In this paper is constructed an analogue of the square of opposition for propositions about relations between two non-empty sets. Unlike the classical square of opposition, the proposed scheme uses all logically possible syllogistic constants, formulated in V.I. Markin’s universal language for traditional positive syllogistic theories. This scheme can be called “Logical lantern”. The basic constants of this language are representing the five basic relations between two non-empty sets: equity, strict inclusion, reversed strict inclusion, intersection and exclusion (considered are (...) only the relations between sets, but not the relations of the sets to the universe). The other relations between sets are combinations (disjunctions) of the basic ones. There are 32 constants and 32 respective propositions, and the proposed diagram expresses and/or allows to deduce the logical relations among those propositions. The constructed scheme, making it possible to visually see the logical relations among propositions about relations between two non-empty sets, allows us to suggest considering logical relations not discussed previously: many-place Aristotelian-like logical relations among propositions: exhaustive _n_-place contrariety and exhaustive _n_-place subcontrariety (_n_ is a natural number, \(n>2\) ). (shrink)

À la page 150 de Matière et Mémoire, Bergson dit déjà du « virtuel » qu’il serait vain de vouloir « chercher l’obscurité sous la lumière ». Il reprend et précise cette idée trente ans plus tard. Promenons « l’idée radicalement neuve » qui « capte plus ou moins une intuition », nous la verrons « elle, obscure, dissiper des obscurités ». Par elle, des problèmes jugés insolubles « vont se dissoudre ». Ainsi « intellectualisée », cette lanterne bergsonie...

This paper describes the development of two annual lantern parades as case examples of arts in community health, which the authors define as a distinct area of activity operating mainly outside of acute healthcare settings, characterised by the use of participatory arts to promote health. The parades took place in Gateshead 1994–2006 and later in Stockton-on-Tees from 2009 to the present, and the paper reflects on the factors that made for the success of the Gateshead parade and also the (...) problems that led to its demise. It then describes and assesses the Stockton parade, and the benefits and challenges of a workshop ethos of ‘positive regard’ with reference to interview data gathered from adult volunteers and school staff. It considers the potential of this annual ‘tradition’ to shape communal memories that identify with place, and it sets out its aspirations for future programme and research. (shrink)

In love with freedom, Diogenes was a philosopher who did not like being taken seriously and who never wanted to change the world. And yet, his influence has persisted throughout the centuries, from Francois Rabelais and Alfred de Musset to William Shakespeare and Victor Hugo.

The lantern exhibition at the Lantern Festival is an important traditional festival in Taiwan. Visitors play an important role in the promotion and sustainable development of intangible cultural heritage. In recent years, the involvement of digital technology in traditional lantern design and shows has contributed to the protection, inheritance, and promotion of ICH, there remains less research on using augmented reality with ICH tourism. In this study, AR is used for ICH lantern exhibition to discuss the (...) learning experience in lantern tourism and the relationship between technology acceptance and satisfaction from the perspective of visitors, as well as evaluate what AR has on improving visitors’ awareness and learning experience. Then, primary variables of the technology acceptance model are combined with generic learning outcomes to integrate ICH, education, and technology to expand TAM, building a new model to study the ICH learning experience. A questionnaire and observation are used. Respondents are visitors participating in the AR lantern exhibition in Taiwan, which is designed by the author. There is a total of 200 questionnaires collected in the end. The result shows that knowledge and understanding, attitudes and values, activity, behavior, and progression, and enjoyment, inspiration, and creativity from GLOs have a positive effect on technology acceptance and actual use. Therefore, visitors are satisfied with innovative and interesting technology learning experiences, enhancing learning interest and results. Besides, the interaction of the AR system improves visitors’ learning motivation, which shows the combination of AR technology with ICH tourism helps improve cultural awareness. (shrink)

ABSTRACT The imagination has always been thought to operate primarily in conjunction with the sense of vision, imagined objects and scenes being conjured up before the ‘mind’s eye’. In early nineteenth-century Scotland the natural philosopher David Brewster developed a theory of the imagination that explained its operation through a reversal of the normal processes of visual perception. These ideas were rooted in the mental philosophy of the eighteenth-century Scottish Enlightenment. For Brewster the mind’s eye was also the eye of the (...) body, and images from the memory and imagination were projected onto the retina in the same manner that images were projected onto the screen in a magic lantern show. This theory underpinned his belief that imagination played an essential role in scientific discovery. Brewster believed that this process was as essential to the discoveries of science as it was to the creation of great poetry. The writings of Brewster can tell us a great deal about the connections between science and literature in the early nineteenth century, as well as showing that the philosophy of science in contemporary Britain was far from monolithic. (shrink)

This article presents an analysis of visual-acoustic dissonance in Raise The Red Lantern ( Dà Hóng Dēnglóng Gāogāo Guà , Zhang Yimou, 1991). Drawing upon Michel Foucault's discussion of the Panopticon, this study argues that the camera in this film represents a panoptic entity whose subversion can only be achieved by means outside the visual economy. Sound is that means; the aural regime works consistently to unhinge the balance of the optical machinery on both a thematic and cinematographic level. (...) By coding the optical as a totalising and oppressive force, and subverting that force through various forms of visual-acoustic dissonance, Raise The Red Lantern unseats the traditionally dominant camera-image dyad, and presents a powerful rejection of the camera as the only life-giving force in an artistic medium that so privileges the visual. (shrink)

A brief account of the life and philosophy of the Greek Diogenes, who gave up all his wealth and power to find happiness.

Though there is much interest nowadays in "aporias" there is relatively little research on the relation between these aporias and deconstruction, and further, between these two and the philosophy of education. First, it will be argued here that a sufficient understanding of the aporias must preserve the complexity of Aristotle’s own understanding and explications, or in other words, must avoid the reductive approaches one sometimes finds in some recent commentaries on studies of Aristotle’s aporias. Second, it will be argued that (...) some critiques of Aristotelian aporias, such as a deconstructive critique, require careful scrutiny. Third it will be argued that the complex Aristotelian understanding of aporias is by no means a tired or exhausted paradigm - far from it; it has rather some significant implications for educators and in relation to educational thinking in the twenty first century, especially when understood in relation to Wittgenstein’s work on some questions, some language games, as knots in our understanding (significantly, Aristotle used just the same kind of metaphor in relation to aporias). (shrink)

Through an examination of Proust's ‘magic lantern’ scene from the opening of A la recherche du temps perdu, alongside the work of the contemporary installation artist Tony Oursler, this article takes projection as a means of exploring the relationship between subjectivity and embodiment. Reading them in conjunction with Deleuze and Guattari's concept of ‘faciality’, I argue that Oursler's installations, combining performance, sculpture and video art, explore the fate of the body subjected to signification and can be described as ‘tragedies (...) of faciality’. At the same time, anchored as they are in material relations, they are unable to detach the subject from the limits of the body in the radical way Proust can, via a literary account of projection which is, I argue, doubly virtual. (shrink)

The hero might do something that he or she may regret later, but since the action is so boldly and decisively undertaken, we can’t help but be impressed. We may even find ourselves awed by the magnificence of an action that is ethically abhorrent.

Les essais de ce recueil étudient les différentes représentations de l'ascension de l'âme dans des sources anciennes et prémodernes, de Platon à Pierre Charron, en passant par la patristique grecque, l'iconographie byzantine, les théologiens chrétiens médiévaux, les philosophes et peintres catholiques de la Renaissance et les kabbalistes juifs du XVIe siècle. Ainsi, ce livre forme un répertoire détaillé des manières dont ont été imaginées à travers les siècles les vacations de l'âme après sa séparation du corps. Comment se représenter l'ascension? (...) Qu'est-ce qui se passe dans les régions supraterrestres? S'agit-il d'un envol vers une vérité morale, vers une unité sublime ou vers un double sublimé de la réalité terrestre?"--Page 4 of cover. (shrink)

The famous story of Diogenes searching for a man (ánthrōpon zētō̂) with his lantern in broad daylight (D.L. VI 41) has been interpreted in two ways, according to the meaning assigned to the word ánthrôpos (« human »). Proponents of the nominalist interpretation, by giving it the sense of human as a concept, see in the quest of Diogenes an attack against Plato’s Ideas. Defenders of the moral interpretation rather give the word ánthrôpos a concrete meaning with meliorative value: (...) Diogenes is searching in vain for a virtuous human. After showing that both interpretations are equally valid, our paper argues for a middle way, called the « falsification of language », which reconciles the two positions through an analysis of the relationship between language and truth in the Cynics. (shrink)

The visual culture of the sciences has become a focus for increasing attention in recent literature. This is partly a result of the concern with examining the material culture of the sciences that has developed over the last few decades. Increasing attention has also been devoted to understanding science as spectacle and to trying to understand the spaces where scientific performances, variously understood, take place. This essay surveys some aspects of the visual culture of the sciences in the long nineteenth (...) century. I examine the way visual scientific performances---such as magic lantern shows, optical illusions, and public experiments---were put together. I suggest in particular that if we want to understand the ways in which nineteenth‐century sciences appealed to their audiences we need to pay close attention to these kinds of performances, their performers, and the material and social resources that were deployed in their staging. (shrink)

Some things are _about_, or are _directed on_ , or _represent_, other things. For example, the sentence 'Cats are animals' is about cats (and about animals), this article is about intentionality, Emanuel Leutze's most famous painting is about Washington's crossing of the Delaware, lanterns hung in Boston's North Church were about the British, and a map of Boston is about Boston. In contrast, '#a$b', a blank slate, and the city of Boston are not about anything. Many mental states and events (...) also have "aboutness": the belief that cats are animals is about cats, as is the fear of cats, the desire to have many cats, and seeing that the cats are on the mat. Arguably some mental states and events are not about anything: sensations, like pains and itches, are often held to be examples. Actions can also be about other things: hunting for the cat is about the cat, although tripping over the cat is not. This -- rather vaguely characterized -- phenomenon of "aboutness" is called _intentionality_. Something that is about (directed on, represents) something else is said to "have intentionality", or (in the case of mental states) is said to be an "intentional mental state". (shrink)

The weather report says that the chance of a hurricane arriving later today is 90%. Forewarned is forearmed: expecting a hurricane, before leaving home you pack your hurricane lantern.

A curious irony hangs over the two similes of the lantern and the clepsydra which Empedocles used to describe his theories of seeing and breathing. Similes were a feature of Empedocles' style, and it is clear that on these two in particular he has lavished considerable care. They have been preserved in their entirety, as almost the longest continuous quotations which Aristotle makes from any author. Despite such auspicious beginnings, these two similes have proved peculiarly resistant to modern attempts (...) at interpretation. The reason for this, I shall try to show, is that certain features in the two similes took on a spurious significance as a result of Plato's remodelling of Empedocles' theories. Difficulties of interpretation have been caused by trying to read back these innovations of Platonic theory into details of the similes that in their original context were fortuitous and inessential.In Plato vision occurs when fire leaves the eye and joins fire outside to form a single compacted body, along which movements from the visible object are communicated as sensations to the eye.According to Theophrastus, Empedocles explained vision as the result of effluences which are given off from objects and enter the appropriate pores of the eye. Dark effluences enter the watery pores of the eyes, and bright effluences enter the fiery pores of the eye. As I have tried to show in an earlier article, Empedocles distinguished good and bad vision, by day and by night, for eyes with a predominance of fire and for eyes with a predominance of water. Good vision results when the dark and light elements which enter the eye are equally balanced. Poor vision results either when there is too much fire in the eye, so that we are dazzled, or when there is too much water in the eye, so that our vision is dimmed. In the whole of his detailed and one would have thought exhaustive account, Theophrastus says nothing about fire leaving the eye as a factor in the act of vision. (shrink)

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays by contributors in (...) philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

Phantasmagoria explores ideas of spirit and soul since the Enlightenment; it traces metaphors that have traditionally conveyed the presence of immaterial forces, and reveals how such pagan and Christian imagery about ethereal beings are embedded in a logic of the imagination, clothing spirits in the languages of air, clouds, light and shadow, glass, and ether itself. Moving from Wax to Film, the book also discusses key questions of imagination and cognition, and probes the perceived distinctions between fantasy and deception; it (...) uncovers a host of spirit forms--angels, ghosts, fairies, revenants, and zombies--that are still actively present in contemporary culture. It reveals how their transformations over time illuminate changing ideas about the self. Phantasmagoria also tells the accompanying story about the means used to communicate such ideas, and relates how the new technologies of the Victorian era were applied to figuring the invisible and the impalpable, and how magic lanterns (the phantasmagoria shows themselves), radio, photography and then moving pictures spread ideas about spirit forces. As the story unfolds, the book features the many eminent men and women--scientists and philosophers--who in the Society of Psychical Research applied their considerable energies to the question of other worlds and other states of mind: they staged trance seances in which mediums produced spirit phenomena, including ectoplasm. The book shows how this often embarrassing story connects with some of the important scientific discoveries of a fertile age, in psychology and physics. Over a sequence of twenty-eight chapters, with over thirty illustrations in color and black and white, Phantasmagoria thus tells an unexpected and often uncomfortable story about shifts in thought about consciousness and the individual person, from the first public waxworks portraits at the end of the eighteenth century to stories of hauntings, possession, and loss of self as in the case of the zombie, a popular figure of soulessness, in modern times. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:418 Feminist Studies 43, no. 2. © 2017 by the estate of tatiana de la tierra. Ode to Unsavory Lesbians i love an ugly lesbian one who walks with a limp talks with a lisp leaves her dentures out overnight by the bathroom sink wears polyester pants and men’s cologne, the cheap kind has a beard so long she steps on it sprouts warts on her toes, all twelve (...) of them carries a spittoon in her breast pocket chortles at church people i dream of a lesbian who’s always broke she doesn’t own a car, walks streets barefoot, near and far washes all her clothes by hand steals from walmart scams the business-suited man lights matches on her wooden leg barbeques freshly plucked birds on her shopping cart seasons them with salt, that’s all licks her fingers in the moonlight i crave a lesbian who’s fat and fleshy so big she can’t fit through the door at starbucks and they set up an outdoor café just for her so fat she wears bangles on her fingers her belly is a boom box her stretch marks are hieroglyphic etchings she’s so heavy, tectonic plates shift beneath her feet so huge, lake erie is her bathtub tatiana de la tierra tatiana de la tierra   419 i lust after an unsavory lesbian she blows away my lackluster day leads me in a lambada, lights lantern between my legs lays my head down on lace pillows humps me like a lamppost lacerates me with leather lust lacquers my body with blue latex paint logs the forest for prime wood builds me lakeside throne sets me there and worships me —goddess in blue— lines my path with lady slippers ravishes me with sex words pets me like a little lamb wins me by a landslide To My Kidneys i had no inkling of your existence those summers when i swam in waters at the turkey point nuclear power plant a mile from home was proud of the organic salad tomatoes and the steaming peppermint tea that came from backyard garden a block from the rex chemicals plant life at 29822 SW 147th avenue in leisure city was anything but leisurely 420 tatiana de la tierra it was all screaming and fighting and cursing hijueputa this and hijueputa that poverty pissed me off i drank too much high fructose corn syrup not enough purified water snorted cocaine smoked dope lived all toughed out while you worked silently on my behalf filtering purifying regulating i was an angry girl but i blew up no buildings killed no one i was all hot air exploding inside letting carnage settle harden at twenty-nine something was wrong the damage was done your tubules were atrophying glomeruli were dead and dying you were inflamed and irate i had twenty-four grams of protein in the urine all swollen and freakishly feverish pouring my fluids into vials and beakers tried to recollect every sun burn those little red dots on my childhood skin tatiana de la tierra   421 i was a medical mystery for months until the day doctors made a diagnosis: lupus-mediated membranous glomerulonephritis now, eighteen years later you’re all i’ve got my future is in the capillaries of your glomeruli i’ve taken pills done prayers of all kinds even injected myself with german baby’s umbilical cord to keep you going yet you falter healers put the blame on all kinds of things deep-seated fears petrochemicals lead cadmium karma white flour self-hatred seriousness we’re in this together, you and i let’s go get sunshine drink green tea grow tall and strong wade in waters up to our knees like the cypress in the florida swamps gracing riverbanks and wetlands roots filtering flowing waters branches stretching to the skies with their durable and eternal woods 422 tatiana de la tierra Topanga Canyon i had forgotten trees how they claim earth and sky a herd of elephants standing in place reaching up with their trunks carrying torches of green leaves that breathe after death crushed at my feet trees splayed out like spent lovers legs open... (shrink)

125. The madman. Have you not heard of that madman who lighted a lantern at the bright sunshine of the morning, ran to the market, and began ceaselessly screaming: "I seek God! I seek God!"?This present essay is a shortened and adapted version of the first chapter of a large book of mine devoted to a comparison between ancient Greece and Christianity, shortly to be published in English by Michigan State University Press. Its theoretical core is the idea of (...) mediation, that is to say, the intangible connective element acting as a medium capable of linking humans to the world and the divine sphere that made the world possible in ancient times2. All this is related to our experience of object meant not only as a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 602-603 [Access article in PDF] Paul B. Thompson and Thomas C. Hilde, editors. The Agrarian Roots of Pragmatism. The Vanderbilt Library of American Philosophy. Nashville: Vanderbilt University Press, 2000. Pp. ix + 342. Cloth, $39.95. If "racial memory" is a viable concept, then the enduring paradigm of human productivity is agriculture, whose seventy-century dominion Western industry and urbanization have eclipsed only (...) within the last two hundred years. The fifteen essays collected here explore America's distinctive form of agrarianism: where individualism, democracy, and a seemingly endless frontier transcended European quarrels over "commons" versus "containment." These values also helped forge our indigenous philosophy—pragmatism—and it is the confluence of these two distinctive American forms that intrigues each of these authors.The essays fall roughly into three groups: 1) historical queries whose connection to pragmatism is marginal, 2) expositions of the agrarian roots of pragmatism, and 3) estimates of the influence of classical pragmatism on the recent rise of neoagrarianism. The first category offers sparkling essays by Charles Taliaferro, James Campbell, Paul B. Thompson, Robert S. Corrington, and Douglas R. Anderson. Together these scholars sketch a history from colonial times to the mid-twentieth century—from Jefferson's "noble agrarian" to the agony of reconstruction, which hastened the split between Northern transcendentalists and Southern romantics. There are some surprises: Franklin outshines even Jefferson with his balanced vision of self-improvement and community weal, and Jefferson's correspondent Crèvecoueur emerges as a visionary who foresaw farming as a wholesome and integrated way of life a century before Emerson and Thoreau. Thomas C. Hilde finds an engagingly pragmatic notion of community in Josiah Royce, and Richard E. Hart discovers Dewey's sense of concrete experience in the novels of John Steinbeck. The contributions of neglected figures such as Francois Quesnay, Liberty Hyde Bailey, John Brewster, and A Whitney Griswold are also recovered.Turning to the second group, though obviously an irresistible title the notion that classical pragmatism is robustly "rooted" in agrarianism is slightly disingenuous. Peirce and James have no direct ties to agrarianism. And though Dewey's themes of innovation, social intelligence, community, and a conception of experience broadly inclusive of organisms and environments reflect obvious affinities, they do not show that pragmatism grew directly from or is a variant of agrarianism. Happily, the pieces on Dewey contributed by Larry A. Hickman and Armen Marsoobian harbor no such illusions, [End Page 602] and Dewey is specifically disassociated from the claim that agriculture is a privileged form of experience.The third, and perhaps most significant, aim of the volume is to bring pragmatic insights into the recent groundswell toward neoagrarianism. Where traditional agrarianism was polarized between the domination of nature and its romantic beatification, the movement pioneered by Wendell Berry in the 1970s portrays the farmer as a nurturer whose goal is to seek an optimal harmony in the health of the land, the family, the community, and the country. In this James A. Montmarquet finds a Deweyan respect for an encompassing "situation," a unity of fact and value in stark opposition to the "corporate" mentality of specialization and success measured in economic gain alone. For Jeffrey Burkhardt, land grant universities must renew their original commitment to the family farm by distancing themselves from the forces of positivism and scientism—the technocrats and bio-chemical engineers who have imperiled both the land and the communities who depend upon it. Neither Montmarquette nor Burkhardt are looking for handouts, or for a return to the "idyllic" life of the one-horse plow. They emphasize moral training and a combination of practices designed to support the sustainability of the smaller farm in a competitive marketplace.One author compares the mention of agrarianism in philosophical discourse to committing a rude act in public. Clearly, however, mere "respectability" is not enough. If the contributors to this volume are correct, agrarianism is a lantern that may illuminate our ongoing search for wholeness and integrity. Frank X. Ryan Kent State University... (shrink)

Affectionately known as "Lady Ruth" at the Jivamukti Yoga School in New York City where she teaches, Ruth Lauer-Manenti has presented dharma talks on daily life from a yogic perspective for many years (collected in An Offering of Leaves and Sweeping the Dust, both published by Lantern Books). Fell in Her Hands is an altogether more ambitious work: a commentary and reflection on the venerable yogic text, the Yoga Sutra of Patanjali--written in the form of a series of interlaced (...) stories that grow out of the sutras, with the various characters evolving through the obstacles and challenges that are presented in the Yoga Sutra. Deeply personal, humane, expressive, and even humorous, Fell in Her Hands is a fresh and insightful examination of the yoga--the yoke--that ties us to our friends and family and acquaintances, to the past and the future, and to all creation. The result is a unique insight into the heart of yoga by a much-loved and compassionate practitioner. (shrink)

What can postmodernism do for, or to, educational research? The article discusses its potential for resisting closure and simplification. Developing a ‘preposterous’, anachronistic postmodern method that is caught up with surrealism and the baroque, the article plays with trompel'oeil paintings and outmoded popular entertainments such as magic lanterns, peep shows and clockwork automata as figures for critique and analysis. It argues for defamiliarisation, fascination, recalcitrance and frivolity as methodic practices for research in the compromised conditions of postmodernity, and as forms (...) of ethical resistance to the risk-averse literalism that pervades contemporary education policy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 405-414 [Access article in PDF] Nihilism in Seamus Heaney Irene Gilsenan Nordin I WISH TO BEGIN WITH THE WORDS of Nietzsche's madman as he makes his famous appearance, running into the crowded marketplace in the bright morning with his lit lantern in his hand, crying out his proclamation of the death of God: "'Where has God gone?' he [cries]. 'I shall tell you. (...) We have killed him—you and I. We are all his murderers.'" He calls out in despair to the bemused and indifferent crowd his rhetorical questions: How were we able to drink up the sea? Who gave us the sponge to wipe away the entire horizon? What were we doing when we unchained the earth from its sun? Whither is it moving now? Away from all suns? Are we not plunging continually? Backward, sideward, forward, in all directions? Is there still any up or down? Are we not straying as through an infinite nothing? 1These words of the madman express the abyss of despair experienced on the realization that God is dead, the state of desolation which articulates what Nietzsche himself understood to be the consequences of the triumph of the Enlightenment. But these words of despair sum up more than that; they sum up the underlying problems of Nietzsche's age, and indeed our age: the basic mistrust of all previously held systems of value; the collapse of all ordering principle; and the erosion of the authority of tradition. In other words, reason has revealed the inadequacy of tradition, and has itself lost the ability to provide us with [End Page 405] any reliable means of evaluation—since any such evaluation must be based on the very principles which are themselves under attack.This stark realization of the absence of all sense of meaning in values previously held to be true leads to the condition that Nietzsche calls "nihilism," (Latin nihil, "nothing"), the condition that he considered to be the central problem of Modernity. This condition, Nietzsche believed, is brought about by the realization of three factors: first, the loss of faith in what he calls a "'meaning' in all events," a loss which contributes to an experience of aimlessness; second, the realization that there is no inherent pattern to the world or to history that can lend universal coherence; and third, the loss of faith in the existence of a stable world of being which can be evaluated according to steadfast, enduring principles. The rejection of these three categories, which Nietzsche terms "aim," "unity," and "being," leads to an experience of a world that appears "valueless," in other words, the experience of nihilism. 2Nietzsche, whose thought was considered by Heidegger to be the "final thought of Western metaphysics," 3 is seen as a heralding voice of postmodernism. 4 In this respect, Nietzsche's "death of God" can be seen to be about the death of modernist philosophical presuppositions, the death of the logocentric metaphysics of presence. But, parallel with the notion of crisis that Nietzsche's announcement of the death of God expresses and the ensuing critique of "metanarratives" which his thought has helped to give rise to, 5 Nietzsche's declaration of crisis can also be seen as a statement of faith. His interpretation of the problems of our age, while on the one hand "negatively" proclaiming the death of God and denying the possibility of shared meaning—or in Lyotard's terms "the consensus of a taste which would make it possible to share collectively the nostalgia for the unattainable" (p. 81), can, on the other hand, be viewed in a more "positive" light. The term "nihilism" itself, as Nietzsche has shown us, is ambiguous, comprising both the concepts of what he termed "active nihilism" and "passive nihilism," which involves a complex interplay between the dual forces of affirmation and negation (WP, p. 22).As the Italian philosopher, Gianni Vattimo, points out, the most general distinction between these forces can be seen in terms of "strength of spirit," where nihilism is considered as both "a sign (Zeichen) of the strengthened power... (shrink)

Norm Phelps has long been one of the leading theoreticians, historians, and strategists of the animal advocacy movement. His new book collects his recent writings on this subject, as well as offers in print for the first time a fully revised and updated version of the e-book he published with Lantern in 2013 (978-1-59056-379-3). Phelps argues that faced with the overwhelming wealth and power of the animal exploitation industries, animal activists are like David trying to stand up to Goliath. (...) But rather than following the unsuccessful strategies of the past, Phelps proposes that we change the game by adopting David's strategy of refusing to play by Goliath's rules. Additional essays explore class and race in animal advocacy, the place of public policy vs. private morality in creating social change, and the unyielding barrier of human exceptionalism. Trenchant, wise, and deeply committed to the reduction of suffering and the liberation of animals, Changing the Game is sure to offer animal advocates much food for thought as the movement charts a way forward for all sentient beings. (shrink)

Donald Davidson infamously claims that belief is in its nature veridical, and that skepticism is for this reason fundamentally incoherent. To those who take the issue of external world skepticism seriously, Davidson's arguments may seem to involve a conjuring trick. In particular, his invocation of an ‘omniscient interpreter’, whose intelligibility supposedly ensures that our beliefs must be largely true, has the air of incense and lantern-rubbing about it. Davidson's claim has received considerable critical response in the literature, almost all (...) of it negative. In my view, some commentators have indeed lit on a critical and controversial lemma in Davidson's argument, but this basic result has been obscured by being presented amidst an array of other criticisms that simply make no sense from a Davidsonian point of view. The aim of this paper is to clear away some of the confusion that stands in the way of a more productive evaluation of Davidson's important claim. (shrink)

This study adopts qualitative research methods, and the research texts are three Zhang Yimou films that reflect the history and social culture of the Republic of China, namely Red Sorghum, Ju Dou, and Raise the Red Lantern, also known as the Red Trilogy. This study explores the phenomenon of consuming history through the art form of films. The study finds that history is not only concerned and used by historians and archaeologists but can also be used by artists and (...) consumed by the audience. The consumption (use) of history by artists and audiences is not consuming its complete authentic history. In Zhang Yimou's Red trilogy films, the history and social culture of the Republic of China are arranged and designed. The audience can get a feeling that goes straight to the heart by watching these artfully processed. Re-made history, which is different from the historical knowledge read through words in history books, this kind of consumption is more intuitive, attractive, and acceptable to the audience. By watching these films, the audience colloquially learns about history, and although it is not a serious and complete history, it gains cultural value just as much. (shrink)

This article draws on the interrelated concepts of reverie and repose in Gaston Bachelard's philosophy to approach Claire Denis' poetic foregrounding of objects in 35 Shots of Rum (35 Rhums, 2008). Connecting Bachelard's work on time to his later studies of the imagination, I demonstrate how the poetic time of reverie and repose are essential to Bachelard's thinking. Focusing on three especially charged objects (trains, rice cookers and lanterns), I argue for reverie and repose as being embedded into the rhythmic (...) structure, affective organisation and form of Denis' film. Contextualising Bachelard's later thinking in relation to Eugène Minkowski, I maintain that Denis' objects reverberate (both formally and sensuously). In 35 Shots of Rum, Denis' poetic objects and her evocation of different in-between states parallels Bachelard's own materialist thinking on the imagination, reverie and repose. (shrink)

Color FilmAs if from darkness, from gloom, from nothing —this moment is sewn through us like a thread —from above our shoulders — from primeval night —a shining river. A flying light.Onto the screen, onto a white calm,onto a cloth, onto the ground of spatial fields,it flies through the eyeless dark,it's as voluminous as seed or salt.And in this theater, where light's been banished,where even streetlight fades away completely,other light channels vibrate,and reflections wander through the eye.The curtains open up — (...) the wings of a gate.The screen shifts our eyes and soulsso that we reach new perspectives,blown by the wind into the changingof colors, landscapes, rooms,we touch fire, earth, water.But no! Not those! And not like that!There's a wall here, the screen's always a wall.So, when the shades are opened and it's over,daylight pours through the aisles,we walk as if from underground corridors,we reach for cigarettes in our pockets.We exit like a flood, like a tide,and start talking again.O reality, blinding and sublime!We learn to love. We learn to see.StanzasThose years are slowly fading.Our house was by the railroad stationwhere engines covered in soot hammeredand invisible locomotives roared at night.Pedestrians passed by our porch,their moods dependent on loveand weather, coats and sorrowscarried over their shoulders, invisibleswords drawn but hesitant — as if awaitingtournament trumpets to launch their lives.The acacia (the one that was cut down later)grew according to a centuries-long spanof rain and sun and, like a lively banner,the windows reflected its green flash.And there was lilac, a skinny creature,diminished from the leaves to the roots.But once a year it flushed numb madlyand flourished although it was in pain.(It's worth mentioning the elderberry —dense, aromatic, and luminous,and how, after trembling on the bush,a rainbow surfaced through the drizzle.)Those lands were also full of winter —Christmassy and audacious, like an invasion,and a piercing whirlwind flew inthrough cold doorways and frozen windows.And in the lanterns oranges burned,buckets clanking through the morning,snow trampled after a blizzard,brown brick ovens roaring inside houses...Those years are fading like those legends,but who will weave us sweeter memories?Elegy for the SixtiesSummer, the smell of a soccer ball, elderberry, currant,couples made out in the evening bushes,and when the twilight descended beyond the river,the stony sidewalks smelled of warm rain.The soccer ball flew over antennas and linden trees,its body leather and cosmic.From grape-covered arbors, with pubescent sobs,songs of the prodigy Robertino spread through the world.The night thickened instantly, the ball meltedin the darkness, lamps lit up in the orchards and porches,a mysterious depth opened in a treetop,the shadows on the faded curtains spoke.The ball never came back: disappeared in the distance.Frogs croaked from neglected fountainsin the park where there were dances every night,where a saxophone wheezed, where they carried knives.The ball remained in the air, and the years unfoldedlike sandy seas, like salty deserts,and spooky carousels horrendously circledand creaked for us, as in a dream, until morning.The Museum of AntiquitiesHow the two of us walkthe cramped labyrinths of an old house!...Tapestries and trumpetsglorify an unknown couple,as if seeingour conspiracy:every toucha warm flash.And then again and againwe passin the mirrors.The clock with blazonsindicates, as always, it's two,and sneaking after usmaybe anguish, maybe a fugue...Passing portraitsand palanquinsan echo of footstepswalks with us.We disappeared somewhere for a long time(for two hundred years?For three hundred?).And when it gets dark,from unheated rooms(I seem to have behaved well,I did nothing wrong),into hot neon lightswe return forever.I carry you in my hand,and life is so vast... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE VINE AND BRANCHES DISCOURSE: THE GOSPEL'S PSYCHOLOGICAL APOCALYPSE Gil Bailie Florilegio Institute Man is after something that cannot be possessed.... Man cannot "have" being, though he absolutely needs it for living. (Roel Kaptein) The anthropological reading of biblical literature which Girard's mimetic theory makes possible sheds new light on many otherwise inscrutable texts. Prominent among these, due to its centrality as well as its elusiveness, is the prologue (...) to the Gospel ofJohn. For the author of this gospel, the "Word" who was "in the beginning," was "the light" without which humanity remained in darkness—whether it be the darkness ofpre-human existence or the moral and mythic darkness of the sacred violence that accompanied hominization. Girard's work helps us realize that humanity generated its own crude forms of illumination precisely by periodically expelling this light. (A vivid symbolic expression ofthis is the reference to the "lanterns, torches, and weapons" with which the Roman cohort arrested Jesus later in John's Gospel.) The Johannine Prologue conveys its message in an elusively universal yet specifiable idiom: The true light, which enlightens everyone, was coming into the world. He was in the world, and the world came into being through him; yet the world did not know him. He came to what Gil Bailie121 was his own, and his own people did not accept him. But to all who did accept him, who believed in his name, he gave the power to become children of God, who were born, not of blood or ofthe will of the flesh or of the will of man, but of God. (1 : 9-13) The ontological theme of these verses deserves attention. If, as Raymond Brown has observed, these verses constitute a "description of the history of salvation in hymnic form," they also contain an anthropological summary of the two, and only two, ontologizing circumstances: the identification, respectively, with the victimizing crowd and with the victim. However occluded the illuminating Logos might have been prior to revelation ofthe Cross, the Johannine prologue tells us that it was present from the beginning. How? The most pertinent scriptural clue seems to be the reference to Christ in the Book of Revelation as "the Lamb slain from the foundation of the world," the innocent One whose victimization finally broke open the seals on the scroll of human iniquity and, in the process, unfettered that iniquity from its ancient restraints. One of the great values of Girard's work is that it makes anthropologically explicit what is poetically implicit in these scriptural innuendoes, namely, the link between the Crucified One and all victims slain "from the foundation of the world." Inasmuch as "the Lamb slain from the foundation of the world" was what made the old humanity possible and, in Christ, what brought the new humanity into being, the third verse of the prologue of John's Gospel becomes anthropologically intelligible: All things came into being through him, not one thing had its being except through him. (1:3) Here the explicit claim that all things came to be through him needs to be read in light of the verses that follow in the prologue, but which I have quoted above. Doing so, we are led to consider the radical difference between the crude and fallacious ontology the ancient sacrificial system was able to underwrite by causing its beneficiaries to identify with the victimizing crowd and the ontological renewal born of an identification with the innocent victim—referred to in the New Testament as a dying with Christ and ritualized in baptism. With equal subtlety, this verse alludes as well to the ineradicable homology between these two forms of 122Vine andBranches ontological sustenance. "All culture is sacrificial," writes Eric Gans, adding: Culture covers a lot of ground, from bear-baiting to attending a performance of Saint Matthew's Passion, but whether we savagely revel in the victim's sufferings or identify with them in the depths of our soul, culture is the founded on them. And so is the being of those involved in these two fundamental forms of identification. Corresponding to the moral difference between the ritual experiences to which Gans refers is an ontological difference... (shrink)

Focusing on Nietzsche’s madman parable from The Gay Science, this essay shows how the language/imagery of aphorism 125 draws on a Cynical critique ofmorality that has far-reaching consequences for understanding Nietzsche’s notions of nihilism, transvaluation of values, and amor fati. My claim is that the work ofDiogenes of Sinope will shape both the rhetorical structure and the philosophical thematics of The Gay Science. As the “Socrates gone mad,” Diogenes/the madman brings his lantern to the marketplace to seek a God (...) who has fled, the deus absconditus. Countering Christian-Platonic metaphysics with Diogenean satire, Nietzsche advocates the embrace of physis as the sphere of human creation and valuation. Against this Cynical background we can see how the madman parable’s announcement of God’s death has less to do with atheism or the argument about the existence of God than it does with the existential concerns of the human being. (shrink)

The photographer and reformer Jacob Riis once wrote, “I have seen an armful of daisies keep the peace of a block better than a policeman and his club.” Riis was not alone in his belief that beauty could tame urban chaos, but are aesthetic experiences always a social good? Could aesthetics also inspire violent crime, working-class unrest, and racial murder? To answer these questions, Russ Castronovo turns to those who debated claims that art could democratize culture—civic reformers, anarchists, novelists, civil (...) rights activists, and college professors—to reveal that beauty provides unexpected occasions for radical, even revolutionary, political thinking. B eautiful Democracy explores the intersection of beauty and violence by examining university lectures and course materials on aesthetics from a century ago along with riots, acts of domestic terrorism, magic lantern exhibitions, and other public spectacles. Philosophical aesthetics, realist novels, urban photography, and black periodicals, Castronovo argues, inspired and instigated all sorts of collective social endeavors, from the progressive nature of tenement reform to the horrors of lynching. Discussing Jane Addams, W.E.B. Du Bois, Charlie Chaplin, William Dean Howells, and Riis as aesthetic theorists in the company of Kant and Schiller, Beautiful Democracy ultimately suggests that the distance separating academic thinking and popular wisdom about social transformation is narrower than we generally suppose. (shrink)

Hans-Georg Gadamer reads Georg Trakl’s “Ein Winterabend” (“A Winter Evening”) almost in the way Martin Heidegger does, but he alters Heidegger’s interpretation of a single image in the poem. Whereas Heidegger sees the image “Golden blooms the tree of grace” in terms of candlelight on a church altar, Gadamer sees it as the glow of a kerosene lantern, perhaps in a country inn. That one alteration, this essay argues, brings Gadamer closer to the Trakl-world than Heidegger ever manages to (...) be. (shrink)

Processes of adapting complex information for broad audiences became a pressing concern by the turn of the twentieth century. Channels of communication ranged from public lectures to printed books designed to serve a social class eager for self-improvement. Through analyzing a course of public lectures given by George Howard Darwin (1845–1912) for the Lowell Institute in Boston and the monograph he based on these, The Tides and Kindred Phenomena of the Solar System (1898), this article connects the important practices of (...) public lecturing and book production–two aspects of knowledge dissemination that tend to be studied as separate entities. Darwin, Plumian Professor of Astronomy at the University of Cambridge and son of the famous naturalist, relied on a diverse material culture when lecturing and producing a book. Giving a new account of Darwin’s scientific work through exploring his adaption of it for broader audiences, this article connects the diverse material culture Darwin employed in talks to the practice of producing a published book. The content of objects demonstrated and the lantern slides projected during Darwin’s lectures evolved to form a book designed to engage broad sectors of society in Europe and the United States. Darwin’s lectures were attended at full capacity, while The Tides was soon printed in numerous English editions and translated into German, Italian, Hungarian, and Spanish. (shrink)

Summary Sexual communication in most species of fireflies is a male±female dialogue of precisely timed flashes of bioluminescent light. The biochemical reactions underlying firefly bioluminescence have been known for 30 years and are now exploited in biomedical assays and other commercial applications. Several aspects of flash regulation are also understood: flash rhythm is controlled by a central pattern generator, and individual flashes are neurally triggered, with octopamine serving as the transmitter. The molecular oxygen needed by the biochemical reactants is delivered (...) by a network of tracheal arborizations extending throughout the light organ (lantern).However, the actual means by which oxygen quickly reaches the reactants packaged within specialized photocytes and the specific event(s) triggered by neural action have not been identified; termination of axons away from the photocytes has exacerbated the latter problem. A recent paper(1) by a consortium of cell and evolutionary biologists, however, reports that nitric oxide (NO), manufactured and released in response to neuronal discharge, is the missing link by which neural action in the firefly lantern yields a sudden flash of light. BioEssays 23:992±995, 2001. ß 2001 John Wiley & Sons, Inc. (shrink)