (Karouzos, 1993, II, 454) Through its various dialects and forms, the Greek language speaks through an incessant historical dissemination. Anyone who is aware of this terrifying polymorphy and still calls himself a poet, must stand against a white sheet of paper, pen-in-hand, with a very particular duty: to be as fully inconsistent as possible. In the formally ironic uniqueness of the poem, the poet functions as “a band-aid for lesser and greater antinomies.” (1993, I, 251) Of course these antinomies are not exhausted in language—they are historical, political and, alas, existential. Yet, beyond appearances , it is language that ruthlessly encodes them through history, submitting the poet to the temptation of placing them one next to the other on a single white sheet. The closer their neighboring, the greater the scattering of the writer in the ironic uniqueness of the paper. In a work where poetic license is described as a “freedom-impasse” (2002, 51), this task is undertaken in full conscience of its personal consequences: “what I am interested in is to escape my individuality (envisioning the non-ego) […] Nevertheless, my dissociations never achieve duration.” (2002, 74-75) Hence, though poetry is the “deserted direction of will,” (1998, 62) the stance of the poet is not that of a Nietzschean “great man.”2 Whereas drunkenness provides a thread between the poem and the excess it both presupposes and infuses (“Poetry always enlarges. ‘Drunkenness’ is nothing more than that,” (2002, 85)), whereas language flashes in loudmouth spurts of déraison (“When I am alone I do something else. I utter words. For example, while having my ouzo and listening to music I am most likely capable of randomly shouting ‘Electricity!’” (2002, 138)), the poet never gives in to the double affirmation that would eventually risk the “element of pleasure in discourse.” (2002, 80)” It is exactly because the gap of the antinomies is so vast that poetry is not meant to be written with a hammer. Neither does writing consist in a reevaluation of those elements. In short, poetry is not an affirmation of difference, but the surprising beauty of chiming antinomies. We might never transcend them, but it is up to us to put them together. Yet again, this voisinage is not to be identified with the necessity of chance as an eternal return.4 On the contrary it is a return from that very return : Let us treat Yes as a No to No and No as a Yes […] And let us not forget that this pissed affirmation crumbled down Nietzsche’s intellect in the dark paths of this world. (2002, 88) This return from the “vicious circle” should in no way be taken as a form of artistic prudence. Rather it can be seen as a dribble of demonic inconsistency as Dionysus transforms himself into a Christ that is in turn de-theologized: “Who can forbid that? Every man is capable of his own theology, nothing can stop him.” (2002, 73-74) This is a turn towards an existential vision of the world, historically coinciding with a particular political defeat of the Left, to which the poet devoted all his life: after the defeat of the popular front I raised the question “why do we exist?” while others were asking “why we failed.” (2002, 57)5 But most of all it is a return to poetry that exceeds the existential question itself, going beyond the issue of faith. Poetry comes in as a question of return after a defeat that is confessed in full profanity. Though it accepts the necessity of the defeat, it does not affirm it. Though it negates it, the negation is not in the name of a promise to be delivered in the kingdom of heavens. Following a historical and existential defeat, poetry is born post mortem . It signals a return to Christ as “groundless religiousness in the surprise of the real as such” (2002, 72) which is at once a return to the refuge of childhood. It is not a question of endurance towards an eternal return. Rather it is a question on the possibility of an existential return. Returning in a world as someone who cannot enjoy any returns exactly because he is averse to guarantees. A return without returns. *** PHOTOCOPY OF HAPPINESS When I was young I used to pin down cicadas and step on ant nests. I used to stand there silent for hours. With threads I decapitated bees. Now I am a dead man breathing. (Karouzos, 1993, II, 336.) The return to the “paradise of childhood” (2002, 68) constitutes the devouring refuge of its own memory when defeat becomes the synonym of adulthood. The political struggles of a young communist in a country torn up by a civil war right after World War II fraught with incarcerations and exiles. Historically they resulted in the defeat of the communist movement in Greece and opened up a long turbulent road that would peak in the dictatorship of 1967. Existentially they led to a series of disillusionments: mental breakdown, divorce, abandonment of studies in law school. To the question “why do we exist” the answer was poetry. Still this exposé should not be read as a sweeping chronography of a man. For it actually happens to coincide with the historical fate of a nation that after its modern constitution never stopped dreaming of the glories of its past youth, in a present that was (and is) sweepingly disappointing. But isn’t this return to youth finally a way of compensating for a loss of youth that necessarily results in a losing adulthood? Will Greeks, the eternal children of Plato and Nietzsche, ever learn? How to return without dying, how to remember without wasting time? WE ARE IN THE OPEN MEANING Living the coldest mauve night right across Parthenon I went to take a piss on some foliage and I was enjoying the foliage as it was steaming. (Karouzos, 1993, II, 340) Beyond the historical tragedies of modern Greece and away from any personal disappointments, the relation that this land holds with language and history is mediated through the Greek light—whose omnipresence is the very condition of its transcendence. All historical contradictions from Dionysus to Christ took place under this light; all those disseminated dialects were spoken beneath its warmth. To paraphrase Lévinas,6 light is both the condition of the world and of our withdrawal from it—a withdrawal towards the invisibility of God, of the dead, of meta-physics, resulting from the temptation that all is still here, behind this light the visibility of which they once evaded: “birds, the allurement of God.” (1993, I, 17) Under that luminous sky, if Greeks can do anything at all, it is to envision a return that will never come. All they can do is write poetry—which is doing nothing; other than lending an ear to a disseminated language whispering a unity that cannot be promised, as an adulthood in defeat is ready to recognize. Trying “to trap the invisible in visibility” (1993, II, 483) they forget that they have grown up and one day they die—with the promise of return. Hence an additional meaning must be given to this return to childhood. It does not signal salvation but rather its promise. To the ears of an aged continent it means that the return to/of poetry is a losing game, a return without returns. “Europe, Europe… you are nothing more than the continuation of Barabbas.” (1993, I, 295) *** “Life is not there to verify theories.”7 The records show that Karouzos was finally given a second-class pension from the Greek government, at the time when he was being recognized by the literary press as one of Greece’s major contemporary poets. Being neither a bourgeois nor a nobelist, he proclaimed himself to be an anarcho-communist, unconditionally faithful to the utopia of a classless society. He also drank, heavily. “Capitalism made an animal out of man/ Marxism made an animal out of truth/ Shut up.” (1993, II, 369) Perhaps one of the most scandalous divides of our times has been the one between the living and the dead, the latent prohibition that the living should not be concerned with the dead based on the mere impossibility of the dead to be concerned with the living in the first place. What adds to this scandal is that this divide abuses anything that cannot return to us by subsuming it under the same futility. Hence death is no longer “loss” in the usual sense. It no more refers to the things we lost but to our “loss” (of time, money and well-being) as we insist to dwell on them. Death is a waste —of time. It is this waste that we find in the insouciance of Greek expenditure; the waste in dealing with a language that most of its historical part is no longer spoken (a dead language); the waste in translating a poet who is ex definitio untranslatable; the waste of his vision, his money, his life. The waste of dealing with anything that cannot return and that cannot bring in any returns . But it is also the waste of life that poetry itself presupposes, the waste of dealing with invisibility, with anything that is out of this world and thus invokes the fear of death that is in turn—and surprisingly— nowhere to be found. Instead of death, what is there, beyond the light, is the being without us (to recall the Lévinasian il y a ), the mumble of our own nothingness which constitutes the price to be paid for writing poetry under an evergreek light. To understand this to-and-fro, is to realize that poetry is something out of this world that nevertheless takes place in this world, by virtue of this world. But to ridiculously equate this to-and-fro with death as non-existence, is to exile poetry along with its own possibility from this same old world: I do not believe that poetry will ever disappear from this world. […] But I am also sure that it does not have many chances of playing, as you say, a redemptive role in our vertiginous technological future. Without being endangered as a creative need, it will be placed on the side of history. (2002, 32) It is mainly there that we would like to locate the meaning of Nikos Karouzos’s poetry today. If we are willing to include the Greek original it is because we consider that it will be both a waste of time for us to do so (since most of you cannot read Greek) and because it might induce you to the even larger waste of learning it. We would additionally be glad if this small introduction served as an equally wasteful, academically useless piece of reading, gesturing towards a taboo of investing in anything Greek—that is in anything dead among the living, in anything that will never come back and maybe was never here in the first place. This is the only way to reserve for ourselves the possibility of poetry and preserve the light of its promise. “To return: that is the miracle.” (1993, I, 17) Athens, Greece July 10, 2011 NOTES 1 “ Capitale (a Late Latin word based on caput “head”) emerged in the twelfth to thirteenth centuries in the sense of funds, stock of merchandise, sum of money or money carrying interest.[…] The word and the reality it stood for appear in the sermons of St. Bernardino of Siena (1380-1444) ‘… quamdam seminalem rationem lucrosi quam communiter capitale vocamus ’, ‘that prolific cause of wealth that we commonly call capital’” (Braudel, 1992, 232-233). 2 “A great man – a man whom nature has constructed and invented in the grand style – what is he? First : there is a long logic in all of his activity, hard to survey because of its length, and consequently misleading; he has the ability to extend his will across great stretches of his life and to despise and reject everything petty about him, including even the fairest, ‘divinest’ things in the world.” (Nietzsche, 1968, 505, §962) 3 Cf. Deleuze, 1986, 186-9. 4 “Return is the being of becoming, the unity of multiplicity, the necessity of chance: the being of difference as such or the eternal return.” (Deleuze, 189)5 In this 1982 interview Karouzos refers to the defeat of the communist movement in Greece after the civil war of 1946-1949 between the Governmental Army and the Democratic Army of Greece, the military division of the Greek communist party. Karouzos’s father was a member of the communist National Liberation front (EAM) members of which formed the mainl resistance movement (ELAS) in Greece during WWII. The poet was a member of the United Panhellenic Organization of Youth (EPON), which was a youth division of EAM. After the end of the war, ELAS was called to disarmament in view of the formation of a National Army. The members of EAM resigned from the government of national unity and a series of protests led to a 3 year civil war between ELAS and the Government Army. After the defeat of ELAS the Communist party was outlawed and many communists were exiled in deserted Greek islands. Karouzos, who took action in the Greek resistance and was active during the Greek civil war, was exiled in Icaria on 1947 and in Makronisos on 1953 where he was called two years earlier to do his military service. 6 “Existence in the world qua light, which makes desire possible, is then, in the midst of being, the possibility of detaching oneself from being. To enter into being is to link up with objects; it is in effect a bond that is already tainted with nullity. It is already to escape anonymity. In this world where everything seems to affirm our solidarity with the totality of existence, where we are caught up in the gears of a universal mechanism, our first feeling, our ineradicable illusion, is a feeling or illusion of freedom. To be in the world is this hesitation, this interval in existing, which we have seen in the analyses of fatigue and the present.” (Lévinas, 1988,43-4) 7from a TV interview. THE POETRY OF NIKOS KAROUZOS From Redwriter [ Ερυθρογρ?φος ], in Collected Works, Vol . II, Athens: Ikaros. 1993, 463-4. [Athens: Apopeira, 1990, 9-10.] JESUS ANTI-OEDIPUS* Why were we once saving till the fifth day the Paschal lamb? The scriptures say: with this victim’s meat we ought to cleanse all of our senses. To give life to the whitest wave miraculous odors in the extension of the chest. Ideals to death. For us to witness the illustrious dawns of Absinthe and for the soul to be a deeply carved ornament on the fore we named will. Then many deer running amidst the evergreen growth with watery hymns, then, the unintended angels descending with heights spiraling in their momentum offer themselves to the luminous Adventure. Whence the need for speech and our sufferings covered with flags like the glorified dead. An incorporeal finger pointing at the flamboyant and fragrant holocausts within the tired horizons and the exhausted breadths with joys of the mistletoe on fire and shivering all of the green-leaved love. Something would have chirped again had we not driven it away— maybe the ewe’s grass. Something would have called us to the eternal resurrection— maybe the grace of spring. But now our heart is fiercely blinded, withdrawn to the appearances of Hades. Silence and ice incessantly cover the Infant Spirit in thatched times. While the cherry trees are dreaming faintly glowing in absolute darkness there’s nothing the Babylonians can contemplate in labs with automatic colored lights. How to rejoice now in the fifth day of the lamb? We have forked the stars. We’ve gradually become supposedly sublime with plucked chimeras in our hands. Avenged relentlessly by science. *Though the poem appears in a 1990 collection, it was actually written in 1968. Hence the reader must be aware in not associating Karouzos’ Anti-Oedipus with the famous 1972 work of Deleuze and Guattari, given that the former precedes the latter. ΙΗΣΟΥΣ ΑΝΤΙ-ΟΙΔΙΠΟΥΣ Γιατ? κρατο?σαμε κ?ποτε ?ς την π?μπτη μ?ρα το πασχαλιν? πρ?βατο; Τα κε?μενα λ?νε: μ’ αυτο? του θ?ματος το κρ?ας ?πρεπε να καθαρ?σουμε ?λες τις αισθ?σεις. Για να δ?σουμε κ?μα στη ζω? λευκ?τατο θαυμ?σιες ευωδι?ς στην ?κταση του στ?θους. Ιδανικ? στο χ?ρο. Για να βλ?πουμε τα λαμπρ? χαρ?ματα του ?ψινθου και να ’ναι η ψυχ? στ?λισμα βαθυχ?ρακτο της πλ?ρης που την ε?παμε θ?ληση. Τ?τε πολλ?ς δορκ?δες τρ?χοντας αν?μεσα στην καταπρ?σινη φ?ση με τους υδ?τινους ?μνους, τ?τε, κατεβα?νοντας οι αθ?λητοι ?γγελοι με κυλινδο?μενο το ?ψος στην ορμ? τους χαρ?ζονται της αστραφτερ?ς Περιπ?τειας. ?θεν η μιλι? γι’ αυτ? χρει?ζεται και τα δειν? σκεπ?ζονται ωσ?ν τους τιμημ?νους νεκρο?ς με σημα?ες. Ασ?ματο δ?χτυλο δε?χνει τα φλογ?δη και μοσχοβ?λα ολοκαυτ?ματα στους κουρασμ?νους ορ?ζοντες στα εξουθενωμ?να πλ?τη καθ?ς αν?βουν οι χαρ?ς του νερα?δ?ξυλου και τρ?μει ολ?κληρη η πρασιν?φυλλη αγ?πη. Κ?τι θα κελαηδο?σε π?λι αν δεν το δι?χναμε— μπορε? της προβατ?νας το χορτ?ρι. Κ?τι θα μας καλο?σε στην απ?ραντη αν?σταση— μπορε? του ?αρος η χ?ρη. Μα η καρδι? μας ?γρια τυφλ?θηκε π?ρασε στα φαιν?μενα του ?δη. Σιγ? και π?γος αδι?κοπα σκεπ?ζει στους αχυρ?νιους καιρο?ς το Ν?πιο Πνε?μα. Την ?ρα που ονειρε?ονται οι βυσσινι?ς και λ?μπουν αμυδρ? μεσ’ στο απλ?τατο σκοτ?δι τ?ποτα δε στοχ?ζονται οι βαβυλ?νιοι στα εργαστ?ρια με τ’ αυτ?ματα χρωματιστ? φ?τα. Π?ς να χαρο?με πια την π?μπτη μ?ρα του προβ?του; Φουρκ?σαμε τ’ αστ?ρια. Γ?ναμε σιγ?-σιγ? δ?θεν υπ?ροχοι με μαδημ?νες χ?μαιρες στα χ?ρια. Μας ν?μεται σκληρ? η επιστ?μη. From: Redwriter [Ερυθρογρ?φος], in Collected Works, Vol. II, Athens: Ikaros. 1993, 472. [Athens: Apopeira, 1990, 18.] DIALECTΙCS OF SPRING Christ the straight angle; Christ the Pythagorean theorem. Christ the infinitesimal calculus from above the blessed Sets Christ. Christ the tessellation of massive particles Christ the zero mass. Hence we spray numbers and fields of lust. We are carabineers of diseased logic plus something— Observed means observer and Hekate The darkness luminous and light in the dark Astarte banqueters demons from today. ΔΙΑΛΕΚΤΙΚΗ ΤΟΥ ΕΑΡΟΣ Χριστ?ς η ορθ? γων?α· Χριστ?ς το πυθαγ?ριο θε?ρημα. Χριστ?ς ο απειροστικ?ς λογισμ?ς ?νωθεν ?λβια Χριστ?ς τα Σ?νολα. Χριστ?ς η ψηφιδογραφ?α στα μαζικ? σωμ?τια Χριστ?ς η μ?ζα μηδ?ν. ?ρα ψεκ?ζουμε αριθμο?ς και πεδ?α λαγνε?ας. Ε?μαστε τυφεκιοφ?ροι νοσο?σης λογικ?ς και κ?τι-- παρατηρο?μενο σημα?νει παρατηρητ?ς και Εκ?τη σκ?τος το π?μφωτο και φως εν τ? σκοτ?? η Αστ?ρτη συνδαιτημ?νες δα?μονες απ’ ?ρτι. From: Redwriter [Ερυθρογρ?φος], Athens: Apopeira, 1990, 18. [1993, II, 472]. CREDO (as we are used to say in Latin) Α I believe in one Poet expelled from heavens / fugitive from the god and vagabond, Empedocles / and here on earth / exile on the earth etc. of Baudelaire /. Β I believe in one Computer inside thunder and through matter. Γ Suffering undefiled / substantive / the Poet uplifts himself slow-burning suicidal implying lengthy sleeps. Δ Cutting down on prospective mistakes. Ε Of all things visible and invisible officiating the onion-peelings. Ζ The Poet has nothing / see the departed /. Η I believe in one Poet that says: madness I enjoy; he ridicules existence; let me light up from my mana. Θ Syntax he doesn’t care about when musicality commands him. Along with still more licenses, and Ts are played according to the concept sound anywhere. E.g. the winters here, he winters there; it will not come—I will not rest, etc. etc. Ι The Poet exercises thought until it’s stripped down. Κ And if he’s Greek he must always study the fineness of Attica, in light, mountains, fields and sea. For this fineness teaches language. Λ And if he’s deeply destined the Poet expresses the unexplainable of the explained; he happens to be a rightful heir to the scientist and his predecessor. Μ On the froth he does not last; the Poet blusters at the bottom of the pot. Ν Flamebred and never redeemed. Ξ The Poet must sometimes say: what a consumption of presence — be a bit lonely for a change! Ο The Poet is twilit. Π He is susceptible of deaths and resurrections. Ρ He looks from the corner of his eye and exists in a glance. Σ He follows behind the mother. Τ Eveningless when it comes to age. Υ I believe in one Poet who says: let the purities coincide. Until the Corinth of the Universe or even further. Φ In a higher despair. Χ In a brighter quintessence. Ψ In one sensation that lifts off. Ω Forgiving everyone. CREDO (ως ε?θισται να λ?με λατινιστ?) Α Πιστε?ω εις ?να Ποιητ?ν εκτ?ς ουρανο? / φυγ?ς θε?θεν και αλ?της, Εμπεδοκλ?ς / και επ? της γης / εξ?ριστος π?νω στη γη κ.λπ. του Βωδελα?ρου /. Β Πιστε?ω εις ?να Υπολογιστ?ν εντ?ς κεραυνο? και δια της ?λης. Γ Υποφ?ροντας ?χραντα / ουσιαστικ?ν / ο Ποιητ?ς ανατε?νεται βραδυφλεγ?ς αυτ?χειρας εξυπακο?οντας πολ?ωρους ?πνους. Δ Τα υποψ?φια λ?θη λιγοστε?οντας. Ε Ορατ?ν τε π?ντων και αορ?των ιερουργ?ντας την αποκρομμ?ωση. Ζ Ο Ποιτ?ς ?χει τ?ποτα / βλ?πε τους αναχωρ?σαντες /. Η Πιστε?ω εις ?να Ποιητ?ν που λ?ει: η τρ?λα μ’ αρ?σει· γελοιοποιε? την ?παρξη· ας αν?ψω απ’ τη μ?να μου. Θ Συνταχτικ? δεν το γνοι?ζεται στην προσταγ? της μουσικ?τητας. Μαζ? και μ’ ?λλες ακ?μη λευτερι?ς, και τα νυ πα?ζονται κατ? την ?ννοια ?χος οπουδ?ποτε. Π.χ. τον χειμ?να εδ?, το χειμ?να εκε?· δε θ? ’ρθει – δεν θα καταλαγι?σουμε, κ. λπ. κ.λπ. Ι Ο Ποιητ?ς γυμν?ζει τη σκ?ψη σε απογ?μνωση. Κ Κι αν ε?ναι ?λληνας οφε?λει να σπουδ?ζει π?ντοτε της Αττικ?ς τη λεπτ?τητα, σε φως, βουν?, χωρ?φια και θ?λασσα. Διδ?σκει γλ?σσα η λεπτ?τητα το?τη. Λ Κι αν ε?ναι βαθι? πεπρωμ?νος ο Ποιητ?ς εκφρ?ζει το ανεξ?γητο του εξηγητο?· τυγχ?νει ν?μιμος δι?δοχος του επιστ?μονα και προκ?τοχ?ς του. Μ Στον αφρ? δεν ?χει δι?ρκεια· στο πατοκ?ζανο μα?νεται ο Ποιητ?ς. Ν Φλογοδ?αιτος και ποτ? ξελυτρωμ?νος. Ξ Ο Ποιητ?ς κ?ποτε πρ?πει να λ?ει: μεγ?λη καταν?λωση παρουσ?ας – γενε?τε και λ?γο μοναξι?ρηδες! Ο Ο Ποιητ?ς ε?ναι αμφ?φλοξ. Π Επιδ?χεται θαν?τους και αναστ?σεις. Ρ Ακροθωρ?ζει και υπ?ρχει σε ξαφνοκο?ταγμα. Σ Ε?ναι ουραγ?ς της μητ?ρας. Τ Αν?σπερος απ? ηλικ?α. Υ Πιστε?ω εις ?να Ποιητ?ν που λ?ει: να συμπ?σουν οι αγν?τητες. Μ?χρι την Κ?ρινθο του Σ?μπαντος ? μακρ?τερα. Φ Σε αν?τερη απελπισ?α. Χ Σε φαειν?τερη πεμπτουσ?α. Ψ Σε μια α?σθηση που πτηνο?ται. Ω Συγχωρ?ντας τους π?ντες. From Large Sized Logic [ Λογικ? μεγ?λου σχ?ματος ], Athens: Erato, 1989, n.p. [1993, II, 521-3]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.2 (2003) 306-309 [Access article in PDF] Philippe Rouet. Approaches to the Study of Attic Vases: Beazley and Pottier. Trans. Liz Nash. Oxford Monographs on Classical Archaeology. Oxford: Oxford University Press, 2001. xiii + 167 pp. 21 black and white plates. Cloth, $74. This monograph examines the development of two major approaches in the study of Greek vase painting by focusing on a comparison of (...) the work of Sir John D. Beazley with that of Edmond Pottier. Beazley, an English scholar, spent his scholarly life attributing vases to various formerly unnamed artists based on [End Page 306] their style of drawing, thereby ascertaining for the first time the artistic history and stylistic development of Attic black-figure and red-figure vase painting. Pottier, a French scholar, founded the Corpus Vasorum Antiquorum, an international series whose original goal was to publish all ancient clay vases. Each scholar's interests contrasted with the other's in many ways. Beazley's work focused more on the object and Athens, while Pottier was opposed to the study of individual artists and was particularly interested in the relationship of the origins of Greek civilization to the East and the broader context of the vessels.The book's introduction sets the historical and intellectual background of Beazley and Pottier. Areas covered include the early history of collecting, initial attempts at defining the works of individual Greek vase painters, some influential early catalogues of Greek vases (e.g., those of Hamilton's collection), and the role that the copying of motifs from ancient pottery had in spreading the interest in Greek vase painting in the late eighteenth and early nineteenth centuries, particularly the part played by the Wedgwood workshop. I miss here any reference to the fine work of Brian A. Sparkes on these subjects (The Red and the Black: Studies in Greek Pottery[London and New York, 1996] 34-63).The first chapter considers the most influential, immediate predecessors of Beazley and shows how their work formed the intellectual framework for his accomplishment. They are Wilhelm Klein, whose important study of and signatures on Attic vases still serves as the basis for our interpretation of them; Paul Hartwig, who was the first to attribute vases to an anonymous master; and Adolph Furtwängler, who in collaboration with Karl Reichhold initiated the monumental three-volume work, Griechische Vasenmalerei, which featured exceptionally accurate drawings of vase paintings. The author astutely notes that Furtwängler's work on attributing Roman copies of Greek sculpture to artists was likewise influential in augmenting the interest in style and artistic personalities. The intertwined relationship between connoisseurship, collectors, and the art market is touched on briefly in the discussions of Hartwig and Edward Warren. It might also have been noted here that the wording and style of Beazley's earliest work on the Kleophrades Painter clearly owes its inspiration to Hartwig.Pottier's early life and career are the focus of the next chapter. This was the time when museum catalogues and encyclopedic dictionaries were for many the signs of significant national scholarship. Indeed, after France's loss in 1870 in the Franco-Prussian War, Pottier and many of his contemporary compatriots sought to affirm the intellectual vitality of their nation by initiating and completing such projects. Pottier's contribution was to publish Vases antiques du Louvre, in which photography was used for the first time on a large scale to illustrate the vases, and to serve as one of the editors of the Dictionnaire des antiquités grecques et romaines, in which he was also responsible for many of the entries on vases.Chapter 3 returns to the subject of connoisseurship and the two non-classical archaeologists whose methodology bear clear resemblances to Beazley's. The first of them, Giovanni Morelli, was the first to attempt a scientific methodology for attributing paintings to unknown artists by examining the minor details [End Page 307] of drawings in order to discover the artistic language of the painters. Rouet concludes that Morelli paved the way for Beazley's work, for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches were heard representing Japan's unique (...) perspective. There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Who Needs Classical Music? Cultural Choice and Musical Value by Julian JohnsonWilliam M. PerrineJulian Johnson, Who Needs Classical Music? Cultural Choice and Musical Value. Oxford University Press, 2002.In Who Needs Classical Music? Cultural Choice and Musical Value, British musicologist and composer Julian Johnson defends the value of classical music in a commercialized culture fixated on the immediate gratification of popular music. At 130 pages divided into six chapters, (...) Johnson’s book is a reasonably accessible and engaging presentation of his topic. This short book contains relevant and sometimes controversial insights of interest to professional music educators. In this review I will provide a brief summary of the author’s primary arguments accompanied by critical commentary.Johnson argues that commercial forces in our society limit serious reflective discourse on music. The marketplace treats music as a commodity which derives its value from relative commercial success. In this context, classical music is relegated to one possible cultural choice among many legitimate options and is in danger of losing its distinctive features as an art form that transcends commercial concerns. Preference for particular musical products becomes an identity marker for an individual’s place within society, and criticism of a particular style of music is perceived as a personal attack. The process of turning classical music into a commodity has been aided by critics who have condemned the Western [End Page 96] canon as elitist, patriarchal, and arrogant. These critics have instead advocated a democratization of culture, placing greater emphasis on the validity of popular art forms and active participation in music-making rather than the more passive contemplation. Johnson describes this as a “pseudo-democratic” attack which encourages downward social mobility. When combined with the omnipresence of commercial culture, this approach undermines individual musical value by assuming the equal validity of all aesthetic judgments. Democracy is damaged when, refusing to discriminate between cultural products, society fails to recognize human individuality and excellence.Johnson is at his strongest when he argues for the importance of classical music fulfilling its function as art. The author argues that different types of music fulfill different functions. In contemporary society music is valued and chosen for how it is used. Music is described as “good” when it functions to provide background music for activities or when it successfully complements or enhances the listeners’ moods. Focusing solely on social use or reception, however, tends to neglect objective differences in the formal structure of music. This is the point at which Johnson begins to distinguish between classical and popular music. Popular music is composed to ensure a uniformity of affect, and deliberately avoids formal or harmonic complexity. As an aspect of popular culture, it is tied to contemporary fashion trends and rapidly becomes obsolete. Like other types of fashion, music becomes a means for expressing a current position within a larger social and cultural space. It is the music of youth; its commercial saturation of the culture blurs the boundaries between youth and adulthood. Johnson claims that the process of commercialization leads to a bland standardization. Classical music can also function as a type of popular music when it submits itself to market processes, but in doing so the music loses its distinctive features.In his discussion on popular music, Johnson presents what might be his most controversial claim: that popular music serves a pornographic function. He defines pornography as “the process by which the humane is reduced to the status of things” (p. 59) and argues that popular music takes pleasure in debasing humanity by reducing individuals to material commodities and denying the spiritual. This contention echoes Allan Bloom’s concern in The Closing of the American Mind that rock music desensitizes and debases youth by destroying imagination and deadening their capacity for passion and wonder. The strength of this language undermines Johnson’s contention in his introduction to the paperback edition that he is not trying to set up a binary opposition between art and popular music in which the classical is “better.” Moreover, if pornography is a form of dehumanization and is a legitimate concern in music, it is important to point out that such a charge is not exclusive to... (shrink)

This article draws on historical material to examine the co-evolution of economic science and business education over the course of the twentieth century, showing that fields evolve not only through internal struggles but also through struggles taking place in adjacent fields. More specifically, we argue that the scientific strategies of business schools played an essential—if largely invisible and poorly understood—role in major transformations in the organization and substantive direction of social-scientific knowledge, and specifically economic knowledge, in twentieth century America. (...) We use the Wharton School as an illustration of the earliest trends and dilemmas (ca. 1900–1930), when business schools found themselves caught between their business connections and their striving for moral legitimacy in higher education. Next, we look at the creation of the Carnegie Tech Graduate School of Industrial Administration after World War II. This episode illustrates the increasingly successful claims of social scientists, backed by philanthropic foundations, on business education and the growing appeal of “scientific” approaches to decision-making and management. Finally, we argue that the rise of the Graduate School of Business at the University of Chicago from the 1960s onwards (and its closely related cousin at the University of Rochester) marks the decisive ascendancy of economics, and particularly financial economics, in business education over the other behavioral disciplines. We document the key role of these institutions in diffusing “Chicago-style” economic approaches—offering support for deregulatory policies and popularizing narrowly financial understandings of the firm—that sociologists have described as characteristic of the modern neo liberal regime. (shrink)

This study aims to discuss the historiography of standing up Maḥallu al-Qiyām in the cultural expression in Indonesia. This research is classified as qualitative research with a historical approach method reinforced with documentation, interview and observation. To deepen the meaning of Maḥallu al-Qiyām using analysis using the symbolic interpretive theory of Clifford Geertz. Interestingly, the tradition of Maḥallu al-Qiyām becomes a symbolic meaning of the expression of homage to the Prophet Muhammad and has the content of Maḥabbah teachings (...) to the Prophet. This research concluded that standing up Maḥallu al-Qiyām began when Sheikh Tajuddin as-Subkhi started his stand while reading the Prophet’s Mawlīd as a symbol of respect for the Prophet Muhammad. The Maḥallu al-Qiyām has various forms of celebration as a cultural expression in Indonesia, manifested in various forms of celebration in Javanese cultures, such as muludan, srakalan, kekahan, temu manten, manakiban, sema’an al-Qur’an, and respect for newly arrived ulama.Contribution: This article has contributed to discovering the traditions that developed in Indonesia, which intersected with Maḥallu al-Qiyām, thus identifying some expressions of Javanese culture in whose dialectic with standing Maḥallu al-Qiyām. (shrink)

Studies of creative industries typically contend that creative work is profoundly precarious, taking place on a freelance basis in highly competitive, individualized and contingent labour markets. Such studies depict creative workers as correspondingly self-enterprising, self-reliant, self-interested and calculative agents who valorise care-free independence. In contrast, we adopt the ‘ethics of care’ approach to explore, recognize and appreciate the communitarian, relational and moral considerations as well as interpersonal connectedness and interdependencies that underpin creative work. Drawing on in-depth interviews with creative workers (...) in a range of marginal socio-cultural contexts, we argue that creative workers cultivate and sustain a diverse array of practices of care arising from an affective concern with the well-being of others. Far from being merely individualistic and crudely competitive actors, creative workers enact practical ethical responsibilities and affectivities towards a range of human and non-human others, including families, local communities and neighbourhoods, colleagues, artistic scenes and their adjacent genres, and surrounding national and linguistic cultures. In emphasizing the fundamental and structuring role of care in contingent labour markets our approach accords with recent trends in the social sciences that ‘affirmatively’—as opposed to ‘negatively’ and ‘suspiciously’—recognize that mutuality, solidarity and affectivity are powerful drivers of action on a par with or even exceeding market-driven self-centredness. (shrink)

This paper lays the groundwork for normative-yet-naturalistic social epistemology. I start by presenting two scenarios for the history of epistemology since Kant, one in which social epistemology is the natural outcome and the other in which it represents a not entirely satisfactory break with classical theories of knowledge. Next I argue that the current trend toward naturalizing epistemology threatens to destroy the distinctiveness of the sociological approach by presuming that it complements standard psychological and historical approaches. I then (...) try to reassert, in Comtean fashion, the epistemologist's credentials in regulating knowledge production. Finally, I consider how social epistemology may have something exciting and relevant to say about contemporary debates in the theory of knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 231-232 [Access article in PDF] Donald R. Kelley. The Descent of Ideas: The History of Intellectual History. Aldershot, England: Ashgate, 2002. Pp. vii + 320. Cloth, $59.50. The field of intellectual history, once known as the history of ideas, intersects with many other historical sub-disciplines, especially the history of philosophy, the history of literature, the history of science, and cultural (...) history. Donald Kelley, a distinguished intellectual historian and editor of The Journal of the History of Ideas, has written a comprehensive history of his field that emphasizes the process by which scholars who studied the history of thought gradually adopted an approach to their subject that resulted in "the descent of ideas" from philosophical abstraction to the "sublunar" realm of human experience and understanding. This intellectual descent, just like the biological descent of man plotted by Darwin in 1871, has not followed a linear course. Displaying remarkable scholarly range and erudition, Kelley guides the reader through a complex and sometimes amorphous history of intellectual history that covers developments in scholarship from ancient times to the present.The most original and distinctive feature of the book is Kelley's emphasis on the importance of eclecticism in the emergence of intellectual history. The book begins with an exposition of the scholarship of the early nineteenth-century Liberal French philosopher and educator Victor Cousin, whose eclectic approach to teaching the history of philosophy was for him not only the best route to attaining true wisdom but also the key to organizing the history of thought. In this way Cousin helped to make intellectual history a distinct branch of historical scholarship, while his contemporaries Abel-François Villemain and François Guizot marked a parallel shift in interest from the history of ideas to the history of literature and the history of civilization. From this starting point Kelley looks back to classical, medieval, and early modern thought, exploring earlier expressions of eclecticism, including that of Diogenes Laertius in the third century CE, as a distinct and often maligned philosophical tradition. An excellent chapter on the "new" or modern eclecticism of the seventeenth and eighteenth centuries, which rejected syncretism as well as skepticism and which found a place for Christian thought, gives new significance to the work of [End Page 231] Jakob Thomasius, his son Christian Thomasius, and J. J. Brucker, whose Critical History of Philosophy (1742-44) established the history of philosophy as a distinct discipline.Kelley devotes considerable space to discussing the intersection between the history of philosophy and intellectual history. The former has long served as the "taproot" of the latter, even after eighteenth-century philosophers, striving to establish philosophy as a rigorous science, rejected a historical approach to attaining wisdom. This development caused a split within the ranks of philosophers between the "purists" in the Kantian tradition and "culturalists" like J. G. Herder who, "following the descent of ideas into the medium of language, strayed off into what came to be known as cultural history" (p. 4). In a chapter devoted to the history of philosophy in modern times, Kelley explores the contributions made by the philosophers Ernst Cassirer, Benedetto Croce, and Arthur Lovejoy to the field of intellectual history.By taking a long historical perspective on the development of his field, Kelley is able to demonstrate that some recent trends in intellectual and literary history have longstanding precedents. Thus he traces the recent "linguistic turn" in historical analysis, which he styles the "linguistic return," back to the Renaissance, and he sees the claims of twentieth-century scholars who emphasize the importance of narrative structures in giving meaning to the past as restatements of ancient literary theory. In his chapter, "The Way of Ideas and the Ways of Words," Kelley shows that the descent of ideas began long before the emergence of intellectual history as a distinct field. As might be expected in a work of historiography, Kelley's methodology in establishing these precedents and continuities in scholarship is in a certain sense traditional. Yet there is little that... (shrink)

L'étude de l'élaboration historique du dogme du péché originel est propre à dissiper l'illusion qu'il descendrait le cours du temps : il le remonte en réalité. On l'observe en particulier dans la genèse de ce concept chez Augustin, en réponse à la doctrine manichéenne du mal: la rédemption du Christ reflue vers les origines de l'humanité pour dévoiler notre responsabilité de la faute sous le pardon divin qui la recouvre. Ce dogme fournit une clef de lecture de l'histoire, il montre (...) la présence active de l'amour et du pardon aux origines du temps, pour dénoncer et réprimer la violence des hommes ; il conteste l'inertie du temps par la profusion du pardon, il exprime un sens de l'existence, il enseigne une intelligence de la temporalité.Le cas du péché originel illustre le fonctionnement du dogme en général dans la culture, bien au-delà de la sphère de l'Église, son rôle à la fois révélateur, contestant et régulateur. Encore faut-il savoir interpréter les dogmes, à la façon des mythes fondateurs, c'est-à-dire en tant qu'ils relèvent d'une logique symbolique, d'un langage narratif. La contemporanéité du Concile de Trente et du style baroque illustre également l'inscription du dogme dans la culture: le foisonnement des ornementations périphériques ne doit pas détourner le regard du centre de l'architecture, qui est la figure du Christ.The study of the historical development of the dogma of original sin is enough to dissipate the illusion that it descended tbrough time : as a matter of fact it reascended. In particular we see this in the birth of the concept, in Augustine’s answer to the Manichaean doctrine of evil: the redemption of Christ flows back towards the origins of humanity to unveil our responsability for the fault, which is covered over by the divine pardon. This dogma gives a key for reading bistory. It shows the active presence of love and forgiveness from the beginning of time, which denounces and represses the violence of men. It contests the inertia of time by the profusion of forgiveness, it expresses a sense to existence, and it teaches an understanding of temporality.The case of original sin illustrates the functioning in culture of dogma in general, well beyond the spbere of the Cburch, and its role both as revealer, contestant, and regulator. But it is still necessary to know how to interpret dogmas, in the fashion of foundation myths, that is to, say in so far as they are based on a symbolic logic of a narrative language. Tbe contemporaneousness of the Concil of Trent and the baroque style equally show the inscription of dogma in culture: the multiplication of peripberal ornaments ougbt not to turn our look away from the center of the architecture, which is the figure of Christ. (shrink)

The lotus, celebrated for its cultural symbolism and aesthetic allure, has been a recurring muse for flower and bird painters in Chinese art history. This article explores lotus paintings during the Ming and Qing dynasties, pivotal periods of ideological liberation and societal complexities. Traditional lotus artworks across dynasties have woven a rich tapestry in Chinese painting. Focusing on the lotus, the article intricately combines symbolic meanings and historical contexts, unraveling the flower's intrinsic artistic essence. It sheds light on the (...) evolving aesthetic qualities within lotus depictions, using this exploration as a lens to understand cross-cultural exchanges and clashes between Chinese and Western influences. Emphasizing the inherent artistic will of lotus-themed painting, the research delves into the nuanced development and aesthetic significance of this genre. By elucidating the beauty expressed in the evolution of lotus images, the study provides valuable insights with contemporary relevance. It highlights the symbolic significance of the lotus in Ming and Qing China, incorporating concrete examples of renowned lotus paintings and artists. This comprehensive approach aims to enhance reader-friendly comprehension and explicitly articulates the contribution of these findings to current artistic practices. The research not only deepens our understanding of lotus culture but also serves as a reference for contemporary lotus-themed creative endeavors, connecting historical expressions with modern artistic sensibilities. (shrink)

From a largely Western phenomenon, the “animal turn” has, in recent years, gone global. Animals and Human Society in Asia: Historical, Cultural and Ethical Perspectives is just such a timely product that testifies to this trend.But why Asia? The editors, in their very helpful overview essay, have from the outset justified the volume's focus on Asia and ensured that this is not simply a matter of lacuna filling. The reasons they set out include: the fact that Asia is (...) the cradle of early human settlement and animal domestication; Asia encompasses an extreme diversity of closely connected ecosystems and human cultures; Asia is the place where the world's major religions originated; and, as in other parts of the world, Asia's use of animals for food and other utilitarian purposes constitutes a prominent feature of its culture. All of these factors, they argue, made Asia a unique lab for the exploration of major developments in human civilization and the complexities of human-animal interactions.Based on these premises, the book is divided into four parts, each concentrating on areas that the editors consider to have paramount significance in world history: Part I, “Hunting and Domestication”; Part II “Animals as Food”; Part III “Animals at War”; and Part IV “Animals in Culture and Religion.” As many good works on animal studies do, the volume adopts a truly cross-disciplinary approach, uniting scholars from disciplines as diverse as archaeology, history, anthropology, art, religion, literature, and cultural studies. It too takes an interregional approach and covers a vast geographical area, stretching from the western edge of Asia in the Levant to Central Asia, where once roamed the horses of the nomadic pastoral tribes, to the other end of Asia, including India, China, and Japan. Temporally impressive as well, the work takes us from the deep history of the Paleolithic period up to the contemporary world, exploring the diverse roles that a wide range of animals—horses, donkeys, camels, elephants, tigers, and so forth—have played in Asia's rich and unique past and present.Strong in archaeology, Part I, “Hunting and Domestication,” responds to the much-called for “deep” or “coevolutionary” history of human-animal relations in recent years. The three chapters discuss, respectively, the roles that proboscideans have played in the diet and culture of early societies in Paleolithic China and beyond; the ways in which animals of all sizes have been increasingly integrated into the diet, daily uses, trade, and warfare in Holocene Negev; and the diversifying roles played by donkeys in the early Bronze Age in Southern Levant as a food source, a means of transport and in ritual sacrifices. Together, they demonstrate, with reference to telling archaeological evidence how the early societies in this region have been highly dependent upon the increasingly sophisticated interactions with and uses of mega-herbivores in the protracted and by no means clear-cut transition from hunting and herding towards the agricultural way of life, affirming the co-existing and co-constituting relations between humans and other animals in the deep past of Asia.The chapters in the section on “Animals at War” equally reveal the crucial roles that animals have played in the military sphere, as either a practical war technology or a show of military power. “Elephants in Mongol History” revisits the thesis of elephant-mounted troops in South and Southeast Asia as a barrier to Mongol expansion. Through its lively account of the pivotal battles in Mongolian history, especially that against India and China, it illustrates with great success the complex interactions between animals (especially elephants, horses, and humans), technology, and the geographical environment, which jointly exercised their influence on the outcome of warfare and degree of success of political rule. Turning away from the dynamic of warfare, the following two chapters explore the biopolitical question of the management of the horse as a bio-resource in the Mamluk Sultanate of Egypt and Syria (1250–1517) and early Ming Dynasty China, respectively. The first one places its focus on the breeding, procurement, and feeding of the horse subjects in question, while the latter concentrates on the human organization of various resources for the upkeep of government horses—a conventional area of study called “horse administration” in the institutional history of the government in China.The last section, “Animals in Culture and Religion,” examines the changing images of apex predators, such as lions and tigers, in Buddhist perceptions from South Asia to East Asia; the cult of the Horse King in late Imperial China; and the significance of animal signs in Mongolian historiography. They represent an established approach in animal studies that seeks to understand different aspects of human culture through symbolic or metaphorical animals. Instead of treating the animals discussed as mere abstractions, which has been a frequent criticism of works that adopt this approach, the relations between the symbolic animals and their prototype in the natural world were attentively explored. The essay on the cult of the Horse King, for example, closely links the wax and wane of the cult since late imperial China with the changing use and subsequent disuse of the actual horses in agriculture, transportation, commerce, and quotidian life. Yet, classic as these essays on symbolic animals are, one does feel slightly unsatiated when coming to the end of this section, which also marks the end of this volume. Having been reminded early in the introductory essay that Asia was “a major site for the emergence of moral teachings and ethical guidance on the treatment of animals” and how this legacy “still affects the lives of billions of humans to this very day,” one feels naturally rather let down that no article in this volume directly addresses this vital ethical dimension, especially since it belongs to a series on “animal ethics.”Indeed, regarding the task of placing either the nonhuman animals or the ethical relations between humans and other animals center stage, the essays in this volume achieve only varying levels of success. Some authors exhibit a more acute awareness of what “animal studies” or “animal ethics” might entail epistemically and methodically and experiment by paying closer attention to the species-specific characteristics, experience, and agency of nonhuman animals in order to cast off the deified anthropocentrism previously ruled in humanist scholarship. However, others have made no such attempt. For example, in Part II of “Animals as Food,” an essay on the production and consumption of milk in contemporary China, albeit alert to the issue of health hazards to consumers, omits any consideration of the subject from the dairy cows’ perspective under the modern intensive farming system. Moreover, otherwise superb research on the tuna-fishing industry in Japan, with its insightful discussion of the nexus between knowledge economies and imperial politics, too passes over any discussion of the fate of the tuna, whether collectively as a group of living organisms containing 15 species or individually as animals with an embodied experience. One does ponder whether these essays would fit better in a volume on the cultural history of food or on the entwining history of knowledge production, economics, and politics, which conventionally position human interests at the center of research.Taken as a whole, this is an impressive volume that directs our attention to the hitherto understudied world of Asia in animal studies. The long durée, with its interdisciplinary and interregional approach, also most powerfully presents a past in Asia that could not have been the same without the participation of animals at every level, from everyday life to the shaping of cultural values, the construction of belief systems, the building of a national identity, and even the rise and fall of regimes. Scholars and students interested in expanding the frontier of our understanding of the world with a more inclusive “we” should find a wealth of interesting subjects on which to build further research. Finally, the volume also presents a fitting occasion for all scholars committed to animal studies to consider the grave challenge confronting the field that arose alongside its growing respectability and rapid expansion: Should it be oriented toward the destabilization of our previously anthropocentric conception of the world? Or should no such perimeter be imposed, as in this volume? The overall breadth and limitations of this volume leave one pondering this issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 127 seems to imply. Of course, this critique can easily be dismissed as asking for a book that Krieger did not wish to write. His method has produced important results, for Krieger has discerned developmental trends overlooked by others. Otherwise, the only area that I think needs further discussion is Ranke's conception of the nature and function of science. Krieger seems to imply that science automatically means (...) a nomological approach modeled upon the mechanical physical sciences. But Ranke was nourished in an atmosphere where science was often equated with Naturphilosophie. Certainly, Ranke's language is filled with images and terms popularized by Naturphilosophen. Ranke's quest for a science of history may fit very nicely with the ideal dimension of his thought if the science that he is talking about is analogous to Naturphilosophie. It may turn out that the basic polarity in Ranke's idea of history is an analytic construct that has little meaning for Ranke's own intentions. Krieger ends his study with a chapter devoted to the meaning of Ranke's work for modem historiography. It is the dialectical synthesis of the whole study. After recapitulating Ranke's achievements, Krieger then emphasizes the breach that separates Ranke from our conceptual world. We no longer share Ranke's beliefs or values. In fact, for most of us "he must seem simply archaic, and the more he is himself historically restored the more archaic he must seem" (p. 355). For the reader who had to struggle through this difficult book and to contend with Professor Krieger's passion for complex dependent clauses, this announcement appears as a grand denouement. But the shock is only temporary. Krieger's assertion of the differences that separate Ranke from us serves as a warning to those who still take Ranke's approach as an objective model for historical reconstruction. The deeper meaning of Ranke's view of history is the affirmation of history as an autonomous and independent form of knowledge. "History is an inimitable way of rendering comprehensible modes of humanity which must otherwise be incomprehensible" (p. 356). This form of knowledge, which is devoted "to the actual but equipped with a language of common sense organized around the categorical," proceedes by arranging things along a time line (p. 357). Here Krieger launches a spirited counterattack against those modem theorists who have questioned the viability of history as an independent form of knowledge or who have minimized the importance of developmental analysis, preferring instead to concentrate upon relatively static deep structures. Krieger's study affirms Ranke's project in its most general sense; that history is a cumulative logic of the actual, "the meeting ground of philosophy, science, and cataclysmic experience" (p. 356). And it serves, at the same time, as a positive demonstration that a developmental analysis does impart knowledge that other approaches cannot achieve. In this sense, Krieger's masterful study of Ranke reaffirms Ranke's central position as a founding father of modem historical thought. PETER HANNS REILL University of California, Los Angeles Arthur Quinn. The Confidence of British Philosophers:An Essay in Historical Narrative. Leiden: E. J. Brill, 1977. Pp. xii + 289. Gld. 80. This is a remarkable book. Almost all of it is a study, very well researched and presented, of four major English philosophical movements: Newtonians, the Utilitarians, the Oxford Hegelians, and the Russell, G. E. Moore, and Whitehead group. The study shows the initial enthusiasm, optimism, and confidence of each of the groups. Each believed that it had found a way to solve the intellectual and perhaps moral and social problems of mankind. As each movement developed, the confidence slowly eroded when philosophical problems and difficulties failed to disappear. The picture Quinn presents of these movements is very interesting. He has grouped together 128 HISTORY OF PHILOSOPHY much detail that makes us see the original intentions of the leaders of each of these movements. He also deftly shows how as stumbling blocks arose each movement lowered its goals and began to fade. Employing a very wide range of printed sources, Quinn presents a series of convincing vignettes, and in so doing be often reveals features of these movements that have been... (shrink)

This essay explores notions of maternal desire within feminist psychoanalysis with an interest in challenging heteronormative frameworks of analysis. Providing close critical readings of texts by Jessica Benjamin, Julia Kristeva, Kaja Silverman and Hortense Spillers, I trace conceptual openings through which to interpret maternal sexuality as a mobile process of intersubjectivity that is grounded in changing historical relations of experience. I argue that Spillers’ approach transforms a critical process of reading desire away from the insularities and exclusions of conventional (...) psychoanalytic knowledges towards a democratic and reflexive process of representation and analysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.3 (2001) 523-541 [Access article in PDF] Antiquarianism, the History of Objects, and the History of Art before Winckelmann Thomas DaCosta Kaufmann [Figures] To the Memory of Franklin LeVan Baumer. In light of postmodernist and poststructuralist trends in the humanities which have contested notions of originality and of authorship, it might seem surprising that one outstanding myth of the eighteenth century has not (...) yet been thoroughly challenged. This is the claim made by Johann Joachim Winckelmann in the foreword to the Geschichte der Kunst des Altertums, originally published in 1764, that he had created a new history of art which was distinct from a history of artists and also different from what had previously been written about antiquities (Altertümer): The history of the art of antiquity, which I have undertaken to write, is no mere account of the chronological order and change of art, but I take the word history in the wider sense, that it has in the Greek language, and my intention is to offer an attempt at a system.... But the essence of art is in every part the most eminent aim, in which the history of artists has little influence, and this [sort of history of artists], which has been compiled by others, is therefore not to be sought here... those who have treated antiquities, examine either only such where erudition was to be applied, or, if they speak of art, this happens in part with common eulogies, or their judgment is built on peculiar, false grounds. 1 [End Page 523]Wolf Lepenies once described this claim as one of the many foundational myths of the Enlightenment and presented instead some parallels between the writing of art history and natural history in the eighteenth century. 2 As interest in the historiography of art has revived, publications have continued to pour forth on Winckelmann. 3 Yet the critique suggested by Lepenies has largely not been followed. Winckelmann's claim to originality remains a starting or major turning point for most accounts of the history of the discipline of art history. 4 [End Page 524]It may be that Winckelmann's claim has remained largely unchallenged because his differentiation of his accomplishment from that of Gelehrsamkeit in particular coincides with and helps to support another distinction made at his time, that between "philosophy," or criticism, and erudition, the latter being at best necessary but inferior. 5 This distinction, which was fostered by the philosophes and their counterparts in other countries, has been frequently heard in scholarly debates, and it is echoed in current discussions where empirical scholarship is disparaged in favor of what is often now called Theory. 6 Thus while in the twentieth century the Enlightenment came in for heavy going starting with at least the critique of Max Horkheimer and Theodor W. Adorno, 7 this is one Enlightenment opinion which, despite the rise of critical theory among other trends in recent scholarship, has gained in fashion, especially in the English-speaking world.But the contrast between philosophy, or critique, and erudition makes a distinction that is ultimately untenable, even if it is also one that has continued to dominate many views of the history of eighteenth-century scholarship. The case at hand suggests that supposed innovations of the eighteenth century in the historiography of art, as in many other fields of study, are much more bound up with late humanism and encyclopedism than their promulgators might have wished to admit. Scholars of a number of disciplines have begun to revise interpretations of the role of the so-called antiquarians of the sixteenth to eighteenth centuries--those who dealt with Altertümer. 8 Some recent studies of the historiography of art have pointed to some connections between the antiquarian tradition and that of the historiography of art. 9 These approaches, however, have primarily dealt with Italian and French writers and, moreover, have left Winckelmann's position largely untouched. 10 Winckelmann's situation in the [End Page 525] broader European historical and geographical context also remains... (shrink)

This article looks into how Tibetan Buddhism is framed in terms of East-West dichotomy in six popular books on Buddhism and spirituality. Discourse Historical Approach is employed to uncover the rhetorical representation of Tibetan Buddhism to the readers. A critical post-colonial perspective offers an insight into various power dynamics, arising from these representations, structured according to Yoshikawa's model of intercultural communication between East and West. The various power outcomes of rhetorical styles range from Ethnocentric to Dialogical, with their ethical (...) consequences and problematics discussed. (shrink)

This article aims to discuss the discourses and debates on Khilafah system in Muslim countries and how it transforms into a nation-state system, specifically in Indonesia. These dicourses and debates include the contestation and trends in the connection between Islam as a religion and Indonesia as a nation-state, which reemerged after the ban of Hizbut Tahrir Indonesia (HTI) in 2017 and The Front of Islamic Defenders (Front Pembela Islam/FPI) in 2020 accordingly under President Jokowi’s administration. This article (...) employs descriptive qualitative analysis to investigate the historical sequences of the discourses and debates on the genealogy, contestation, and relation between the Khilafah system and the nation-state system in Indonesia to uncover the fundamental ideology which underlines the conflicting interests in the debate. It operates the historical-sociological approaches to examine the data collected from books, articles, journals, and newspapers which contain the opinions of the prominent Muslim scholars gearing the dynamic discourses and debates on the nation-state system and Khilafah system. This article, therefore, attempts to demonstrate how Khilafah system idea emerged after the death of the prophet Muhammad and how this idea was contested by Muslim scholars and leaders today. This article suggests that in the struggle of ideology, thought, and movement inside the Muslim countries including Indonesia, the Khilafah system and the system of nation-state came into conflict. Further, the two forms of engagement between Islam and the nation-state are driven by nationalism. (shrink)

This work focuses on corporate social responsibility disclosure practices of multinational corporations. Based on a longitudinal study of CSR reports of companies operating in the automotive industry, the paper offers a detailed study of how disclosure practices are changing and which principles and approaches influence and drive the development of such disclosure. Based on a four-year report-based study, the findings enable us to identify three main trends in the CSR disclosure strategy of automotive firms. First, in line with the mainstream (...) CSR literature, the present study confirms the trend towards the increasing environmental and social accountability. Second, it adds evidence to the emerging debate regarding the harmonization and standardization of reporting and discusses this aspect by mentioning the standards as exerting some normative pressures within the sector. Finally, it provides evidence on specific links emerging between issues and actors. The implications of this evidence contribute to opening up the debate on CSR disclosure to the possibility of combining the institutional lens with a strategic approach that captures the materiality considerations of CSR disclosure. (shrink)

I have based my psychological hypotheses on studies in perception and in personality. Research in these two areas began independently, but by the late forties the supposedly unconnected processes came to be seen as different aspects of one process. For instance, a low tolerance for perceptual ambiguity and cognitive dissonance was found to be significantly correlated with lack of emotional responsiveness, dogmatism, and authoritarianism; conversely, a high tolerance for perceptual ambiguity and cognitive dissonance was found to be significantly correlated with (...) tolerance of emotional ambivalence, openness to new experience, and a liberal world view.1 Later studies, primarily those conducted in the sixties, then established strong correlations between these findings and information-processing styles. Information processing involves three stages: first, stimuli are selected from the environment ; these stimuli are then arranged into "dimensions"; finally, if two or more dimensions result, they are compared and/or combined according to certain rules. H. M. Schroder and his colleagues have established correlations between personality styles and styles of information processing.2 For example, an intolerant personality—that is, one with a low integration index—"identifies and organizes stimuli in a fixed way, and the rules derived from existing schemata are explicit in defining this one way" . What psychologists call an "abstract personality" and identify in terms of "flexibility" or "tolerance of ambiguity"—what in literary studies is most conveniently called "negative capability"—is not necessarily characterized as lacking rules but rather as possessing a greater number of conflicting rules on a lower level which may be accommodated by rules on a higher level. · 1. See Jerome S. Bruner and David Krech, eds., Perception and Personality, 2nd ed. and Robert R. Blake and Glenn V. Ramsey, eds., Perception: An Approach to Personality . Although, as Else Frenkel-Brunswick says, "rigidity in one respect may go with flexibility in another," she also adds: "There is some indication that in the case of distinct intolerance of emotional ambivalence one may as a rule be able to locate at least some aspects of intolerance of cognitive ambiguity although these may often be more apparent on a higher level than that of perception proper" The present essay, since it is one section of a projected larger study, deals with the issues inherent in this approach in only a limited fashion. One could, for instance, quote whole essays in this branch of psychology dealing with ambiguity and point to their relevance for some aspects of literary study and the teaching of literature. Ambiguity, of course, is also a central term in New Criticism. See William Empson, Seven Types of Ambiguity and Ernst Kris and Abraham Kaplan, "Aesthetic Ambiguity," in Psychoanalytic Explorations in Art, ed. Kris , pp. 243-64.· 2. H. M. Schroder, M. J. Driver, and S. Streufert, "Levels of Information Processing," in Thought and Personality, ed. Peter B. Warr , pp. 174-91. All citations to this work will appear in the text. Reuven Tsur, senior lecturer in Hebrew literature at Tel-Aviv University, is the author of several books in Hebrew on medieval and modern Hebrew poetry and, in English, A Perception-Oriented Theory of Metre. (shrink)

Digital records, from chat transcripts to social media posts, are being used to create chatbots that recreate the conversational style of deceased individuals. Some maintain that this is merely a new form of digital memorial, while others argue that they pose a variety of moral hazards. To resolve this, I turn to classical Chinese philosophy to make use of a debate over the ethics of funerals and mourning. This ancient argument includes much of interest for the contemporary issue at hand, (...) including the use of impersonators of the dead to help the bereaved to deal well with their grief. I connect this historical discussion with a modern trend in clinical psychology that reframes therapeutic interventions with bereaved individuals. The trend directs practitioners away from facilitating detachment and toward affirming continuing bonds. I conclude that these chatbots can offer an important source of support to mourners, but also discuss parameters and features of social context that will be important to avoid the moral hazards identified by sceptics. (shrink)

The Institute of Medicine (IOM) published To Err is Human: Building a Safer Health System in November 1999. The report focused public attention on the errors that occur within the medical system that cause death and harm to patients. It outlined a series of changes for health care that are aimed at reducing these errors by 50 percent over the next five years. This paper examines the problem of medical mistakes historically. It documents how legal, scientific, and medical trends during (...) the years 1890Ð1934 intersected to effect the reporting of mistakes in the subspecialty of neurosurgery. At the start of this time frame, mistakes were reported openly in journal articles as an educational tool. By its end, however, mistakes had gone ÒundergroundÓ and were buried amid a more objective, scientific reporting system. Using this historical perspective as a baseline, the paper concludes by re-examining the IOMÕs suggestions for change and comments on what they mean for the culture of medicine. (shrink)

This article aims to analyse the governmental rationalities that took passions as an object in the French seventeenth century, unleashing the modern transformation in emotional power. The classical question of the intertwining between emotions and rationality is approached through a cultural and historical perspective, analyzing historically situated discourses that define political rationalities that propose to govern, with specific techniques and objectives, certain “emotions”’ that are conceived in a certain way. Passions emerged as an object of government through the statement (...) that passions and not inactive reason were the true drivers of human action. Analyzing the treatises on the government of passions as “arts of government” aimed at the authorities of the period, this article explores initially how Neostoic discourses promoted an exchange between Augustinian government of the will and reason of state’s strategies of manipulation of interests. Subsequently, by scrutinizing the texts of French moralists of the second half of the century, this article shows how, under the influence of Jansenism, they invert Neostoic logic and affirm a new emotional rule for political government: enlightened self-love. The idea that the commerce of selfish passions in the market could promote social peace and material progress cleared the path for the acceptance of a concupiscent order. The article’s contribution resides firstly in the history of the shift in the West’s fundamental emotional rule, love, and secondly in the way in which emotional power could work as a condition of possibility for the emergence of modern economic rationality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Plato and Pythagoreanism by Phillip Sidney HorkyGabriele CornelliPhillip Sidney Horky. Plato and Pythagoreanism. Oxford University Press, 2013. xxi + 305 pp. Cloth, $74.Ceci n’est pas un livre sur Pythagore. With these clever and rather playful words, Horky’s book starts its literary journey through a wide range of Pythagorean sources, including Epicharmus, Empedocles, Philolaus, Eurytus and Arquitas, and Pythagorean themes, like numbers, immortality of the soul, limitness/unlimitness, among others.From (...) this explosive incipit, one would think that Horky agrees with Kahn’s almost forty-year-old observation about the fact that new theories of Pythagoreanism are not necessary in our present day and age (1974, 163, n. 6):It’s hard enough to satisfy minimal standards of historical rigor in discussing the Pythagoreans, without introducing arbitrary guesswork of this sort where no two students can come to the same conclusion on the basis of the same evidence. In fact, the direct testimony for Pythagorean doctrines is all too abundant. The task for a serious scholarship is not to enrich these data by inventing new theories or unattested stages of development but to sift the evidence so as to determine which items are most worthy (or least unworthy) of belief.On the contrary, however, Horky’s approach seems surprisingly to direct the reader towards a fundamentally historiographical rather than philological brand of work, that is, one devoted neither exclusively to the exegesis of Pythagorean sources nor even to the theoretical approach of one of the themes that received specific contributions from Pythagoreanism, such as mathematics, cosmology, politics, or the theory of the immortal soul. This is mainly true when one recognizes, from the title on, that the main goal of the book is to try to determine, once and for all, what is the extent of Pythagorean influence on Plato’s thought. Rather an historiographical problem, I would say. And a good one.In order to do so, Horky needs to trace down a sort of history of mathematical Pythagoreanism from a huge variety of informed ancient sources and perspectives. Horky’s approach to the sources is well-grounded, not only in Burkert’s fundamental works, but also in the recent revival in Pythagorean studies which took over ancient philosophy scholarship in the last two decades: Huffmann’s works on Philolaus (1993) and Arquitas (2005); Zhmud (1997) and Kahn (2001) on early Pythagoreans; Riedweg on Pythagoras (2002), among many others. After the publishing of Horky’s book, two sorts of Companions to Pythagoreanism confirm the trend of the revival: Cornelli, McKirahan, and Macris (2013), acts of the On Pythagoreanism seminar held in Brasilia by Archai [End Page 353] UNESCO Chair, and Huffman (2014). Luckily, Pythagorean scholarship has now gotten rid of that old-fashioned scepticism, starting from Zeller’s famous statement that the relevant sources are a “mixture of fables and poetry.” As Horky’s book seems to suggest, the job can be done. And he has definitely proved to be able to force his way through, with both clear philological arguments and refined historiographical hypotheses.Not surprisingly, a work on Plato and Pythagoreanism starts with a chapter on Aristotle: “Aristotle on Mathematical Pythagoreanism in the Fourth Century BCE” (chap. 1). The idea of the chapter is to rely on Aristotle’s distinction between the mathematical and acousmatic branches of Pythagoreanism. While acousmatic Pythagoreans supposedly did not engage in demonstration, the so-called mathematical Pythagoreans engaged in investigations based on mathemata in order to give an account (the reason why of the world they perceived). Horky seems to drive Aristotle’s account to a specific goal: mathematical Pythagoreans would have established some kind of correspondence between numbers and sensibles, and their ontology would have a direct relation to social and political organization.Chapter 2, “Hippasus of Metapontum and Mathematical Pythagoreanism,” is entirely dedicated to the account of the later doxographical tradition on Hippasus, the alleged progenitor of mathematical Pythagoreanism. Avoiding the risk of falling into the “bottomless pit” of research on the Pythagoreans—in Guthrie’s famous words (1962, 146, n. 1)—Horky manages his inquiry boldly and in a quite elegant way. Between the peripatetic systematization and the platonic derivation of Hippasus’ philosophy, Hippasus... (shrink)

The author?s approach is based on three premises: 1. that Gajo Petrovic?s Praxis was an outstanding phenomenon in Croatian, Yugoslav and European culture, a challenge of freedom in a repressive society; 2. that there has never been such a thing as "Praxis group", "philosophers of practice" or "Praxis philosophers" with a unified philosophical and socio-theoretical orientation; and 3. that political and ideological attacks on Praxis were part of the repressive system that targeted every instance of cultural and scientific dissent. The (...) political leadership of Tito?s regime, its ideological and propaganda apparatus systematically disseminated allegations, denunciations and accusations against Praxis and Gajo Petrovic. The same style has survived through radical historical changes from the appearance of Praxis until today. The attackers have often been the same persons, with the difference that in earlier times they denounced Praxis and Gajo Petrovic as enemies of "socialism" and the "socialist self-management system", and in the changed political fashion as "servants" of Tito?s authoritarian rule. The fate of Praxis in the former regime has been triumphantly interpreted as a "family quarrel". This paper attempts a sociological analysis of the political destiny of Praxis. The analysis is essentially determined not by old and new political and ideological questionings of Praxis, but by Gajo Petrovic?s fundamental belief that there is no freedom without the human or humanity without freedom.. Osnovu autorovog pristupa cine tri stava: 1. da je Praxis Gaje Petrovica bio izuzetna pojava u hrvatskoj, jugoslovenskoj i evropskoj kulturi, izazov slobode u drustvu represije; 2. da ne postoji tako nesto kao "praxis-grupa", "filozofi prakse" ili "praxis filozofi" koji bi imali jedinstvenu filozofsku ili drustveno-teorijsku orijentaciju; 3. da su politicka i ideoloska osporavanja Praxisa bila deo represivnog sistema kojem je bilo podvrgnuto svako neistomisljenistvo u kulturi i nauci. Politicki vrh Titovog rezima, njegov ideoloski i propagandni aparat sistematski su sirili insinuacije, denuncijacije i optuzbe o Praxisu i Gaji Petrovicu, da bi taj manir u bitno promenjenim istorijskim okolnostima, trajao od pojave Praxisa do danasnjeg dana. Cesto su i akteri napada bile iste osobe, samo sto su nekada osporavali Praxis i Gaju Petrovica kao neprijatelje "socijalizma" i "sistema socijalistickog samoupravljanja", a u promenjenoj politickoj modi kao "sluge" Titove autoritarne vladavine. Sudbinu Praxisa u prethodnom rezimu slavodobitno su tumacili kao "obracun u obitelji". Rad je pokusaj socioloske analize politicke sudbine Praxisa, koju ce bitno odrediti temeljno uverenje Gaje Petrovica da nema slobode bez coveka ni ljudskosti bez slobode, a ne stara i nova politicka i ideoloska osporavanja Praxisa.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Love and Providence: Recognition in the Ancient Novel by Silvia MontiglioTim WhitmarshSilvia Montiglio. Love and Providence: Recognition in the Ancient Novel. New York: Oxford University Press, 2013. ix + 255 pp. Cloth, $74.Terence Cave’s Recognitions: A Study in Poetics (Oxford: Clarendon Press, 1988) opened up the subject of recognition scenes to a new readership, with sparkling discussions not just of the medieval and renaissance literature of his own (...) specialism, but also of its Classical antecedents. Without offering (and without claiming to offer) a systematic study of the ancient sources, Cave demonstrated the power and capaciousness of the motif, in particular through a wonderfully dexterous reading of Heliodorus’ Aethiopica. For Cave, recognition is a dangerous force at both the social and the literary levels: it threatens to expose the fictionality of identity as a construct of human relations (for recognition is an act of collective assent, not an acknowledgement of any kind of deep truth), and indeed the fictionality of fiction itself.Silvia Montiglio’s new book treats not the entirety of Classical literature but an impressive range of novelistic texts, covering not just the canonical Greek and Latin works but also Jewish and Christian material such as Joseph and Aseneth, the pseudo-Clementine Recognitions (unavoidable, perhaps!), and Apollonius, King of Tyre. Montiglio avoids Cave’s grand, theoretical claims about what recognition is and focuses instead on what it does within the texts. Her procedure is to stick closely to the contours of the text, tracing the progress of themes through the narrative. In contrast to Cave, Montiglio sees recognition as primarily running along the dominant ideological grains of the individual novels: in the Greek and Judaeo-Christian texts at any rate it exists in order to affirm the idealising thrust, be it matrimonial or religious. Recognition’s primary role, for Montiglio, is to affirm identity, to validate the relationships to which texts normatively commit.The book proceeds via a series of close, immersive encounters with the texts. Although prodigiously widely read in the modern literature on the novels, Montiglio has little interest in wider social frameworks, and is virtually immune to the theoretical and cultural-historical bugs doing the rounds: intertextuality (though she is certainly alive to the power of literary precedent), narratology, cognitive theory, gender, sexuality, identity, cultural transfer, and so forth. Her story, rather, concerns the fluctuations of literary form across a range of periods and texts, and comparisons between different handlings of this central (but rather [End Page 166] neglected) topos. Although rather more detailed, sophisticated, and wide-ranging in its subject-matter, it harks back in a way to some of the motif-based, formalist novel scholarship of the 1980s and 1990s: Consuelo Ruiz Montero’s La estructura de la novela griega: análisis funcional (Salamanca 1988), Bryan Reardon’s The Form of Greek Romance (Princeton 1991), Françoise Létoublon’s Les lieux communs du roman: stéréotypes grecs d’aventure et d’amour (Leiden 1993).Five substantial chapters deal with Chariton and Xenophon (chap. 1), Achilles and Longus (chap. 2), Heliodorus (chap. 3), Petronius and Apuleius (chap. 4), and the Jewish and Christian “novels” (chap. 5). This cumulative approach allows her to ease a story out of her material by progressively comparing later to earlier treatments of similar themes. To restate it simply, her argument is that Chariton and Xenophon handle recognition relatively “straight,” presenting it as an opportunity for the lovers to reunite triumphantly and to reassert their love (although there are multiple other recognitions that interact with the lovers’ own). In Chariton there is an interesting emphasis on the power of the voice to impel recognition. Achilles, characteristically, turns the topos inside out: in this novel preoccupied with self-presentation, display, and disguise, Clitophon repeatedly fails to recognise Leucippe. In Longus, the central recognition is the New Comedy–style acknowledgement of the lovers by their parents, which not only validates their identities as urban aristos but also legitimises their love for each other. Heliodorus has the most elaborate recognition scene of all, with the extended revelation of Charicleia’s identity offsetting and finally banishing all the perceptual misdirection of the earlier parts of the... (shrink)

Media portrayal has a huge impact on young fashion and style preferences, driving both social and personal trends. This study investigates whether media portrayals, such as social media, television, and fashion businesses, influence young adults' fashion choices and self-image. The study investigates the influence of exposure to media on fashion preference formation through the analysis of collected datasets. The key findings show that fashion personalities and media channels have a significant impact on style acceptance. The (...) study focuses on how brand reputation and the variety of media content impact consumer behavior. It employs SPSS software to conduct statistical methods, such as Chi-Square tests, to examine the link between demographic factors and media influence. The findings underscore the dynamic nature of fashion trends influenced by media and emphasize the need to understand how media shapes the fashion choices of today's youth. (shrink)

The work of contemporary Italian thinkers, what Roberto Esposito refers to as Italian Theory, is attracting increasing attention around the world. This book explores the reasons for its growing popularity, its distinguishing traits, and why people are turning to these authors for answers to real-world issues and problems. The approach he takes, in line with the keen historical consciousness of Italian thinkers themselves, is a historical one. He offers insights into the great "unphilosophical" philosophers of life—poets, painters, politicians (...) and revolutionaries, film-makers and literary critics—who have made Italian thought, from its beginnings, an "impure" thought. People like Machiavelli, Croce, Gentile, and Gramsci were all compelled to fulfill important political roles in the societies of their times. No wonder they felt that the abstract vocabulary and concepts of pure philosophy were inadequate to express themselves. Similarly, artists such as Dante, Leonardo Da Vinci, Leopardi, or Pasolini all had to turn to other disciplines outside philosophy in order to discuss and grapple with the messy, constantly changing realities of their lives. For this very reason, says Esposito, because Italian thinkers have always been deeply engaged with the concrete reality of life and because they have looked for the answers of today in the origins of their own historical roots, Italian theory is a "living thought." Hence the relevance or actuality that it holds for us today. Continuing in this tradition, the work of Roberto Esposito is distinguished by its interdisciplinary breadth. In this book, he passes effortlessly from literary criticism to art history, through political history and philosophy, in an expository style that welcomes non-philosophers to engage in the most pressing problems of our times. As in all his works, Esposito is inclusive rather than exclusive; in being so, he celebrates the affirmative potency of life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Skeptic Way: Sextus Empiricus’s “Outlines of Pyrrhonism.” by Benson MatesDavid K. GliddenBenson Mates. The Skeptic Way: Sextus Empiricus’s “Outlines of Pyrrhonism.” New York: Oxford University Press, 1996. Pp. x + 335. Cloth, $55.00, Paper, $22.95.Benson Mates’s translation and commentary of Sextus Empiricus’ Outlines of Pyrrhonism appears nearly half a century after Mates first began his pioneering work on Sextus and Hellenistic philosophy. This publication coincides with another (...) new translation of the Outlines by Annas and Barnes, who provide only an abbreviated commentary (Cambridge University Press, 1994). After decades when the only available English translation was by Bury from the Loeb, there are now choices available which allow Sextus to be taught to different sorts of English readers.In comparing the two translations, this reader found the Annas and Barnes version more mellifluous. Mates is not as sweet. His style is plain-spoken, but this approach has merits when the arguments get going. The Annas and Barnes version uses footnotes for commentary, along with a brief introduction. Their notes cite parallel passages in other works by Sextus, provide brief guidance for interpretation when it is most needed, and connect the reader with a focused list of bibliographical references, inviting readers themselves to turn toward scholarly debates over certain controversial passages. Consequently, Annas and Barnes opens out to a wide audience of classicists, historians, students of literature, general readers interested in scepticism, as well as philosophers of whatever ideology. [End Page 460]The Mates edition is directed toward philosophers alone. It is much less oriented toward historical scholarship, preferring to read Sextus as a contemporary professional philosopher might. In this way, Mates will approach a passage from the Outlines in terms of a passage in Hume or Berkeley, even though, of course, these latter-day philosophers derived their views from reading Sextus. Mates employs philosophese with ease, constructing a version of Sextus from the professional philosopher’s interpretive stance, in the language of propositions and Fregean intensions. The audience Mates is writing for and the viewpoint he is writing from more or less correspond to the “analytical” faction of the American Philosophical Association. Postmodern Foucaultians, contextualist historians, and Hellenistic scholars might find this approach unhelpful, even irritating. But busy, mainstream American philosophers could find Mates’s approach sufficiently sympathetic to actually read some Sextus, in the way Chisholm once had done, finding a passage on the Cyrenaics in Sextus which led to the reinvention of “adverbial appears locutions” and which, in turn, played for decades in the epistemological arcades.Mates begins his edition with a systematic introduction to the Outlines and follows his translation with another hundred pages of narrative, reflecting primarily what Mates finds interesting about certain selected passages. Although, like Annas and Barnes, he provides parallel passages, ancient references, and highly abbreviated accounts of scholarly disputes, his own narrative line dominates both his introductory essay and his commentary. Mates writes in a somewhat chatty style prone to the blunt Cephalean confidence that comes with considerable experience and success as a professional philosopher. His narrative line is clear, connected, often compelling, as for instance when he argues that for Sextus “dogmatizing and believing turn out to be one and the same” (61).Fashion has returned to favor Pyrrhonism in the late twentieth century, just as the cycle had come around before, toward the end of the sixteenth century, sparking a philosophical renaissance. This time around the import may be different. Both Annas and Barnes as well as Mates find Sextus worth reading as serious philosophy. This is a considerable improvement in the fortuna of the Outlines. For decades Sextus was banned in American philosophy departments, as no philosopher at all. He was not taught, he was not read. One highly prominent American philosopher was expressly forbidden to write a dissertation on him, around the time Mates and Chisholm had the courage to publish on him. Sextus is now welcome in the Canon.If Sextus now is one of us, a serious philosopher, then the dogmatists (Stoics, Epicureans, Peripatetics, etc.) he ridiculed were merely failures. The game continues. So, Mates, Annas and Barnes can embrace Sextus as ours. His readers won’t... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Thicker Jesus: Incarnational Discipleship in a Secular Age by Glen Harold StassenSarah A. NeeleyA Thicker Jesus: Incarnational Discipleship in a Secular Age Glen Harold Stassen Louisville, KY: Westminster John Knox Press, 2012. 280pp. $25.00Glen Stassen’s A Thicker Jesus addresses how one can find a solid ethical identity that provides a framework and path in a rapidly changing world. Stassen begins by considering what those who have stood (...) the test of history, such as Dietrich Bonhoeffer, Karth Barth, Martin Luther King, and Dorothy Day, among others, have in common. He effectively argues that the common thread among these great leaders of resistance is a “thick” exegetical understanding of Jesus Christ that is implemented in daily life through incarnational discipleship. Such a “thick” interpretation of Jesus of Nazareth is rooted in Christian realism rather than Platonic idealism, meaning that incarnational discipleship does not attempt to apply lofty ideals to reality but is deeply involved, following Jesus of Nazareth, in historical struggles. Stassen then argues that this type of ethic can address all of the problems posed to ethics and faith in “a secular age” outlined by Charles Taylor’s book of the same title.Stassen’s framework of incarnational discipleship in a secular age addresses each of Taylor’s seven problems through a tapestry of argumentation that includes history, biblical exegesis, the tradition of Christian ethics, science, and politics. The work is critically engaged with historical figures in Christian ethics and current voices in the field. Stassen contributes a unique voice to the conversation by drawing upon his experiences with science as a trained physicist and with politics through his father’s gubernatorial career. Where many chose critical engagement with the natural and social sciences or with theological and biblical interpretation, Stassen does both. He approaches physics, politics, and economics with theological rigor, drawing upon traditional theological claims and offering his own critique and adaptation. Stassen, in his typical style, draws extensively on the Christian Scriptures. However, he does not simply reference numerous verses but further enhances the complexity of his argumentation through careful exegesis of the Sermon on the Mount, which he is known for, and of the Gospel of Mark.Stassen’s careful examination of the Sermon on the Mount and Mark offers the reader a picture of the particular understanding of Jesus that Stassen argues needs to be “thickly” interpreted; nonetheless, the book does not address [End Page 200] the consequences of other interpretations of Jesus being made “thicker” and the ethical dilemmas of such interpretations. To his credit, Stassen draws on several womanist interpretations of the cross as suffering in solidarity with the oppressed. But what about womanists who claim that any value placed on the suffering of the cross might lead to the excuse that the suffering of the oppressed is, in fact, redemptive suffering? Does a “thicker” interpretation of the cross necessarily address this problem?Overall, Stassen’s contribution to the field cannot be understated. He insists on addressing social problems on their own terms in the language of history, politics, economics, and science; he also rigorously engages theological and biblical ethics when such things have gone out of fashion in social ethics. As an added bonus, Stassen is clear in his call for pluralism and multiple ethical approaches while at the same time offering a rich account rooted in an interpretation of Jesus for Christians.Sarah A. NeeleyIliff School of Theology/University of DenverCopyright © 2013 Society of Christian Ethics... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Nos faysoms contre Nature...”: Fourteenth-Century Sophismata and the Musical Avant GardeDorit TanayThe secular musical repertory of the late fourteenth century has been described in terms of unparalleled rhythmic intricacies, reflecting a conscious tendency to exhaust the scope of free play within the parameter of time in music. 1 Historians of music see in such musical complexity a case of a musical system in disarray, to be explained by patterns (...) that seem always adequate to account for phases of aberration from stylistic norm, such as the notions of mannerism or fin de siècle phenomenon, understood literally as well as figuratively. 2Current views seem to echo contemporaneous observations. The late fourteenth-century poet-musician Guido cast his critique on what he interprets as a shift towards chaotic musical expression, in a form of an introspective ballade:Or voit tout en aventure Puis qu’ainsi me convient fayre A la novelle figure Qui doyt a chascun desplayre; Que c’est trestout en contraire De bon art qui est parfayt: Certes, ce n’est pas bien fayt. [End Page 29]Nos faysoms contre Nature De ce qu’est bien fayt deffayre; Que Philipe qui mais ne dure Nos dona boin exemplaire. Nos laisons tous ses afayres Por Marquet le contrefayt: Certes, ce n’est pas bien fayt. L’art de Marquet n’a mesureN’onques rien ne sait parfyre; D’ansuir et de portrayre C’est trop grant outrecuidure Ces figures, et tout traire Ou il n’a riens de bon trayt: Certes, ce n’est pas bien fayt. 3Curiously enough, Guido set his ballade to a melody that evokes some of the obscenities deplored in the poem. The musical text displays needless complication, being notated by deceitful figures that are willful, misleading, and difficult to decipher and follow. 4 The literary text, similarly, diversifies words in a vein of irony and ambiguity, clouding any indication as to whether the speaker is for or against the new style. In other words Guido’s esthetic position is sophistic, self-amused, and self-conscious.Since artistic expressions are generally conceived as reflecting their consumers, late-medieval chansons have been interpreted as a manifestation of the incredibly decadent yet sophisticated social milieu in which and for which the music was created. To ground further the argument for the correspondence between the countenance of the music and that of its audience, historians invoke the proximity in time and space between the evolution of the manneristic musical style, significantly in Avignon, and the Great Schism (1378–1417) that [End Page 30] followed the Babylonian Captivity. This famous crisis in the papal reign has been associated with a strong tendency to secularization in the papal Court, by which life styles became luxurious if not licentious. 5This socio-historical account is based on suggestive conjectures, comprising in part explanatory commonplaces. No direct relation can be established between the “Great Schism” or the specific social condition, of Avignon and the most refined music of the late fourteenth century. Furthermore, the claim of the above social account for a contextual approach is misleading. In fact no solid immanent relations are shown to exist between a complex, quasi-degenerate society on the one hand, and the intricate rhythms of the music on the other. The attribution of complexity in the broadest sense of the term does not satisfy our curiosity as to the possible interdependence between style and society. Interestingly enough, as far as late fourteenth-century chansons style is concerned, such an association can even be countered, considering the coincidental cultivation of the new simple style in the complex and decadent Burgundian courts of the waning Middle Ages. 6Here I propose to examine the late fourteenth-century musical style not on the background of social procedures but in the context of fourteenth century scientific thought, and to demonstrate immanent and structural cohesion between a compositional trend that features manipulations within the dimension of musical time and the sciences which investigate the properties of time qua continuum. This affinity concerns a parallel, yet not a completely overlapping, development directed towards the ultimate refinement of the notion of mensura. In other words we are dealing here... (shrink)

Food security policy, programs, and infrastructure have been incorporated into Public Health and other areas of the Provincial Government in British Columbia, including the adoption of food security as a Public Health Core Program. A policy analysis of the integration into Public Health is completed by merging findings from 48 key informant interviews conducted with government, civil society, and food supply chain representatives involved in the initiatives along with relevant documents and participant/direct observations. The paper then examines the results within (...) the context of historic and international trends and theoretical models of food policy, community food security, and applied policy research. Public Health re-emerged as a driver of food security in BC—both as a key player and in positing the public’s health as a driver in food security and food systems. While Public Health’s lead role supported an increase in legitimacy for food security in BC, interviewees described a clash of cultures between Public Health and civil society. The clash of cultures occurred partly as a result of Public Health’s limited food security mandate and top down approach. Consequently civil society voice at the provincial level was marginalized. A social policy movement toward a new political paradigm—regulatory pluralism—calls for greater engagement of civil society, and for all sectors to work together toward common goals. A new, emerging policy map is proposed for analyzing the dynamics of food security and health promotion initiatives in BC. (shrink)

In the ten years following the end of World War II, Oxford Universitywas a center of extraordinarily fertile philosophical activity. Out of it arose a new and distinctive philosophical movement, variously known as “ordinary language philosophy,” “linguistic analysis,” “conceptual analysis,” or simply “Oxford philosophy.” Although it was centered in Oxford, by the end of the 1950s philosophers based throughout Britain, the United States, Australia, New Zealand, Canada and other Englishspeaking former British colonies were publishing work debating the philosophical concerns of (...) the movement and reflecting its distinctive style of thinking and writing. By the mid-1960s, however, this way of doing philosophy was already in decline at Oxford, and by the mid-1970s the philosophical climate at Oxford University had become more or less typical of philosophy departments elsewhere in the English-speaking world. Ordinary language philosophy is now a historical movement, rather than an active force in contemporary philosophical discussion. In many respects, it is useful to think of philosophical movements as intellectual fashions, not unlike changing fashions in architecture or clothing. The question of what accounted for the rise and fall of a particular philosophical fashion is of historical and sociological interest, and the methodology developed to answer the question should be of general applicability in the study of other intellectual or academic fashions, such as the current dominance of “Theory” in English studies, or the period of “Behaviorism” in theoretical approaches to experimental psychology. So it should be of fairly widespread interest if we can develop a method of accounting for the relatively rapid spread of Oxford philosophy beyond its home base, and for its eventual decline as a force in philosophical thought. In this paper, then, I shall be pursuing answers to these questions. To what extent was ordinary language philosophy a movement, in the sense that, say, Phenomenology and Logical Positivism were philosophical movements? To the extent that there was a recognizable movement, what factors account for its decline during the 1960s and 70s? (shrink)

This article explores Nicolas Malebranche's approach to fashion: an inescapable postlapsarian consequence of God's sociable design of the human mind and body as manifested in the imagination. A problematic side effect of the general laws established by God governing the soul-body relationship, fashion wreaked havoc on individuals' thinking and potential for redemption yet pointed to a larger providential plan for social benefit. These ideas led Malebranche to a distinctive nonpolitical approach to fashion—both “Enlightenment project” and theodicy—in which (...) he sought to promote, toward human liberation and salvation, an enlightened understanding of the processes that created fashion and a charitable approach to managing it. Ultimately, however, his brain-based analysis ended up limiting individual freedoms (imaginative, cognitive, and behavioral), notably for those endowed with certain kinds of minds, in ways that had long-lasting effect. It also helped lay foundations for the Enlightenment's conflicted views about fashion as individual folly and beneficial social phenomenon. -/- Cet article montre que, pour Nicolas Malebranche, la mode constitua une conséquence inévitable de la Chute et du dessin sociable et providentiel de l'esprit et du corps, manifesté dans l'imagination. Effet secondaire et problématique des lois générales établies par Dieu pour gouverner les relations entre l'esprit et le corps, la mode entrave la réflexion et l'accès au salut tout en dessinant un plan providentiel, au bénéfice de tous. A la fois projet des Lumières et théodicée, cette approche apolitique s'efforce, dans une visée mêlant libération, salut et charité, de saisir les processus qui créent la mode afin de s'en accommoder. Parce qu'elle met l'accent sur le cerveau, cette approche tend pourtant à restreindre, de manière durable, les libertés individuelles (imagination, cognition, comportement), surtout pour certains types d'esprit. Et elle montre comment, pour les Lumières, la mode peut être à la fois une folie individuelle et un phénomène à multiples vertus sociales. -/- Copyright 2022 by Society for French Historical Studies. (shrink)

Although Indonesia is far from where Islam emerged, it is a country with the world’s largest Muslim population. The historical data on Islam’s entry into Indonesia is still very limited, therefore it is not easy to find clear information about it. This met with the historical reconstruction difficulty to the Islamic sciences’ development, especially ḥadīth, when Islam first came to Indonesia. Ḥadīth is not as popular as other sciences such as tafsīr, fiqh, taṣawwuf, and kalām. (...) The ḥadīth’s arrival and the history of prevelance in Indonesia were not as clear as the others sciences. To solve this problem, the Indonesian historians traced the dates when Islamic sciences began to emerge and spread in Indonesia. These also provided clues about ḥadīth science’s emergence and development in Indonesia. Based on tracing early ḥadīth studies in Indonesia, we can speak about two important figures’ names who are widely mentioned and cannot be separated from ḥadīth science history in Indonesia; Mahfudz Tremas (d. 1338/1920) and Hasyim Asy’ari (d. 1366/1947). These two figures colored Islamic teaching in Indonesia because of their mastery Islamic knowledge covering various Islamic sciences. Both of them also had an important role in Indonesian society in the colonialism era. This made it easier for them to spread ḥadīth widely among Indonesian Muslim people. In this research article, data, reports, and information of ḥadīth science emergence in Indonesia, Mahfudz Tremas and Hasyim Asy’ari’s biographies, studies, and contributions were compiled with descriptive analysis method and historical approach. Furthermore, data collection and evaluation methods were used in this research article. This research cites references written in Indonesian, Turkish, Arabic, and other foreign languages. The journal articles and scientific books we used are among the sources used in this study. The early Indonesian scholars are generally experts not only in one of the Islamic sciences but also in others. Moreover, Islamic sciences that they desired, deepened in, and focused on were mixed. The early Indonesian scholars not only wrote several on Islamic science fields, but they also interconnected the early Islamic sciences’ works in Indonesia. Therefore, it can be considered a difficult task to distinguish ḥadīth from others. The subject, we examine here is within the ḥadīth science’s historical framework mixed with other Islamic sciences in Indonesia. This research article focused only on ḥadīth entry history in Indonesia, Mahfudz Tremas, Hasyim Asy’ari, and their role in ḥadīth development. The questions we answered in this article are when ḥadīth science began to emerge, what was and how the role of Mahfudz Tremas and Hasyim Asy’ari were in Indonesia at this subject as the greatest contributors to its early emergence and dissemination, and high authority scholars among Indonesian Muslim society. Our aim in this research is to study, understand, and explain the early ḥadīth science’s history in Indonesia. Mahfudz Tremas and Hasyim Asy’ari, who are Indonesian ḥadīth scholars teaching ḥadīth for Indonesian people, attaching great importance to ḥadīth, making a great contribution, and having the most influence, are discussed. Understanding and explaining ḥadīth studies in Indonesia would be easier by getting to know these two scholars. Apart from these two scholars, it should not be assumed that there was no ḥadīth scholar in Indonesia in the early period. Here, we aim to understand the most influential scholars’ service and contribution in the ḥadīth field. It is important to introduce Indonesian hadith scholars, their works, and contributions to scholars and scientists in Turkey and the world, and then to contribute to the academic and scientific relations among the countries. This research article, as one of the first Turkish sources on ḥadīth’s growth and development in Indonesia, would be useful for ḥadīth academicians in Turkey. Since the research title on the ḥadīth science emergence history in Indonesia, and Mahfudz Tremas and Hasyim Asy’ari’s contribution to its development, as we know, has never been done before. This research article will help to built a network between the Indonesian and Turkish peoples, scholars, and academicians. It also contributes to increasing the scientific benefits of the two sides of academic circles. Through this research, contemporary ḥadīth studies in Indonesia can be traced from the time it emerged and the early development process. Moreover, It is a great contribution to specify the early ḥadīth science history in Indonesia, as the world’s largest Muslim country. (shrink)

In Karl Barth’s famous ‘Epistle to the Romans’, Second edition, the negation seems to be dominant: Each and every possibility to ‘have’ God, i.e. to cognize Him, is denied. More precisely speaking, Barth proposes a dialectics of negation and affirmation within which the negation seems to be dominant: He alludes frequently to the possibility to cognise God but then denies that possibility. An important question in Barth-research is thus how this dialectics is to be interpreted. Most Barth-researchers approach this question (...) via ‘ideengeschichtliche’ means, i.e. via the question what the background of Barth’s dialectics consists of. In chapter I, I scrutinize both of the currently prevailing paradigms for explaining the background of Barth’s dialectics: In line with the majority of current researchers on the issue, I suggest that the neo-Kantian ‘dialectics of origin’ has influenced the formulation of the dialectics in Romans II. Karl Barth became familiar with that dialectics through his brother Heinrich Barth, a neo-Kantian . However, against a recent trend in Barth-research, I suggest that the influence of Sören Kierkegaard’s ‘dialectics of existence’ should not be underestimated. Karl Barth used both sorts of dialectics side by side . In chapter II, I draw the systematic consequences of the ‘ideengeschichtliche’ considerations of chapter I. First, I suggest that philosophical explanations of the above sort account for the basic ‘raison d’être’ for there being such a dialectics, non-philosophical explanations for its specific shape. That is, the classical psychological explanations of the dialectics of Romans II explain the reason why he emphasizes the negation within the dialectics that strongly but cannot sufficiently explain the fact that there is such a dialectics. In II, 2, I utilize the above considerations to answer the classical question whether the negation has priority over the affirmation. I deny that. Barth emphasizes the negation within the dialectics of affirmation and negation strongly in order to reject the thendominant Liberal Theology. Yet, conceptually, his dialectics presupposes a more fundamental affirmation, viz. that God is totaliter aliter. But is the affirmation that God is ‘totaliter aliter’ not inconsistent? Either He is ‘totaliter aliter’ – in this case we cannot say anything meaningful about Him, not even that He is ‘totaliter aliter’. Or, else, we can say something meaningful about Him. But then He is not truly ‘totaliter aliter’. I suggest that a transcendental strategy provides interesting possibilities for getting out of that impasse: By holding that God is to be postulated on transcendental grounds rather than to be cognized in the proper sense of the word, it becomes possible to hold both that God is ‘totaliter aliter’, non-approachable and that we can claim that in a meaningful fashion. I admit, though, that applying transcendental strategies for theological purposes is not without problems. Yet, the prospects they provide for theological theorizing makes it worth investigating them further in spite of their problems. (shrink)

This study clearly reveals that the benefits ascribed to strategic planning typically are achieved through a variety of means. A formal process that seeks to plan in a comprehensive, linear fashion is likely to be too complicated, politically divisive, expensive and inflexible, and to ignore how decisions are made in a complex, highly decentralised university. While many approaches to planning are used, universities must ensure they provide periodically opportunities for university staff—freed from daily responsibilities—to consider strategic concerns. Accurate and (...) relevant information must be available to all who make and carry out decisions. Planning should be viewed as a learning process rather than a document producing exercise. Extensive communication among university staff and faculty is needed to ensure informed debate and substantial acceptance of decisions—otherwise they are unlikely to be implemented. Perhaps most important is not the process employed but the decision-maker's breadth of perspective and sophistication. No process will overcome lack of competent leadership. The importance of daily decision-making in various councils and committees on issues such as cost containment and budgetary priorities is underestimated in the literature on planning.Critics have doubted whether universities' structures and processes permit them, or their leaders have the resolve, to confront the emerging issues. However, in many respects, the universities' decentralised, multiple decision-making practices may suit them well. They face the same challenging societal changes as other sectors of society. Their staff include some of the most capable individuals in the United States, and in the past they have been highly adaptable during periods of profound social change.Universities do not appear to be less aware of the need to adapt, nor more constrained in adapting to new conditions, than other sectors of society. In fact, university research and scholarship will be highly important in pointing the way for the whole of society to meet this era's challenges. If pessimistic predictions about current trends turn out to be accurate, universities no doubt will adapt at least as well as other kinds of institutions. The travails of business in this environment are daily news! There will be occasional casualties among the universities, as frequently occurs during major social transitions, but institutions that have grown in importance for over 1,000 years, will doubtless emerge from this period perhaps somewhat changed but still performing their historic social functions. (shrink)

Michel Seymour | : Dans ce texte, j’examine sur un mode programmatique la relation qui existe entre les peuples et les territoires. Les frontières des peuples souverains sont-elles sacrées, naturelles et absolues, voire irréfragables ? Le territoire a-t-il une importance identitaire ? Si oui, cette relation identitaire repose-t-elle sur l’attachement sentimental des citoyens ou sur une préférence rationnelle ? Doit-on plutôt l’expliquer par un rapport historique ? Le territoire est-il un élément constitutif de l’identité d’un peuple ? Le principe de (...) l’intégrité du territoire a-t-il une priorité absolue sur le principe affirmant le droit à l’autodétermination des peuples ? Tel est l’éventail de questions qui peuvent être posées en ce qui concerne la relation entre les peuples et leurs territoires. Je veux présenter une perspective qui me semble être originale. Dans la perspective du libéralisme politique, je pars d’une conception institutionnelle du peuple. Je me propose d’indiquer ensuite comment cette approche permet d’envisager des réponses à ces questions. | : In this paper, I examine in a programmatic fashion the relationship between peoples and territories. Are the borders of sovereign peoples sacred, natural and absolute, or even irrebuttable ? Does territory plays an important role for identity ? If so, is this relationship based on the sentimental attachment of citizens or on a rational preference ? Should it be explained instead by a historical relationship ? Is territory even constitutive of the identity of a people ? Does the principle of territorial integrity have priority over the principle asserting the right to self-determination of peoples ? Such are the issues that can be raised concerning the relationship between peoples and their territories. I want to present an account that I take to be original. In accordance with political liberalism, I start from an institutional conception of peoples. I then indicate how this approach allows to consider answers to some of these questions. (shrink)

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , commonly (...) referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

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John Taylor's brilliant new book examines the work of many of the major poets who have deeply marked modern and contemporary European literature. Venturing far and wide from the France in which he has lived since the late 1970s, the polyglot writer-critic not only delves into the more widely translated literatures of Italy, Greece, Germany, and Austria, but also discovers impressive and overlooked work in Slovenia, Bosnia, Hungary, Finland, Norway, and the Netherlands in this book that ranges over nearly all (...) of Europe, including Russia. While providing this stimulating and far-ranging critical panorama, Taylor brings to light key themes of European writing: the depth of everyday life, the quest of the "thing-in-itself," metaphysical aspiration and anxiety, the dialectics of negativity and affirmation, subjectivity and self-effacement, and uprootedness as a category that is as ontological as it is geographical, historical, political, or cultural. The book pays careful attention to the intersection of writing and history, as several poets featured here have faced the Second World War, the Holocaust, Communism, the fall of Communism, or the war in the former Yugoslavia. Taylor gives the work of renowned, upcoming, and still little-known poets a thorough look, all the while scrutinizing recent translations of their verse. He highlights several poets who are also masters of the prose poem. He includes a few novelists who have fashioned a particularly original kind of poetic prose, that stylistic category that has proved so difficult for critics to define. Into the Heart of European Poetry should be of immediate interest to any reader curious about the aesthetic and philosophical ideas underlying major trends of contemporary European writing. In a day and age when much too little is translated and thus known about foreign literature, and when Europeans themselves are pondering the common denominators of their own culture, this book is as indispensable as it is engaging. John Taylor has lived in France since 1977. A frequent contributor to the Times Literary Supplement, Context, the Yale Review, the Antioch Review, the Michigan Quarterly Review, and Chelsea, he has introduced numerous European writers and poets to English readers, often for the first time. Some of his works include The Apocalypse Tapestries, a book of poetry and prose based on the famous tapestries in the Chateau of Angers, and Paths to Contemporary French Literature. (shrink)

A crisis of our age that is usually identified with the loss of the sacred was one of the causes of the fall into irony in the nineteenth century. In the case of historians, as Hayden White has shown in Metahistory, this irony was caused by a "bitterness" stemming from the failure of reality to fulfill their expectations. An ironic apprehension of the world arose in an atmosphere of social breakdown or cultural decline. A current stage of irony manifests itself (...) in a doubt as to the capacity of language to grasp reality. Thus we live in a "prison house of language." An intellectual parlor-game produces "second-hand knowledge" that cannot satisfy the needs of post-postmodern men and women still looking for another metanarrative. Therefore, the main purpose of this essay is to answer the question: how can we go beyond irony?This text is a "post-postmodern post mortem to postmodernism." I am grateful to postmodernism for many things, especially for giving me an alternative apprehension of the world in terms of difference and continuity rather than binary oppositions, but I am tired of ontological insecurity and epistemological chaos. I need order. I miss metanarrative.In trying to break with some modern/postmodern "principles" and retain within my discourse the premodernist perspective, I follow the current trend in the humanities. We observe at present the breakdown of methodology and the rise of a more poetic approach in the human sciences. Evidence of this phenomenon is the more autobiographical form of writing in anthropology and a more literary style in historical writing . This trend is associated with a revaluation of the subjective aspects of research. Perhaps, and I would welcome it, it also could be identified with a reappearance of a Collingwoodian idea of history as human self-knowledge, knowledge about human nature, knowledge about "what it is to be a man . . . what it is to be the kind of man you are . . . and what it is to be the man you are and nobody else is.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Reviews The Growth of Medical Thought. By Lester S. King. (Chicago: University of Chicago Press, 1963. Pp. ix + 254. $5.50.) The author of this book is "a pathologist with a background in history and philosophy," to quote from the jacket. This combination of interests is reflected in the Preface itself, where it is stated, "The history of medicine is part of the history of ideas." However, the (...) text itself, unfortunately, is too episodic in treatment and too homiletic in tone to do justice to the explicit goal the author sets for himself at the very outset, which is "to indicate the growth of medical science and the patterns of medical doctrine," by a consideration of a few key figures in the history of Western medicine who represent certain distinct trends in medical theory. In his previous book, The Medical World of the 18th Century (1958), the author likened the historian to the photographer, but he forgot to bring out that a good historian needs (to exploit his own analogy) a movie camera in order to exhibit adequately the growth of things. An ordinary camera will not do for historiography. The volume opens with ancient Greek medicine and ends with the pioneers in molecular pathology. In the present reviewer's opinion, the most effective chapters of the book are the ones dealing with two of the most controversial figures in the whole history of medicine, namely, Galen and Paracelsus. For there more than anywhere else in the book, we learn the sobering lesson that just because, say, Galen's "doctrine of faculties" in Roman medicine is "wrong" (that is, false in fact), from the standpoint of modern science, is no reason for calling it "foolish" (that is, false in theory) --Moli~re to the contrary notwithstanding (p. 77). While Galen's Aristotelian "modes of thought may seem somewhat strange to us," Dr. King insists, "we must preserve a judicious historical attitude" (p. 49) towards them just the same, if our objective is to understand their raison d'etre in the first place. He uses the same criterion with respect to Paracelsus, even though he spoils his case a bit by contradicting himself concerning that bombastic figure of Renaissance medicine, describing him on one page as "essentially a poet and not a scientist or philosopher" (p. 125), and then declaring on another that he "was at heart a philosopher" (p. 137). Now, no matter whether we agree with the author's interpretation of Paracelsus as a "Neo-Platonist" in medicine, he deserves credit for discussing [2s7] 238 HISTORY OF PHILOSOPHY that enigmatic Swiss iatrochemist sympathetically. In any event, Dr. King's sympathetic approach to Paracelsus manages to throw considerable light on the Paracelsian advice to all future physicians: Don't read books! Read the stars, but read them "in Neo-Platonic fashion" (p. 114)! While the author is "judicious" about Galen and Paracelsus in particular, he is far from being so when it comes to Friedrich Hoffmann, a medical materialist and "systematist" from Halle in the eighteenth century. Paradoxically enough, Dr. King has a marked antipathy for the doctor of "sympathy " himself (p. 173). Incidentally, the only other physician in the book who is not liked--apparently for his being polemical (p. 215)--is a famous fellow-pathologist of the last century, Rudolf Virchow. Still, it is only fair to add that the author acknowledges fully Virchow's important contributions to the field of cellular pathology. Finally, Dr. King not only has his likes and dislikes as to the medical men he actually selects from modern medicine to represent changes in theory of disease, but he seems also to have a definite bias in another and more serious sense. With the exception of the Epilogue and Chapter IV, which includes Vesalius and Harvey as well as Hoffmann, all the episodes of modern medicine deemed worthy of study derive from the Germanic world. Curiously enough, although there is no discussion of the germ theory of disease as such in the book, there is mention of Koch, but not of Pasteur. And French physiologist Claude Bernard, the great medical philosopher who tried to do in the nineteenth century for scientific medicine what... (shrink)

continent. 2.3 (2012): 218–223 Vijay Prashad. Arab Spring, Libyan Winter . Oakland: AK Press. 2012. 271pp, pbk. $14.95 ISBN-13: 978-1849351126. Nearly a decade ago, I sat in a class entitled, quite simply, “Corporations,” taught by Vijay Prashad at Trinity College. Over the course of the semester, I was amazed at the extent of Prashad’s knowledge, and the complexity and erudition of his style. He has since authored a number of classic books that have gained recognition throughout the world. The Darker (...) Nations , a peoples’ history of the Third World, sent defibrillating shockwaves through an academic world that had almost forgotten the epic scope and historic dignity of the non-aligned movement and post-colonial struggles. In his recent, award-winning work, Arab Spring, Libyan Winter , Prashad delves into his capacious knowledge of the Third World to excavate the discourses and narratives surrounding the upheavals of 2011. “Revolutions have no specific timetable,” states Prashad in the opening line of this exciting and provocative look at contemporary events. Instantly, an atmosphere of suspense emerges. The reader is alerted to the problem of history. Does the making of history then involve a suspension of historical time, or is it a continuous narrative structure into which events must eventually be integrated? Arab Spring, Libyan Winter shows that the answer to the question, “How is history made?” lies just as easily in the asking. The first half of the book works through the events that transpired to bring about the explosive popular uprisings of Arab Spring: Tunisia and Egypt, Yemen and Bahrain. But the events are not put together in a cohesive, chronological fashion. Using an uncommonly gripping style more akin to the folk-story motif of the djeli than to traditionally Orientalist academia, Prashad suspends a given situation, points out its components, and traces back the characters and genealogies that define each link before resuming a narrative. Every moment is an end to itself, and an origin of something different. Thus, the making of history becomes the suspension of its own progress, it’s catastrophic 'stability,' in a process of differentiation through inclusion. Empirically, one might suggest that history is a condition of time, and by extension, of the subject, but history is also an eminent producer of the Subject and her concept of time through memory and narrative. Hence, history is often overdetermined by a dominant narrative of the sovereign. The apparently chaotic composition of Prashad’s historicity is, then, an interstitial morphology of resistance. It illustrates that the time to act for the revolutionary lies in the gaps within the dominant historical realities. It points out the sorties of signifiers constituting nothing in the obliterated ruins of history. Through such illuminations, Arab Spring, Libyan Winter breaks through “the surface of history” to elaborate revolution’s snapping synapses, exploding interruptions and breaches, connecting flows. Messianic Politics It is tempting to think, 'History is either singular, or it is diffuse. It is either one coherent factual narrative, or it is comprised of the aletheia of the multitude.' Yet the reader finds Prashad examining the structure of history on multiple levels. For Prashad, world history is shaped by geographically defined political movements, such as communism or national liberation, with historical agents like the working class for the former and the nationalist militant for the latter. Religion, however, is another matter: “Religion has an unshakable eschatology which a post-utopian secular politics lacks.” Within the telos of religion, there appears on the horizon the image of Benjamin’s thoughts on messianic time—time as “a small fissure in the continuous catastrophe,” a break with history, may contain an ultimate redemption of the human beyond the political power struggle. Succoring the split between geo-political and utopian-religious (messianic) time in the context of Arab Spring, Prashad indicates that the base of “the deep desire and commitment to some form of democracy” is forged by the affinity between eschatological Islamist politics with the People. To think about the Subject of messianic time in the context of the lack of a “coherent timetable” for emancipatory politics, it is perhaps best to return to the modern tradition of Martin Luther King, Jr., whose prefigurative blending of liberation theology and emancipatory politics became most important during his works of 1963, the climactic year of “The Letter from a Birmingham Jail,” the March on Washington, and the bombing of the 16th Street Baptist Church. In “The Letter,” King states the point bluntly: Frankly, I have yet to engage in a direct-action campaign that was “well timed” in view of those who have not suffered unduly from the disease of segregation. For years now I have heard the word “wait!” It rings in the ear of every Negro with piercing familiarity. This “Wait” has almost always meant ‘Never.” We must come to see, with one of our distinguished jurists, that “justice too long delayed is justice denied.” The timing of rebellious action must not be a part of history. It must change history. The kairos appears spontaneous and untimely in its convulsive, shocking presence, yet it is, deeper still, a path, a longue durée , forged through diligent and rigorous praxis. King put a finer point on the path of historic liberation in his declaration in his 1963 speech at Western Michigan University: “[T]ime is neutral.... Somewhere along the way we must see that time will never solve the problem alone but that we must help time. Somewhere we must see that human progress never rolls in on the wheels on inevitability. It comes through the tireless efforts and the persistent work of dedicated individuals who are willing to be co-workers with God. Without this hard work, time itself becomes an ally of the insurgent and primitive forces of irrational emotionalism and social stagnation. We must always help time and realize that the time is always right to do right.” Time, then, exists in “the neutral,” while action must turn to the kairos , not only of taking time, but taking the right time. By turning our relation to time into kairos , we move time from its context within history to a duration between histories—the longue dure?e of Messianic time. The implementation of neutrality in this context suggests a broad space of time to extend through the valley of positive and negative. In Roland Barthes’s lectures from 1978, the neutral takes place in this minimal distance of non-conflict that exists outside of two extremes. It is, in the words of Maurice Blanchot, “the non-general, the non-generic, as well as the non-specific.” For Blanchot, the neutrality of time permeates life as death, impassive and beyond control; such is the neutrality of messianic time, which permeates the charge of history, changing the "I" into the "one." The neutrality of time therefore implicates history in a case against extremism, showing that the work of the radical is not to tend to any particular side, but to have the time to navigate through the terrible terrain of history by altering its course, its patterns and rhythms of movement, connection, sociality. Hence, one does not simply “make history,” one alters the course of history in accordance to “the right time.” The historical path toward emerging power is transmitted as a gesture to the outside of history, against history; a gesture as simple as reaching out. Thus a counterhistory, to use Foucault’s term, is brought forward as the guide of time past a point of no return, a Rubicon, the point where the normal path of history falls to the past. The subject, who must be the only true agent of history, facilitates time through helpfulness, and both the Subject and her history become decentered in relation to one another. Yet history negates the neutrality of time. As Barthes discloses, although the neutral is the “thought and practice of the nonconflictual, it is nevertheless bound to assertion, to conflict, in order to make itself heard.” Engaged with history, time is charged with a destiny, and becomes an opposition. As Prashad insists, “For Arab lands, the events of early 2011 were not the inauguration of a new history, but the continuation of an unfinished struggle that is a hundred years old.” The emergence of the Subject during Arab Spring did not conceive of a new history, but changed the path of history toward a different destiny. “Historical grievances combined with inflationary pressures now met with the subjective sense that victory might be at hand—this was not simply a protest to scream into the wind, but a protest to actually remove autocrats from their positions of authority. The facts of resistance had given way to the expectation of revolutionary change.” The negativity of this charge toward “revolutionary destiny” rendered control, as a positive force, seriously lacking. The lack of control lies in the problem that the Subject is not totally detemporalized or timeless, but untimely in her presence. The Subject is untimely, because her work is visionary, and it is only through such visionary work that the Rubicon can be crossed. Still, the crossing of this border is haunted by anxiety over an impending disaster that lays in wait. It is only through the form of what Benjamin calls divine violence, captivated not with the justice of the means, but the ends—the transformation of history—that a revelation of history’s traumatic foundations can be liberated, and patterns and rhythms of time developed throughout obscured traditions awakened. In this situation, the Subject appears to be outside of right, but setting the state to rights. Because her position is correct, in-so-far as the rebelling subject rebels due to a lack of recognition, her representation appears outside of the norm, which is mistaken as right. Therefore, such visionary work must be carried out through obscured traditions, underground, away from the surveillance of empire. Explaining his method from the start along the lines of Marx’s metaphor of the mole, Prashad insists, “It is the burrowing that is essential, not simply the emergence onto the surface of history.” Arab Spring, Libyan Winter is a book on uncharted networks of time, spread out over the 252 pages like an elaborate spider’s web of passages intertwining with and overwhelming the machinery of the state. Although untimely, Arab Spring was not a flash in the pan, or a Facebook or Twitter revolution. Prashad notes that the government’s suspension of these tools led to further radicalism by furthering communications through face-to-face encounters. In existential terms, Arab Spring might be thought of as a revolution of Being over techne , an uprising of the unchartable, infinite potential of the Other. The name of this Other is found in Chance. The faith of the revolution lies in the proper decentering of the subject, its giving to the Other of time, for only with respect to time does history actually appear on the horizon of the subject, rather than as an imposition. This time of historical agency appears as a moment when anything can happen—a revolutionary truth event where everything comes into question while being realized in its Otherness as a community of the people begins anew in the streets amidst discourse, friendship, reconfigurations of hegemony, and a becoming of a constituent power. Throwing a wrench into the gears of the “cobwebbed tradition” of Orientalism, the decentering of history in Arab Spring, Libyan Winter is a defining quality of its impassioned revolutionary cry. But perhaps the most paradigmatic points of the book emerge from the unexpected voices. To make the connection between the particular manifestations of revolutionary demands to the general historic terms of revolution, Prashad quotes an anonymous young Egyptian in Tahrir Square, who reminds us, “[T]he French Revolution took a very long time so the people could eventually get their rights.” Far from timelessness, the historicization of Arab Spring must exist precisely within the most uncanny appearance of time, as something that does not appear to come from the natural state of time as we know it, but in arriving has completely transformed the way that we understand time. Strange Monsters Revolution is never as simple as a revolt from below against a rusting structure of elites trying to remain in power. As with the French Revolution, Arab Spring consisted of complex familial ties, outside interests, and religious factions fighting alongside, often in awkward juxtaposition to, liberals, working class parties, farmers, and students. It is perhaps because of this historically difficult and incongruous composition that the Arabic word for revolution is thawra , referring to the image of the bull, or thawr , which has religious significance as a pagan deity for the Ancient Semitic tribes and Cartheginians. If Daniel Guérin was correct in saying, “Anarchism and Marxism drink from the same spring,” then it is quite a different oasis that drove the thirsty beast of revolution through what Prashad calls, “the Libyan labyrinth.” Recalling Bataille’s Acéphale, the intestinal labyrinth gains significance as the mode of metabolism and rumination in which, “(the Acephale) has lost himself, loses me with him, and in which I discover myself as him, in other words, as a monster.” Unraveling the discourse of the revolution, the flows of power and hegemony—from Qaddafi’s nationalist coup in 1969 to the wars with Chad from 1978 to 1987, the neoliberal reforms of the 1990s to, finally, the War on Terror—we find that the metabolic process of Libyan Winter ends in the production of oil. In a process of what Prashad calls “involution,” Qaddafi’s bellicose policies, along with his attempts to nationalize Islam together with oil, mutated the source of his power, turning his house against itself. Already a divided nation, with its two major cities on opposite geographic sides of the country, Libya became split between two opposed political powers—liberal reformists and staunch nationalists—as Qaddafi’s political disengagement manifested through what can only be described in psychoanalytic terms as a recursive passage a l’act (mysteriously calling Wikipedia “Kleenex,” declaring that opponents drank hallucinogens with their instant coffee, and so on). Prashad declares, “The mercurial style that Qaddafi adopted was not about his personality alone, but also a leader’s natural response to a system that relied upon power brokers whose own loyalty… did not have any ideological commitment to the system.” As in the case of other nations during Arab Spring, the true expression of revolt was an outward exposition of what had inwardly been happening in microcosmic societies throughout the realm—from indigenous tribes to political parties, for a century, the people, partly motivated by (and in resistance to) economic impositions of development, had been changing the traditional social compositions and participating in what Ruth Wilson Gilmore calls, “the relative autonomy of the movement from the leaders.” It was this empowerment of political reconfigurations taking place under the context of new democratic assemblages that shocked the elites and evoked such a powerful response. Unlike Qaddafi’s awkward policy choices and rants, real acts of power from the West were clear and decisive. Prashad sets the stages of war and diplomacy, far removed from the deserts, mountains, and cities that forged the backdrop of popular politics. Taking place under the now-classic architecture of the “four pillars” of US interests—oil, the War on Terror, Israel, and the circumvention of Iranian hegemony—we find elites rubbing elbows in “Heliopolist cocktail parties and hushed conferences in Kasr al-Ittihadiya” as well as the Concorde-Lafayette hotel in Paris, which provides the setting for a meeting of anti-Qaddafi figures consolidating their power. These scenes are buttressed with the careful portraiture of key historical actors. As Prashad brings the stage of history to life, we find the diplomats and liberals like Frank Wisner, whose career has brought him from Enron in the late 1990s to the Obama Administration, under the aegis of which he was meeting with Mubarak about military support during Arab Spring. We spy the provocateurs, for instance, gauche cavalier , Bernard Henri-Levy, who telephones Sarkozy from Benghazi about the need for more NATO air strikes. We follow the rebel military establishment as it suffers mysterious deaths and even more mysterious assents (like that of apparent CIA cohort, Khalifa Hifter). In each of these intriguing characters, we find different representations of the security state biopolitique: an oil-injected reification that drives Arab Spring from the resentment of rising food prices to the brink of implosion in Libyan Winter. Reminiscent of the scenes of Cold War soirées represented in old Bond films, the aristocratic fight for oil against democracy that was Libyan Winter presents a harsh truth that the new global crisis is simply the continuation of the old history: the global exploitation of capitalism waged against the imagination of the people. As Benjamin laments, “The labyrinth is the right path for the person who always arrives early enough at his destination. This destination is the marketplace.” Yet, “(t)he labyrinth is the habitat of… a humanity (a class) which does not want to know where its destiny is taking it.” Thus, the labyrinth leads, like the desert, only further into itself. As Blanchot explains, “The desert is even less certain than the world; it is never anything but the approach to the desert.” Only the visionary can take time out of the involution toward oblivion. It is here, in this approach to and escape from history, that we find ourselves within Benjamin’s Golgotha, Blanchot’s desert: A space of indeterminate uncertainty where we become familiar only with our own exile. Blanchot writes, “For the moderated and moderate man, the room, the desert, and the world are strictly determined places. For the man of the desert and the labyrinth, devoted to the error of a journey necessarily a little longer than his life, the same space will be truly infinite, even if he knows that it is not, all the more so since he knows it.” The desert, as allegory, provides an eschatology, a mortality in the destiny of Arab Spring. But any allegory of nature might lead to a labyrinthine eschatology (for example, in Bachelard, the forest presents "a limitless world"); the prescience of the untimely is always an uncanny acceptance of the infinite within the finite—the outside of what is understood. Transgenerational and occupied with the image of the future, the untimely makes otherness its home as it proceeds toward liberation. In the work of helping time navigate this dangerous passage of history, Prashad illustrates that the more violent break with history may have occurred in the peaceable struggles of Tahrir Square, and not in the military clashes of Qaddafi with his former Generals who defected to the CIA and NATO countries. It might be possible to suggest, then, that in the case of Tunisia and Egypt, the historical subject of the people was drawn together in a Dionysian dance of different rhythms in the marvelous realm of the ancients, while we fear that the case of Libya suggests an Apollonian future where time, itself, may lay dying under the machinic hand of history. The properly Nietzschean inversion would follow: time is dead, for history has killed it. Yet, if time is dead, struck down in Golgotha, exposed in the desert, mauled by the thawra , it is only in the present sense that it is rendered impossible outside of the context into which the untimely has thrown us. Thus, if history becomes an art of revolution, life as being-towards-death (death as the provocation of the neutrality of time) becomes what Benjamin calls “the allegory of resurrection” through the glorious ruins of history. Prashad ends his work with a rousing finale: “The time of the impossible has presented itself. In Egypt, where the appetite for the possibilities of the future are greatest, the people continue to assert themselves into Tahrir Square and other places, pushing to reinvigorate a Revolution that must not die… For them the slogan is simple: Down with the Present. Long live the Future. May it be so.&rdquo. (shrink)