This chapter contains sections titled: Introduction Tales of Dread: Some Examples from The Twilight Zone The Nature and Function of Tales of Dread Horror Fictions and Tales of Dread: A Brief Note Notes.

Utilizing a series of essays examining the broad philosophical concepts embedded in Rod Serling's series, The Twilight Zone, Philosophy in The Twilight Zone provides a platform for further philosophical discussion. Features essays by eminent contemporary philosophers concerning the over-arching themes in The Twilight Zone, as well as in-depth discussions of particular episodes Fuses popular cult entertainment with classical philosophical perspectives Acts as a guide to unearthing larger questions - from human nature to the nature (...) of reality and beyond - posed in the series Includes substantial critical and biographical information on series creator Rob Serling. (shrink)

Utilizing a series of essays examining the broad philosophical concepts embedded in Rod Serling's series, _The Twilight Zone_, __Philosophy in The Twilight Zone__ provides a platform for further philosophical discussion. Features essays by eminent contemporary philosophers concerning the over-arching themes in _The Twilight Zone,_ as well as in-depth discussions of particular episodes Fuses popular cult entertainment with classical philosophical perspectives Acts as a guide to unearthing larger questions - from human nature to the nature of reality (...) and beyond - posed in the series Includes substantial critical and biographical information on series creator Rob Serling. (shrink)

This chapter contains sections titled: Sources.

‘Tales of dread’ is a genre that has received scant attention in aesthetics. In this paper, I aim to elaborate an account of tales of dread which effectively distinguishes these from horror stories, and helps explain the close affinity between the two, accommodating borderline cases. I briefly consider two existing accounts of the genre – namely, those of Noël Carroll and of Cynthia Freeland – and show why they are inadequate for my purposes. I then develop (...) my own account of tales of dread, drawing on two theoretical resources: Freud’s ‘The “Uncanny”’, and Tzvetan Todorov’s The Fantastic. In particular, I draw on Freud to help distinguish tales of dread from horror stories, and I draw on Todorov to help explain the fluidity between the genres. I argue that both horror stories and tales of dread feature apparent impossibilities which are threatening; but whereas in horror stories the existence of the monster is confirmed, tales of dread are sustained by the audience’s uncertainty pertaining to preternatural objects or events. Where horror monsters pose an immediate, concrete danger to the subject’s physical well-being, these preternatural objects or events pose a psychological threat to the subject’s grasp of reality. (shrink)

This chapter contains sections titled: Way 1: Fictional Truth Way 2: Other Dimensions Interlude: Could There have been a Twilight Zone? Way 3: Real Non‐Existence Way 4: Modal Realism Way 5: Abstract Fictional Realism Conclusion Notes.

This paper draws a parallel between two contemporary French conceptions of sociology. Each is first considered in terms of the principles and strategies of its sociological method. Through an analogy with Marx's philosophy of social science, critical sociology is shown to make an heuristic use for the analysis of cultures and social structures of the resistance to sociology that the sociologist encounters in the social objects, whereas pragmatic sociology adopts a pluralistic and descriptive strategy towards actions, actors and things. The (...) paper then tries to show how common interests or trading zones could allow both critical and pragmatic sociology to profit from their competitive relation by taking each other as objects of sociological analysis. (shrink)

Controversy often follows when patents are obtained in a pioneering area of technology. Patent filing activity in the field of regenerative medicine and in relation to stem cells in particular has not escaped opprobrium, although it is instructive to compare the nature of the debates that are taking place over the patenting of stem cells in the US and Europe. In the US, debate over the early patent applications made by the Wisconsin Alumni Research Foundation has been intense2, but at (...) least it appears to have been grounded firmly in patent law principles. In Europe, the debate has skewed away from the basic patent law tenets of novelty, inventiveness and industrial utility and has entered something of a twilight zone, with the European Patent Office serving as a diffident forum for difficult moral and ethical arguments about the destruction of human embryos and the commercial exploitation of human life. (shrink)

Considering everything from Nike ads, emaciated models, and surgically altered breasts to the culture wars and the O.J. Simpson trial, Susan Bordo deciphers the hidden life of cultural images and the impact they have on our lives. She builds on the provocative themes introduced in her acclaimed work _Unbearable Weight_—which explores the social and political underpinnings of women's obsession with bodily image—to offer a singularly readable and perceptive interpretation of our image-saturated culture. As it becomes increasingly difficult to distinguish between (...) appearance and reality, she argues, we need to rehabilitate the notion that not all versions of reality are equally trustworthy. Bordo writes with deep compassion, unnerving honesty, and bracing intelligence. Looking to the body and bodily practices as a concrete arena where cultural fantasies and anxieties are played out, she examines the mystique and the reality of empowerment through cosmetic surgery. Her brilliant discussion of sexual harassment reflects on the Clarence Thomas/Anita Hill controversy as well as the film _Disclosure_. She suggests that sexuality, although one of the mediums of harassment, is not its essence, and she calls for the recasting of harassers as bullies rather than sex fiends. Bordo also challenges the continuing marginalization of feminist thought, in particular the failure to read feminist work as cultural criticism. Finally, in a powerful and moving essay called "Missing Kitchens"—written in collaboration with her two sisters—Bordo explores notions of bodies, place, and space through a recreation of the topographies of her childhood. Throughout these essays, Bordo avoids dogma and easy caricature. Consistently, and on many levels, she demonstrates the profound relationship between our lives and our theories, our feelings and our thoughts. (shrink)

Assessments of the acceptability of new transplantation practices require a pinpointing of not only the meaning of death, but also the timing of death. They typically perceive elective ventilation as occurring just prior to death and non-heart-beating donor protocols as operative just after death. However, such practices in fact highlight the general vagueness and ambiguity surrounding these issues in both law and ethics. Supply-side dilemmas in transplantation lend real urgency to this "life or death" debate.

Sinking organic particles transfer ∼10 gigatonnes of carbon into the deep ocean each year, keeping the atmospheric CO2 concentration significantly lower than would otherwise be the case. The exact size of this effect is strongly influenced by biological activity in the ocean's twilight zone (∼50–1,000 m beneath the surface). Recent work suggests that the resident zooplankton fragment, rather than ingest, the majority of encountered organic particles, thereby stimulating bacterial proliferation and the deep‐ocean microbial food web. Here we speculate (...) that this apparently counterintuitive behaviour is an example of ‘microbial gardening’, a strategy that exploits the enzymatic and biosynthetic capabilities of microorganisms to facilitate the ‘gardener's’ access to a suite of otherwise unavailable compounds that are essential for metazoan life. We demonstrate the potential gains that zooplankton stand to make from microbial gardening using a simple steady state model, and we suggest avenues for future research. (shrink)

This paper examines the issue of ethics policy in organizations. While the actions of top management may be the single most important factor in fostering corporate behaviour of a high ethical standard, there should be policy where policy is needed. The perceptions of three managerial groups — top- marketing- and purchasing managers — are compared regarding firstly, whether they see a need for policy on a range of ethically contentious issues, and secondly whether they believe there is policy covering these (...) issues in their own organizations. No significant differences between the three groups of managers were found, either with regard to their perceptions of needs for policy, or as far as the existence thereof is concerned. However, an overall comparison of need for policy and the existence of policy showed a significant difference on the scenarios presented to respondents. Furthermore, the study identifies grey areas of ethics in business where managers believe policy is needed, but is not perceived to exist. The use of an ethics policy matrix in organizations is suggested as a practcial tool for the examination of ethically contentious issues. (shrink)

We want to build tiny gnat-sized robots, a millimeter or two in diameter. They will be cheap, disposable, totally sefcontained autonomous agents able to do useful things in the world. This paper consists of two parts. The first describes why we want to build them. The second is a technical outline of how to go about it. Gnat robots are going to change the world.

About the author -- Note to the reader -- From the Alamo Draft House to the livingroom couch (or there and back again) -- Part I: Rated G: General Audiences -- 1. I know something you don't know: The Princess Bride -- 2. Lions and tigers and bears: scary stuff in the Wizard of Oz -- 3. The monster and the mensch: a child's eye view of Super 8 -- 4. Chef, Socrates, and the sage of love: finding love in (...) South Park -- 5. Killing Kenny: death therapy in South Park -- Part II: Parental Guidance Suggested -- 6. The good, the bad, and the beautiful: Sergio Leone's animals, actors, and aesthetics -- 7. Democracy adrift: Hitchcock's Lifeboat -- 8. Cuts like a knife: cutting to the core of His Dark Materials -- 9. Mrs. Coulter--overwoman?: Her Dark Materials -- Part III: Rated R: Restricted Audiences Only -- 10. A very naughty boy: getting right with Brian and Monty Python -- 11. Have you no decency?: Claire, Frank, and their House of Cards -- 12. Vinnie's very bad day: twisting the tale of time in Pulp Fiction -- 13. Once upon a time: in Inception -- 14. Dream time: in inception -- Part IV: Director's Cut -- 15. To serve man: a visit to The Twilight Zone -- Bibliography -- Suggestions for Reading -- Index. (shrink)

Dooyeweerd discusses in this work the pretended autonomy of theoretical thought; the sense of history and the historicistic world- and life-view; the relationship between philosophy and theology; and concludes with a chapter on the question: What is a human person.

In lieu of an abstract, here is a brief excerpt of the content:Crisis of Meaning in Sartor Resartus—Thomas Carlyle's Pioneering Work in Articulating and Addressing the Existential ConfrontationFrank Martelawhat i call an "existential confrontation" is the encounter with the possibility that human life is absurd: created for no purpose and devoid of any lasting value or meaning. It is "the hour of terror at the world's vast meaningless grinding" that William James (Will to Believe 173) examines, described by Todd May (...) (xi) as "the confrontation of our need for meaning with the unwillingness of the Universe to yield it to us." This confrontation with the existential void and the potential absurdity of human existence is often not just an intellectual dilemma, but felt as a deep personal crisis accompanied by melancholia, angst, nausea, or even suicidal thoughts. Young William James confessed in a letter to a friend that "all last winter" he "was on the continual verge of suicide" (quoted in Gunnarsson), writing later that "too much questioning" leads "to the edge of the slope" wherein lies "nightmare or suicidal view of life" (James, "Is Life Worth Living?" 6). Similarly, Leo Tolstoy (54) reports how his inability to identify a lasting meaning of life drove him to a "state of lunacy" where "the best I could do was to hang myself."Despite a few earlier allusions—most famously the Book of Ecclesiastes proclaiming that "all is vanity and a striving after wind," and Shakespeare's Macbeth lamenting that life is "a tale told by an idiot … signifying nothing"—the existential confrontation is predominantly a modern phenomenon (Martela, A Wonderful Life). The modern history of descriptions of existential confrontations start at the turn of the nineteenth century, and includes Søren Kierkegaard's Sickness Unto Death, Leo Tolstoy's A Confession, Fyodor Dostoevsky's Notes from Underground, Camus's Outsider, Sartre's Nausea, and T. S.Eliot's The Waste Land.There are many responses that the confrontation with the existential void has generated. Sartre embraced the lack of values imposed from outside and [End Page 80] emphasized human freedom. Human beings are "cast into this world … condemned to be free" without any "luminous realm of values" providing "justification or excuse," as Sartre famously summarized in "Existentialism Is a Humanism" (29). Other responses range from Søren Kierkegaard's leap of faith and William James's will to believe to Albert Camus's happiness from absurdity.While some of the responses end up finding a new way of connecting with God and faith, and others are explicitly atheistic, embracing the "death of God," a common thread in most responses is an acknowledgment of the situatedness of human experience and an emphasis placed on human subjectivity and the opportunity to live one's life more authentically. While existentialism, broadly conceived, is often seen as the central philosophical tradition dealing with the existential void, the confrontation was very much alive in the United States as well, visible in both literature and philosophy. As already alluded, William James had an existential confrontation in his youth, writing about the topic in "Is Life Worth Living" and other essays in Will to Believe. There has also been much back-and-forth between Europe and the United States around these themes, with the influences crossing the Atlantic on many occasions. For example, William James cites Thomas Carlyle in Will to Believe, while Sartre cites William James in Nausea, when discussing themes related to the existential confrontation. Similarly, Emerson inspired Nietzsche who inspired Josiah Royce. Typically, the histories tracing the early encounters with the existential confrontation acknowledge Friedrich Nietzsche, Søren Kierkegaard, and Fyodor Dostoevsky as key nineteenth-century predecessors to Existentialism, as all faced directly the question of the meaning of life and the dreadful possibility that life might not have any meaning or value to it.However, there is a key author usually not mentioned in these histories, despite the fact that he played a pivotal role in introducing existentialist themes to the English-speaking audience, coining the phrase "meaning of life" in the English language. Thus, in writing the prehistory of Existentialism, we need to examine Thomas Carlyle and his Sartor Resartus, which has been described by literary historians as "one of... (shrink)

Dooyeweerd would be the first to disclaim originality, or that his is a final system, but rather declares that his is a development of Christian philosophy on the biblical foundations of John Calvin and Abraham Kuyper. As such, his philosophy is of major importance and of far-reaching implications. Dooyeweerd discusses in this work the pretended autonomy of theoretical thought ; the sense of history and the historicistic world- and life-view ; the relationship between philosophy and theology and concludes it with (...) a chapter on the question: What is a human person? (shrink)

previous editions or to the original lectures, the nature of the lectures themselves , and what role Dooyeweerd had in bringing the lectures to publication or seeing them later revised. Some 45 years distant from the original publication, some of these questions can be answered, but not all. Nevertheless, they should not be ignored. For In the Twilight of Western Thought to be valuable in the present-day to readers interested in Dooyeweerd’s thought, what little can be established concerning the (...) editorial process must be made known and the remaining uncertainties of its publication and revision history must be publicly established. Furthermore, differences between the editions must also be catalogued and made accessible to readers of his work. The purpose of this essay is to document the history of the lectures, their initial publication, and revisions. Secondly, this essay includes a catalog of the differences between the various editions. As the publishing history of In the Twilight of Western Thought makes evident, in order for the work of Herman Dooyeweerd to continue to have influence, his published and unpublished works must be carefully catalogued, their provenance clearly determined, and the publishing, translation, and revision history of each carefully delineated. (shrink)

Twilight Zone and Philosophy attempts to bring the insights and paradoxes of Rod Serling's project to contemporary audiences through a variety of philosophical perspectives"--Publisher.

This monograph will be devoted to a cluster of related issues arising between two formidable bodies of work: between the philosophical works of G.W.F. Hegel (1770-1831) and the very different flavored writings of Soren Kierkegaard (1813-1855). These two thinkers are commonly regarded as polar opposites. Certainly they thought and wrote in altogether different styles, and Kierkegaard frequently gave vent to vigorous anti-Hegelian polemics. Yet ever since I was a graduate student in the late 1950s, Hegel and Kierkegaard have together supplied (...) most of my intellectual nourishment. Superficially the issues between them are obvious. With careful study they come mus less obvious, much harder to pin down, and yet, one sense, much more important than one had supposed. (shrink)

This chapter contains sections titled: Introduction The Epicurean View of Death Death and Deprivation It's a Good Life… Conclusion Notes.

This essay compares Alasdair Maclntyre's and Basil Mitchell's recent work in religious ethics and ethical theory. The focus is on the interconnections among theories of human nature, sociocultural context, moral thought, and theories of rationality, all of which have a bearing on our prospects for assessing moral traditions. While I note many of the striking parallels between their positions, I also point out that they differ regarding their appreciation of the impact of social and cultural context on morality. In distinction (...) from Maclntyre, Mitchell combines an appreciation for moral tradition with an awareness that in order to assess traditions we must have some critical resources that are relatively tradition-independent. He finds these in theories of human nature and in general standards of rationality. Furthermore, from Mitchell's perspective, Maclntyre seems to employ similar resources in developing his position. (shrink)

In this interfaith and multicultural fable, eloquent representatives of all members of the animal kingdom—from horses to bees—come before the respected Spirit King to complain of the dreadful treatment they have suffered at the hands of humankind. During the ensuing trial, where both humans and animals testify before the King, both sides argue their points ingeniously, deftly illustrating the validity of both sides of the ecology debate. The ancient antecedents of this tale are thought to have originated in India, with (...) the first written version penned in Arabic sometime before the 10th century in what is now Iraq. Much later, this version of the story was translated into Hebrew in 14th century France and was popular in European Jewish communities into the late 19th and early 20th centuries. This exquisite English translation, illustrated with 12 original color illumination plates, is useful in introducing young and old alike to environmental and animal rights issues. (shrink)

Granted that God may exist, how may God be defined in our time? Addressing this issue Benjamin Farley explores a variety of belief systems, Western and Eastern, religious and skeptical. Taking an approach that is both critical of religion as well as sympathetic, Farley refuses to shy away from hard questions or to dismiss constructive answers that speak to the human condition. He distinguishes human "intellectual ascent" towards God from humankind's "innate and inner sense" to know and relate to the (...) living God, demonstrating the efforts and rewards of both approaches in Christianity, as well as in Hinduism, Buddhism, Taoism, and Zen. Alongside these more obviously "religious" approaches, Farley reviews the methodologies and findings of today's greatest scientific minds, including skeptics such as Hawking, Dawkins, and Wilson, as well as their skeptical forerunners of the past. He argues that belief in God can no more ignore the scientific truth about the universe than science can dismiss the spiritual yearnings and hunger of humanity for purpose, meaning, and its inescapable sense of the presence of God. (shrink)

The following is excerpted from Sean Gurd’s translation of Euripides’ Hippolytus published with Uitgeverij this year. Though he was judged “most tragic” in the generation after his death, though more copies and fragments of his plays have survived than of any other tragedian, and though his Orestes became the most widely performed tragedy in Greco-Roman Antiquity, during his lifetime his success was only moderate, and to him his career may have felt more like a failure. He was regularly selected to (...) have his plays performed in the annual festival of Dionysus at Athens. But the plays were performed in a competition, and in the competitions he lost and lost, winning first place only five times in a career that spanned more than forty years. His corpus reads like the remains of a life spent trying to get a few things right and never being quite satisfied: scenes and schematized combinations of elements recur again and again, each time slightly changed. Hippolytus itself is an example: it contains two scenes in which a sick or dying character lies on a couch or a stretcher and is surrounded by silence and grief; he had experimented with such scenes in Alcestis, and would work with them again in Herakles and Orestes. Nor, judging from appearances, was he immune to the desire to score a hit, or to satisfy the audiences and the judges at the competition. Hippolytus is a rewrite of another Hippolytus, performed several years earlier, which scandalized the audience and certainly did not take first place. In that earlier Hippolytus (called by later writers Hippolytus Veiled), Euripides fashioned a Phaedra who was neither ashamed of loving her stepson nor incapable of taking steps to satisfy her desire. The forwardness of her approach to Hippolytus so outraged him that he covered his head with a robe (hence the play’s later title). Euripides liked to write energetic and self-confident women like this. He staged his Medea in 431, just three years before he revised Hippolytus, and in it the jilted title character murders her children in revenge for Jason’s new marriage to a more politically advantageous wife. Another flop: the play came in third of three. Evidently the judges did not like their women showing agency, especially when the consequences were transgressive. “The ornament of women,” wrote another great Athenian a little earlier, “is silence.”i Euripides’ Medea and his first Phaedra had other decorations. So three years after Medea crashed and burned and some time after the first Hippolytus suffered the same fate, he produced another Hippolytus play with a different setting and story. How could this one not have been a reaction to the failure of the first? “Second thoughts are always better,” he has one of his characters say, as though he were offering an apology for his first thoughts on the same story. In this new version, Phaedra is suicidally ashamed of her love, choosing to die rather than have it discovered, and willing to bring down her beloved Hippolytus in the service of the same end. Now it is Phaedra herself who covers her head in shock and horror at her desire. Only an intermediary, a slave of the house and an old crone with her fingers in all sorts of illicit pots, communicates Phaedra’s secret – against orders – and in consequence brings about the demise of two resolutely moral figures. It worked. For his tale of two well-born nobles with an unswerving commitment to moral action, destroyed by the meddling of a slave (and by the hostility of some particularly uncaring divinities), the judges crowned Euripides winner. It was the first time he had won, after almost thirty years of work. *** What Hippolytus wants more than anything else, as he protests with outrage just before leaving Trozen for the last time, is the benefit of due process – oaths, witnesses, an investigation that would reveal who really lusted after whom. Ironic, given that in the first Hippolytus, as far as we can make out, he did get a trial – but too late, and Theseus’ successful processing of Hippolytus failed to prevent his death. I cannot help hearing in the second Hippolytus’ complaints the anger of his authorial semblable who lost year after year by a process of judging that might have seemed brutal to him. Judges took no cognizance of how he worked, how long or hard or why; they just voted, and Euripides lost. But then I hear, in the fate of the first Hippolytus, an even grimmer commentary. Processed or not, we lose. We run aground. At the very least, this might cast a darker shadow on the business of watching or reading a play: in that twilight, things move too fast to make a fair assessment and, in any case, the reasonably high definition of what you see and hear belies the truth of indistinction, the multiplicities just below the surface. Watching is a constrained activity, a form of captivity, but reading is plastic. This translation was begun to supply the script for an audio version of the play, recorded in the spring of 2012, and here and there it sacrifices literalness for sayability and the voices and passions of the actors on that occasion. But it was finished to be read, and engineered to create a reading caught between the poles of specificity and non-specificity that the play itself conjures and relies on at its generative core. Thus two texts: the one clear, perhaps overprecise, respectably modern in its presentation, and the other ancient, a reasonable approximation of the classical reading process, and indistinct in vital ways. Like early modern dramatic texts, the exact provenance and original function of the scripts that have made it down to us are unknown. We do know that the ultimate survival of Hippolytus was thanks to its wide-spread use as a school text. But its relation to the first performance in 428 BCE is a matter only of speculation. Euripides presumably had a fair copy before production began; it was probably modified during rehearsals. The actors may have had copies, too (probably the young men who served in the chorus did not). The chor?gos, a wealthy Athenian who paid for the production, might have been presented with or just made sure to get his hands on a high-quality text, to commemorate the play’s success. Fans might have been able to buy copies. Any one of these sources might have provided the ultimate progenitor of our text. Several of them might have, in fact, if later editors compared and conflated traditions. The plays toured extensively in the Greek-speaking world, and were restaged as repertoire for centuries afterwards. In the process they were subjected to enough modifications by producers and actors that in the later fourth century the Athenian statesman Lycurgus had a law passed prohibiting performances at Athens from deviating from the official “city” text of the tragedies (which he had commissioned). It is unlikely that the city text was the last word; but it marks an important moment in Athens’ role in their dissemination, since after this the major sites of textual curatorship moved overseas, to Alexandria, Pergamum, Rome, Antioch, Constantinople. Any single text of any single play is thus no more than a moment of clarity and stability, crossed and subtended by multiple vectors of change, including that of textual flux (from Euripides’ first drafts to the latest printed text) and that of Euripides’ life work as a writer, in the light of which the Hippolytus is just one attempt to produce something exactly right, to win the prize or finally satisfy himself or prove to himself that all this longing for perfection was a waste of time. I am intrigued by the possibility that a single text might somehow serve as a lens onto this wider zone of indistinction, representing a small region clearly but nonetheless containing a blurred image of the whole, like a Leibnizian monad. After all, no text is a witness: it is, rather, a perception and a performance, and what every Hippolytus must perform is the awkward overlay of singular and plural, social practise and subliminal drive, that structures the tragedy. Modern critical editions can do this by juxtaposing a (relatively) clean and simple text with a textual apparatus reporting variants and theorizing the relationship between textual instantiations. A translation lacks the resolution to catch the fine variations which feed into the construction of an apparatus. But there are other means to hand. Guessing at the exact words of the original text is always just that – guessing – though Hippolytus is less problematic than plays like Iphigenia at Aulis. But we can make a pretty secure guess at what such a text looked like. Texts read by fifth-century readers were fundamentally different from what is presented in the best medieval MSS and printed in modern publications. The texts of Euripides’ time and for many centuries afterwards did not indicate word division with spaces (or by any other means) and were extremely sparing in punctuation, often avoiding it altogether. There was only one “case” of letters – what we call “capitals.” Musical sections were inscribed as though they were prose, without line endings to reflect their rhythm or their rhetorical structure. There was no indication of the speakers within a dramatic text, either. The earliest surviving dramatic texts, which come from over a century after Euripides’ death and a time which was much more elaborate and precise in its textual culture, indicated speaker-change with a little line or paragraphos below the line and a double-point [:] at its end. This convention almost certainly does not date back to Euripides’ own time; it may not even date to Lycurgus. In any case, such indications were understood to be readers’ marks: they did not have the same authority as the text and they were subject to readers’ revisions. At least ideationally, if not in concrete and distinguishable fact, a dramatic text was understood as containing no indication of speaker-change (and certainly none of who was saying what). The reader had to figure that out for him-/herself. The clear, legible, easy texts we are accustomed to reading are the fabrications of medieval and modern reading cultures. The first text, then, presents the translation as the text would have been in the mid-fourth century, perhaps decades after Euripides’ death. The second text processes Hippolytus, makes sense of it and makes it “readable.” That is: too distinct, dangerously so. It gets in your way, conjures fantoms, tries to make you see. Fragments of the Hippolytus Veiled, otherwise almost entirely lost, are juxtaposed with similar passages in the text – not to suggest a reconstruction, but a dialogue and a complex set of reassessments. I have not tried to represent the full variety of textual variants, but I have signalled where, for one reason or another, the text is soft and different editions propose excisions or changes. The two texts must be read together: you, reader, form the bridge between the distinctly seen and the indistinct invisible. You, in the end, will be its mask. *** illsandhateddiseaseswhatcanidoforyouwhatshouldinotdohereisthelightandthebrightairyoursickbedisnowout s idethehouseyoureverywordwastocomeherebutyouwillrushbacktoyourbedroomagainyoufadequicklyyoudelig htinnothingyoudislikewhatyouhaveyoulovewhatyoudontitsbettertobesickthantendthesickthefirstissimpleto the secondattachesheartspainandhandsworkeveryhumanlifeispainfulthereisnoendtotoildarknesshidesbehindclo udswhateverisdearerthanlifeweproveunhappyloversofwhatshineshereforlackofknowledgeofanotherlifethere isnoproofforthingsbeneaththeearthonlystoriessustainus liftmybodystraightenmyheadthebondsofmylimbsareloosenedtakemyhandsandmypalearmsthishatistooheavy formyheadtoweartakeitoffspreadmyhairovermyshoulders couragechilddonttossandturnsoviolentlyyouwillbearyoursicknessmoreeasilywithpeaceandanoblemindallmort alssuffer aiaiiwanttodrinkpurewaterfromadewyspringiwanttoliebackandrestunderthetreesinsomegrassymeadowchildw hycrydontsaythesethingsnearthecrowdhurlingwordsmountedonmadness sendmetothemountainiwillgototheforestwherebeastkillingdogspressthespotteddeergodsilongtoshouttothedo gstoshootthethessalianjavelinpastmyblondhairtoholdthebarbeddartinmyhandwhythisanxietychildwhatdoyouc areabouthuntingwhydoyoulustforflowingspringstheresahillwithwaterjustnexttothetowerwecangetyouadrinkt h ereartemismistressofthesaltlakeandthecoursethunderingwithhorseshoovesiwishiwereonyourplainsbreakings t uds whythrowthesefrenziedwordsaboutjustnowyouweresettingoutforthemountaintohuntandnowyoulongforhorses onthewavelesssand thesethingsneedanoracletotellwhichgodreinsyouinanddrivesyoufromyoursenseschild whathaveidonehowfarhaveibeendrivenfromgoodthoughtsiwascrazyiwascursedbysomepowerpheupheualasn ursecovermyheadagainimashamedofwhativesaidcovermeatearmovesdownfrommyeyeanditembarrassesm eithurtstostraightenourmindanditisterribletobeinsanebesttodiebeforeyoubecomelucidagain illcoveryoubutwhenwilldeathcovermeimoldivelearnedalotmortalsshoulddrinkoffriendshipmoderatelynotfrom th edeepestmarrowofthesoulamindslovecharmsshouldbeeasytoundoorthrustawayortiemoretightlyitisaverydiffic ultweightforonesoultolaborovertwopeopleasiamwrackedbypainforhertoomuchdisciplinecausesmoreharmthan pleasureandwarswithhealthipraisetoomuchlessthannothinginexcessandthewiseagreewithme *** Scene 1 Enter Phaedra and the Nurse; the former is recumbent on a couch while the latter bustles about her with gestures that might be those of a caregiver or a guard. NURSE Ills and hated diseases! What can I do for you? What should I not do? Here is the light, and the bright air; your sick bed is now outside the house. Your every word was to come here, but you will rush back to your bedroom again. You fade quickly. You delight in nothing. You dislike what you have. You love what you don’t. It’s better to be sick than tend the sick – the first is simple. To the second attaches heart’s pain and hand’s work. Every human life is painful. There is no end to toil. Darkness hides behind clouds whatever is dearer than life. We prove unhappy lovers of what shines here for lack of knowledge of another life. There is no proof for things beneath the earth. Only stories sustain us. PHAEDRA Lift my body, straighten my head: the bonds of my limbs are loosened. Take my hands and my pale arms. This hat is too heavy for my head to wear. Take it off, spread my hair over my shoulders. NURSE Courage, child; don’t toss and turn so violently. You will bear your sickness more easily with peace and a noble mind. All mortals suffer. PHAEDRA Aiai. I want to drink pure water from a dewy spring. I want to lie back and rest under the trees in some grassy meadow. NURSE Child, why cry? Don’t say these things near the crowd, hurling words mounted on madness. PHAEDRA Send me to the mountain. I will go to the forest where beast-killing dogs press the spotted deer. Gods! I long to shout to the dogs, to shoot the Thessalian javelin past my blond hair, to hold the barbed dart in my hand. NURSE Why this anxiety, child? What do you care about hunting? Why do you lust for flowing springs? There’s a hill with water just next to the tower; we can get you a drink there. PHAEDRA Artemis, mistress of the salt lake and the course thundering with horse’s hooves: I wish I were on your plains breaking studs! NURSE Why throw these frenzied words about? Just now you were setting out for the mountain to hunt – and now you long for horses on the waveless sand. These things need an oracle to tell which god reins you in and drives you from your senses, child. PHAEDRA What have I done? How far have I been driven from good thoughts? I was crazy, I was cursed by some power. Pheu pheu. Alas. Nurse, cover my head again. I’m ashamed of what I’ve said. Cover me – a tear moves down from my eye and it embarrasses me. It hurts to straighten your mind and it is terrible to be insane. Best to die before you become lucid again. NURSE I’ll cover you. But when will death cover me? I’m old; I’ve learned a lot. Mortals should drink of friendship moderately, not from the deepest marrow of the soul. A mind’s love-charms should be easy to undo, or thrust away, or tie more tightly. It is a very difficult weight for one soul to labor over two people, as I am wracked by pain for her. Too much discipline causes more harm than pleasure and wars with health. I praise “too much” less than “nothing in excess,” and the wise agree with me. ***. (shrink)

Taking a cue from Slavoj Zizek’s reading of the Qur’anic tale of the two sons of Adam, Abel and Cain, this paper examines an overlooked erotic layer of meaning archived in the key Qur’anic term for sacrifice; it also explores the nexus of eroticism and sacrifice in this tale. At the beginning of this text the Qur’an announces that the “truth” of this story will be told. However, that truth turns out to be the symbolic absence of the truth, allowing (...) for a range of interpretive possibilities. I will argue that in the Qur’anic narrative of Cain and Abel the “shame/penis” of the murdered brother is the site of the archive, and interpretive possibilities are conditioned by the function of the master-signifier, the phallus alluded to in the text by the presence of the penis. (shrink)

The article is devoted to the life and work of the first Even composer P.M. Starostin in the context of the development of national composition schools of the East. The purpose of the study is to review the life and work of the Even composer P.M. Starostin. The object of the study is the professional musical art of the Even people, the subject of the study is the creative heritage of the first Even composer. The research is based on comparative (...) and typological methods, taking into account the theoretical developments of Russian musicologists in the field of studying the patterns of development of young national composer schools. The main conclusions include the following. The formation of the first Even composer P.M. Starostin took place within the framework of the Yakut national School of composition. The main source of P.M. Starostin's creativity was the rich Even folklore: epic tales, ritual genres, song lyrics. The creative heritage of P.M. Starostin is distinguished by originality and genre originality: from large forms – operas and cantatas to chamber-vocal works and compositions for children. The geography of the spread of young national composer schools has advanced to the north-east of Russia, where the Yakut National Composer School is currently functioning quite actively. The Yakut National School of Composition is already becoming a new center itself, on the periphery of which the prerequisites for the formation of national composition schools of the small peoples of the North living in the Arctic zone are being formed. The experience of reviewing the work of the first Even composer P.M. Starostin, considered by us in the article, marks this process. The novelty of the research lies in the fact that for the first time data on the life and work of the Even composer P.M. Starostin are introduced into scientific circulation. Until now, his name has remained virtually unknown to musicology. Such a review is being conducted for the first time. (shrink)

In this seminal work, acclaimed philosopher Bernhard Waldenfels deals with the problem of the nature of order after the “shattering of the world,” and the loss of the idea of a universal or fundamental order._ _ Order in the Twilight__ unites phenomenological methodology with recent work on the theory of order, normativity, and dialogue, as well as structuralism and Gestalt theory. Philosophically stringent, it expresses a more optimistic attitude than much modern philosophy, especially deconstruction._ Waldenfels passes the question of order (...) through numerous defining aspects, and concludes that there is not one global order, but rather various conflicting domains of order. Whenever the boundary of a vital or experiential domain is crossed, a discourse speaks at the boundary, not about it, and across a threshold without abolishing it. The rest is rationalization, i.e., an attempt to find a place in the respective order for what is to-be-ordered. But why, the author concludes, should a theory be more unambiguous than reality? _ Order in the Twilight__ is an important book at this time, because it may help lift the humanities out of the skeptical, relativistic disarray in which they have been embroiled in recent decades. Waldenfels does not attempt to dictate what reality should be; rather, he is open to any valid evidences. His book offers a solid footing to the human and social sciences as they seek to escape from deconstructive irrationalism. (shrink)

After a vertebrate dies, many of its organ systems, tissues, and cells remain functional while its body no longer works as a whole. We define this state as the “twilight of death” − the transition from a living body to a decomposed corpse. We claim that the study of the twilight of death is important to ethical, legal and medical science. We examined gene expression at the twilight of death in the zebrafish and mouse reaching the conclusion (...) that apparently thousands of transcripts significantly increase in abundance from life to several hours/days postmortem relative to live controls. Transcript dynamics of different genes provided “proof-of-principle” that models accurately predict an individual's elapsed-time-of-death. While many transcripts were associated with survival and stress compensation, others were associated with epigenetic factors, developmental control, and cancer. Future studies are needed to determine whether the high incidence of cancer in transplant recipients is due to the postmortem processes in donor organs. In organismal death, some organ systems, tissues and cells remain functional while the body no longer works as a whole. In the “twilight of death” − the transition from a living body to a decomposed corpse − thousands of gene transcripts increase in abundance relative to live controls. (shrink)

Professor Crites comes to his task with deep personal sympathy for and philosophic commitment to each of the protagonists in his volume. The subject of Crites’ work is not the tension of faith and history with which we are familiar in the works of Strauss, Baur, Feuerbach, Renan, and M. Arnold, but rather the tension of Christianity and culture. Crites chooses for his departure the notion and analogy of "domesticity," the accommodation, or lack thereof, of the gospel and the world. (...) With a fairness that is singularly unique among Hegelian critics of Kierkegaard, Crites argues that the issue between Kierkegaard and Hegel was the problem of the positivity of the Christian religion. For Hegel, the development of the notion of Christianity as the absolute religion solved the problem raised by the problem of positivity and Lessing’s essay "On the Proof of the Power and the Spirit." For Kierkegaard such a solution was a sellout, for it eliminated faith. Crites argues well the logic of both Kierkegaard’s and Hegel’s positions. Though the author has a few judicious things to say about Kierkegaard’s epistemology, his treatment would have profited by a more extended analysis of the epistemology of both Hegel and Kierkegaard, and by some indications regarding the importance and use of the modal categories in his author’s appraisal of both faith and history—R. L. P. (shrink)

It is a great pleasure to review Prof. Crites’ work again. The present book was first presented in a shorter version at the Wofford Symposium on Hegel’s Philosophy of Religion in November, 1968. Crites’ essay was omitted from the Wofford collected essays because of space limitations, but its omission there has resulted in subsequent revision, enlargement, and the consequence of this provocative and enlightening volume. The present reviewer served, along with Professor Arthur Lessing, as a critic of the Wofford version (...) of the present work. The Cunning of Reason has arranged a second encounter between Professor Crites’ and my views of Hegel and Kierkegaard. (shrink)

Fragment 43a of the Hesiodic Catalogue of Women tells the lively tale of Mestra, a female shape-shifter who supports her father through serial marriages. I argue that this narrative demonstrates a typical mythic pattern, in which female shape-shifting is both a method of avoiding marriage and emblematic of an unmarried woman's unstable social position. I argue further that this version of Mestra's story in particular represents an attempt to mediate a question that was becoming increasingly important in sixth-century Athens, namely: (...) to which household does a bride belong, her father's or her husband's? (shrink)

Draws on interviews with many of the worlds leading scientists to discuss the possibility that humankind has reached the limits of scientific knowledge.

The Demon said to the swordsman, "Fundamentally, man's mind is not without good. It is simply that from the moment he has life, he is always being brought up with perversity. Thus, having no idea that he has gotten used to being soaked in it, he harms his self-nature and falls into evil. Human desire is the root of this perversity." Woven deeply into the martial traditions and folklore of Japan, the fearsome Tengu dwell in the country's mountain forest. Mythical (...) half-man, half-bird creatures with long noses, Tengu have always inspired dread and awe, inhabiting a liminal world between the human and the demonic, and guarding the most hidden secrets of swordsmanship. In The Demon's Sermon on the Martial Arts, a translation of the 18th-century samurai classic by Issai Chozanshi, an anonymous swordsman journeys to the heart of Mt. Kurama, the traditional domain of these formidable beings. There he encounters a host of demon; through a series of discussions and often playful discourse, they reveal to him the very deepest principles of the martial arts, and show how the secrets of sword fighting impart the truths of life itself. The Demon's Sermon opens with The discourses, a collection of whimsical fables concerned with the theme of transformation-for Chozanshi a core phenomenon to the martial artist. Though ostensibly light and fanciful, these stories offer the attentive reader ideas that subvert perceived notions of conflict and the individual's relationship to the outside world. In the main body of work, The Sermon, Chozanshi demonstrates how transformation is fostered and nurtured through ch'i - the vital and fundamental energy that flows through all things, animate and inanimate, and the very bedrock of Chozanshi's themes and the martial arts themselves. This he does using the voice of the Tengu, and the reader is invited to eavesdrop with the swordsman on the demon's revelations of the deepest truths concerning ch'i, the principles of yin and yang, and how these forces shape our existence. In The Dispatch, the themes are brought to an elegant conclusion using the parable of an old and toothless cat who, like the demon, has mastered the art of acting by relying on nothing, and in so doing can defeat even the wiliest and most vicious of rats despite his advanced years. This is the first direct translation from the original text into English by William Scott Wilson, the renowned translator of Hagakure and The Book of Five Rings. It captures the tone and essence of this classic while still making it accessible and meaningful to today's reader. Chozanshi's deep understanding of Taoism, Buddhism, Confucianism, and Shinto, as well as his insight into the central role of ch'i in the universe, are all given thoughtful treatment in Wilson's introduction and extensive endnotes. A provocative book for the general reader, The Demon's Sermon will also prove an invaluable addition to the libraries of all those interested in the fundamental principles of the martial arts, and how those principles relate to our existence. (shrink)

This 1997 work is a book-length treatment of the unique nature and development of Nietzsche's post-Zarathustran political philosophy. This later political philosophy is set in the context of the critique of modernity that Nietzsche advances in the years 1885–1888, in such texts as Beyond Good and Evil, On the Genealogy of Morals, Twilight of the Idols, The Antichrist, The Case of Wagner, and Ecce Homo. In this light Nietzsche's own diagnosis of the ills of modernity is subject to the (...) same criticism that he himself levelled against previous philosophies; that it is an involuntary symptom of the age it represents. Nietzsche is seen to be aware of his own decadence and of his complicity with the very tendencies that he dissects and deplores. By relating the political philosophy, the critique of modernity and the theory of decadence Daniel Conway has written a powerful book about Nietzsche's own appreciation of the limitations of both his writing style and of his famous prophetic 'stance'. (shrink)

This paper investigates the issue whether metaphors have a metaphorical or secondary meaning and how this question is related to the borderline between philosophy and linguistics. On examples by V. Woolf and H. W. Auden, it will be shown that metaphor accomplishes something more than its literal meaning expresses and this “more” cannot be captured by any secondary meaning. What is essential in the metaphor is not a secondary meaning but an internal relation between a metaphorical proposition and a description (...) of its effects. In order to understand metaphors, we have to share an ability to construe metaphorical meanings at once. The aim of this ability is to uncover an internal relation, which lies behind a particular metaphor. (shrink)