B. Readings (University in Ruins. Cambridge: Harvard University Press, 1996) argued that universities have abandoned their original project of promoting a national culture and have tried to substitute by embracing globalization, but the vagueness and incoherence of the concept has failed to return purpose to the University. The academic treatment of corporate social responsibility illustrates this dilemma. For a generation after H.R. Bowen (Social Responsibilities of the Businessman. New York: Harper & Row, 1953) founded the field, scholars struggled to fit (...) the concept within a national system of pluralistic power-sharing among a variety of institutions that would define and enforce standards of responsibility necessary for the general good of American society. That understanding changed in the nineteen eighties, shortly after corporate executives had united to an unprecedented degree to direct the power of government in their interests, influence the public agenda, and roll back the power of unions. In response, business ethicists began to reformulate corporate social responsibility as a voluntary practice on the part of these same executives. Since the Kantian and Lockean principles upon which this approach was based were themselves problematic, it is not surprising that the experience gained over the last generation casts doubt on the efficacy of this reliance on voluntary restraint and personal initiative. However, circumstances that include the failure of globalization to deliver on its promises may have changed sufficiently in recent years to revive interest in approaches that acknowledge the importance of countervailing power for encouraging greater corporate social responsibility. (shrink)

Russell’s Human Society is a fun book to read, but meta-ethically it is a bit of a mess. There is much wit and some wisdom, though both the wit and the wisdom are more conspicuous when he is discussing human nature and human society than when he is discussing the finer points of ethical theory. (I particularly like his frequent complaints that human behavior seldom rises to the level of enlightened self-interest. If only we could manage to be intelligently selfish, (...) the world would be a much better place.) The drift of the argument is sometimes difficult to discern, partly because of has frequent digressions to make bon mots, and partly because of his dialectical method of presentation, which approaches what he takes to be the truth via a series of successive approximations. Human Society in Ethics and Politics was published in 1954, but the meta-ethical bits were originally written some years earlier and intended for inclusion in Human Knowledge: Its Scope and Limits, (1948). Russell held them back because he was not sure whether ethical propositions rose to the dignity of knowledge. He continued to be doubtful about this, but by the early 1950s his doubts had sufficiently dissipated for publication to become a possibility. Nevertheless, there are marked analogies between the two books. Human Knowledge attempts to establish the existence of a mindindependent world on the basis of private perceptions. Human Society attempts to establish an ethic that is in some degree independent of individual minds on the basis of subjective sentiments. (shrink)

Properties of non‐canonical GC base pairs and their relations with mechanochemical cleavage of DNA are analyzed. A hypothesis of the involvement of the transient GC wobble base pairs both in the mechanisms of the mechanochemical cleavage of DNA and epigenetic mechanisms involving of 5‐methylcytosine, is proposed. The hypothesis explains the increase in the frequency of the breaks of the sugar‐phosphate backbone of DNA after cytosines, the asymmetric character of these breaks, and an increase in break frequency in CpG after cytosine (...) methylation. As an alternative hypothesis, probable implication of GC+ Hoogsteen base pairs is considered, which now exemplify the best‐studied non‐canonical GC base pairs in the DNA double helix. Also see the video abstract here https://youtu.be/EUunVWL0ptw. (shrink)

The major transcript variants of human protein‐coding genes are annotated to a certain degree of accuracy combining manual curation, transcript data, and proteomics evidence. However, there is considerable disagreement on the annotation of about 2000 genes—they can be protein‐coding, noncoding, or pseudogenes—and on the annotation of most of the predicted alternative transcripts. Pure transcriptome mapping approaches seem to be limited in discriminating functional expression from noise. These limitations have partially been overcome by dedicated algorithms to detect alternative spliced micro‐exons and (...) wobble splice variants. Recently, knowledge about splice mechanism and protein structure are incorporated into an algorithm to predict neighboring homologous exons, often spliced in a mutually exclusive manner. Predicted exons are evaluated by transcript data, structural compatibility, and evolutionary conservation, revealing hundreds of novel coding exons and splice mechanism re‐assignments. The emerging human pan‐genome is necessitating distinctive annotations incorporating differences between individuals and between populations. (shrink)

This book offers a complete and internally cohesive interpretation of Religion. In contrast to the interpretations that characterize Religion as a litany of “wobbles”, fumbling between traditional Christianity and Enlightenment values, or a text that reduces religion into morality, the interpretation here offered defends the rich philosophical theology contained in each of Religion’s four parts and shows how the doctrines of the “Pure Rational System of Religion” are eminently compatible with the essential principles of Transcendental Idealism.

Both critics and defenders of Kant’sReligion within the Boundaries of Mere Reasonhave raised worries about its alleged employment of an ‘Augustinian’ conception of moral evil as well as the accounts of grace and moral regeneration consequent to it. Combined, these aspects of theReligionare often seen as responsible for its principal ‘wobble’, ‘conundrum’ or ‘internal contradiction’, and are likewise among the key reasons why theReligionis commonly seen as at odds with the epistemic strictures and moral principles which shape Kant’s broader Critical (...) corpus. It is the purpose of this article to reassess these charges and to show thereby that rather than accepting this alleged Augustinianism, Kant engages with and ultimatelyrejectsits core tenets. (shrink)

The hermeneutic tradition divides /physical/ discourse, which takes an 'exterior' point of view in /describing/ its subject-matter, from /mental/ discourse, which takes an 'interior' point of view in /expressing/ its subject-matter: a 'metapsychological dualist' or 'metadualist' approach. The analytic tradition, in its attachment to truth-logic and consequently the 'unity of science', is 'metamonist', and thinks all discourse takes the 'exterior' viewpoint: the 'bump in the rug' moves to the disunification of mind into the functional and (big-'C') Consciousness. Assuming the hermeneuts (...) are correct, the literature's twisty path---from Place and Smart's confused metamonist responses to Ryle's crypto-metadualist /Concept of Mind/ to contemporary metamonist 'phenomenal intentionality'---emerges as an attempt to stabilize theory on a fundamentally wobbly platform. (shrink)

The genetic code has evolved from its initial non-degenerate wobble version until reaching its present state of degeneracy. By using the stereochemical hypothesis, we revisit the problem of codon assignations to the synonymy classes of amino-acids. We obtain these classes with a simple classifier based on physico-chemical properties of nucleic bases, like hydrophobicity and molecular weight. Then we propose simple RNA ring structures that present, overlap included, one and only one codon by synonymy class as solutions of a combinatory variational (...) problem. We compare these solutions to sequences of present RNAs considered as relics, with a high interspecific invariance, like invariant parts of tRNAs and micro-RNAs. We conclude by emphasizing some optimal properties of the genetic code. (shrink)

Summary: In this paper author maintains that the term “ideal border” used by Roman Ingarden several times in his writing on music perception has more to offer than its face value suggests. The term is ambiguous and in its first reading seems to imply that Ingarden's take on musical work is all but coherent. Yet author tries to show that the term itself if taken seriously in its various possible interpretations makes Ingarden's aesthetics of music more interesting and inspiring then (...) ever. The musical work seen as wobbly yet somehow graspable ideal [border] which is at the same time the point of departure and the point of destination for composers, artists and listeners in their respective experiences, makes Ingarden's music aesthetics more accessible and more telling in its attempt to discover the true nature of our aesthetic perception of music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.1 (2000) 59-73 [Access article in PDF] Thomas Hobbes: Telling the Story of the Science of Politics Anat Biletzki Science and storytelling First, the traditional commonplaces: Science does not tell stories. Disciplines purporting to be sciences eschew their storytelling aspects in favor of axiomatic, deductive, demonstrative, or whatnot essentials of science. Those deeming the story itself essential give up (happily or less willingly) the label of (...) science and locate themselves under other institutionalized labels such as Humanities. 1 Then there are the disciplines that wobble on the fence, desiring, for various reasons that are more readily analyzed by historical sociologists, the epithet of Science, yet not always achieving such recognition. Chief players in this game are history, psychology, sociology, anthropology, and political science. And if my rendition of this conflict between pretensions and performance seem blatantly pejorative, let me rephrase it: their own practitioners--historians, psychologists, sociologists, anthropologists, and political scientists--believe the issue of their scientific status a problem of no small import. It is, indeed, the question "Are we a science?" that figures in the most fundamental debates concerning the purpose, essence, and methodology of these disciplines.By use of a case study, I will try to support a seemingly conciliatory thesis: social sciences are, by definition and therefore of necessity, on the fence. On one side of the fence lies Science, the monolithic framework that enslaves its method to a grand purpose--knowledge of reality. On the other lies Humanism, a far less easily defined area about which I would hesitate to use the word framework, but through which one meets a no-less-grandiose focus--knowledge of the human. Why then does it seem natural to foster storytelling on the humanistic side of the fence? Or, alternatively, one can ask about the "why not" of narrative in the sciences.Narrative is storytelling; and stories are about heroes; and heroes conduct their actions in a place through a time. So these three building blocks-- [End Page 59] hero, time, and place--point to a pattern of knowledge that, it seems obvious, cannot, and definitely should not, belong to science in its idealized form. There is, of course, a stronger thesis deriving from the intricacies in (post?)modern discussions: that even the exact and natural sciences use narrative while still remaining sciences. This idea--that science does countenance narrative and, indeed, may even use it beneficially--thereby becomes forceful, since science, with its universalistic airs, pretends to ignore heroes in specific times and places.What of the social sciences? Their claim to science is based on that same universalistic end coupled with an attempt to develop a methodology to fit that end. The rub lies in the subject matter of the social sciences, the human being and society. A strictly positivistic view of such subject matter, or even a generally scientific one, must abstract from any and all "humanistic" traits of the human being and society and objectively treat them on a par with any other "neutral" (some might say, even material) object of research. My weak thesis merely claims that such abstraction is inherently impossible and, furthermore, that an attempt at such abstraction waylays the ultimate end of these "sciences." 2 Yet, such a thesis must contribute more than it eliminates. If the social sciences cannot live up to the original scientific ideal of one side of the fence, and if their product can be valued as more than (or at least different from) a mere story on the other side, a more fruitful characterization than just "sitting on the fence" is called for. It is here that narrative makes its essential contribution: narrative is that pattern of knowledge which can encompass the social sciences, given their necessary turn to the human being. Looked at from the receiving end, the social sciences have no option but to turn to narrative in order to buttress their scientific ideal of explanation. The phenomena they claim to explain are human and social phenomena and, as such, cannot be distanced from narrative. 3I shall try to illustrate my... (shrink)

When I was revising _Sensory Qualities_ there was a period of about a year when I set the manuscript aside and did other things. When I returned to it I found that certain portions of the argument had collapsed of their own weight, like an old New England barn, and could be carted off the premises without compunction. Other parts were wobbling on their foundation, while some had weathered well and seemed nice and solid. My revision strategy was simple: I (...) kept just the nice solid bits, thinking that I could go back and work on the wobbly portions later. (shrink)

The structure of traditional fiction is essentially linear or serial. No matter how complex a given work may be, it presents information to its reader successively, one element at a time, in a sequence determined by its author. By contrast, interactive fiction is parallel in structure or, more accurately, dendritic or tree-shaped. Not one, but several possible courses of action are open to the reader. Further, which one actually happens depends largely, though not exclusively, upon the reader’s own choices. To (...) be sure, the author is still in overall control, since it is she who has set up the particular nexus of events, but the route up the narrative tree, the actual sequence of events, is generally affected, if not completely determined, by the reader’s responses to that particular reader’s specific situation. In an adventure, the sequence of action frequently depends upon the reader’s decision to go in one geographical direction rather than another. In the eliza sample, the content of the “story” depends on such particulars as whether this reader has a brother or not, whether she fears her father, and why she has consulted the terminal. In general, the text presented to the eliza-reader depends on what that reader has already said and how the computer has interpreted and stored it, and this is generally true of interactive fiction.Further, interactive fiction is, in principle , open-ended—infinite. A conversation with eliza could go on for as long as one with Woody Allen’s psychoanalyst—in principle, forever. It has no necessary terminus. The program will go one writing texts and answers on the screen as long as the reader or player chooses to supply responses. Further, the computer can act as a metafictional narrator like John Barth or Thomas Pynchon who can create a story within a story or a story that generates another story within itself which generates another story within itself and so on, fictions dizzying and dazzling. One senses one’s essential humanity wobbling in the midst of the infinite paradoxes of existence and meaning. Anthony J. Niesz, assistant professor of German at Yale University, is the author of Dramaturgy in German Drama: From Gryphius to Goethe . He is interested in the phenomenon of the meta-theater, especially in seventeenth- and eighteenth-century German drama, as well as in the literature and cultural policies of the German Democratic Republic. Norman N. Holland is Milbauer Eminent Scholar at the University of Florida. He is the author of Laughing and The I. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Elegia i.3 PROPERTIUS Translated by Steven J.Willett Just as she lay when Theseus’ keel was sliding seaward, the Cnossian maid languid on the desolate shore; just as Cepheus’ daughter reclined in her first slumber, Andromeda, now freed from jagged rocks; just as the Thracian bacchant, weary from incessant dancing, slumps on the grassy bank of the Apidanus; even so Cynthia seemed to breathe a soft repose, her head pillowed (...) on open unruly hands, when I came dragging footsteps wobbly with too much wine, the boys waving burnt-out torches in the late night. Against her I tried, not all my senses utterly derelict, to advance gently on the compliant couch; and, though seized by a double ardor—each was commanding me, love here and wine there, both implacable gods— to assault her by slipping my arm lightly beneath her body and with a hand advanced take kisses and arms, yet I lacked the courage to shatter my mistress’ repose, fearing the brawls whose savagery I’d tasted; so I remained standing there motionless with rapt eyes, like Argus at the strange sight of Io’s horns. And now I was untying the garlands from my forehead and placing them, Cynthia, around your temples; and now I was finding it pleasant to smooth your fallen tresses; then I was giving you stolen apples in hollow palms; but I was lavishing all these gifts on ungrateful sleep, gifts that often tumbled from your sloping lap; and every time you heaved a sigh stirring fitfully, arion 28.2 fall 2020 98 elegia 1.3 I froze, foolishly credulous of an empty sign, fearful that some dream was bringing you strange terrors, or some man was forcing you reluctantly to be his: until the moon drifting across the opposite windows, the meddling moon whose eyes incline to linger, drew her closely-lidded eyes open under its delicate beams. Then, her elbow propped on the soft couch, she asked: “Has another’s rejection finally brought you back to my bed, chucked out with the doors slammed in your face? Where have you squandered the long hours of my night, languid, alas for me, as the stars are waning? Oh, I pray that you may endure, you beast, such nights as you are always making poor me to suffer! Just now I was cheating sleep with purple yarn at the loom, and then, exhausted, with song on Orpheus’ lyre; and sometimes, quite desolate, I softly complained to myself of the long waits your outside loves often cost me. Till sleep with gentle wings brushed me down to oblivion. That was the last concern of all my tears.”... (shrink)

The inspiration for this paper came rather unexpectedly. In February 2006, I made the long trip from my home in Sioux City, Iowa, to Torino, Italy in order to witness the Olympic Winter Games. Barely a month later, I found myself in California at the newly-renovated Getty Villa, home to one of the world's great collections of Greco-Roman antiquities. At the Villa I attended a talk about a Roman mosaic depicting a boxing scene from Virgil'sAeneid.The tiny tiles showed not only (...) two boxers, but a wobbly looking ox. ‘What is wrong with this ox?’ asked the docent. ‘Why is he there at the match?’ The answer, of course, is that he is the prize. And the reason he is wobbly is because the victor has just sacrificed this prize to the gods in thanksgiving, by punching him between the eyes. A light went on in my head; I turned to my husband and whispered, ‘Just like Joey Cheek in Torino.’ My husband smiled indulgently, but my mind was already racing. I realized that by donating his victory bonus to charity, Cheek had tapped into one of the oldest and most venerable traditions in sport: individual sacrifice for the benefit of the larger community. It is a tradition that derives from the religious function of the ancient Olympic Games and it deserves to be revived the modern world. (shrink)

Walter Kohan has recently observed that Socrates does not seem partic­ularly interested in the opinions of his interlocutors. Consequently, the philosopher is not really involved in a peer to peer relation with them, but rather embarks upon the task of annihilating their ideas. With the situation being as it is, the image of Socrates as a champion of dialogue begins to wobble. While the present paper aims to discuss these claims, a number of issues needs to be accounted for. First (...) of all, the Socratic dialogue does begin in a characteristically symmetrical way, but it becomes more and more asymmetric as the elenchos begins to appear. This is due to the fact the elenchos makes the interlocutors defensive, whereas Socrates can attack freely. Given that, Kohan’s claims seem justified and enlightening, but they should not be regarded as conclusive, since one must neither forget nor undervalue how innovative it was to replace monologue speeches with one-to-one dialogues which offered the opportunity of being involved in unforeseeable conversations. (shrink)

Philosophical reflection on ethical value may be motivated in a number of ways. One common origin can occur when we observe that we often do not agree with people around us in their ethical commitments, and begin to puzzle how to make sense of that fact. Most of us have some strong beliefs as to ways our world can be a morally better or worse place: we agree for instance that the world is a better place for having less slavery (...) in it than it used to. That is to say, we think slavery is a bad — a morally bad — thing. Similarly, most of us agree that the world is better off for our being in time to grab a small child out of the path of a speeding automobile than it would be if we came a moment too late. Saving a child from death or grave harm is a good — morally good — thing. The idea that the world includes ethical values like the goodness and badness of such things seems unproblematic when we focus on issue on which most of us agree. Yet our confidence that the world contains such values wobbles when we turn our attention to more controversial issues. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ManifestsRachel Blau Duplessis (bio)O great classic cadences of English poetry We blush to hear thee lie Above thy deep and dreamless.—Denise Riley, Mop Mop GeorgetteThat tall white pasture clump that we call cow parsnip, Queen Anne’s lace magnified, are, in Latin, umbellifers, a flat-topped or rounded flower cluster. But sometimes people call them “umbrella flowers.” This work is closer to umbrella flowers than to umbellifers, down there on the (...) ground with bricolaged theorizing practices, folk etymologies, my poetry, and intransigent details. That was a tribute to the essay as woodsy ramble [Good xii and x].And to the essay as personal—a way of marking and mocking the professional codes and impersonal solemnities of the representation of thought. If saying “I” like a heroine will adequately undermine unsituated false universals, I’ll say “I” yes I will. “I” will report that in 1966 or so I diminished all the way down to a scant handful of one-line poems, and to gnomic statements, barely effective. The kind of development they needed was not rhetorical but historical.I, Lady, you are my true love’s lady. You stand in the middle of the room, Sunlight streaming around you. Sunlight takes hold of the seeds in you And wets them. I want to hold myself to you, But you are myself. Can I?This 1966 fragment issues directly from, and is a preternatural reminder of a passionate problematic—questions of gender, in relation to an engagement with poetry, poetry figured as a set of psychosocial and intellectual institutions imbuing a practice of writing in lines. This fragment knew and represented issues, points of political and cultural contradiction about the construction of authorship and the poetic career before their maker could see them as such. The fragment was a cognitive act, not just in autobiography. It functioned as a probe of a situation then almost invisible and always underacknowledged; to have understood it then, one would have needed the cultural apparatus precipitated (though not elaborated) by a social movement—second wave feminism, something that had not yet occurred.Despite mirroring each other in a dramatic hinged appositive, with Lady as hinge (“I, Lady, you”), the female “I” is separated by the very concept “Lady” from her addressee, one traditional addressee of poems, the female “you.” “Lady” is both hinge and barrier; she belongs to “my true love”—a charming and smug ballad turn, filled with idealizations of class and sexuality. Yet the “I” wants to hold this “you” figure to herself, actualizing in female-to-female attraction the long half-life of a Petrarchan structure of feeling in order to create female authorship. Now that gesture could be interpreted as desire (in a [End Page 31] lesbian, matrifocal, or preoedipal plot), or as self-aggrandizing forms of egoistic desire. Is the desired embrace regressive? immature? narcissistic? self-serving? greedy? masturbatory? (all these having been thought of as bad attitudes with a bad press—one might now wonder). Fueled by an ambisexual or polysexual suggestiveness, the poem makes a wobbly declaration of vocation in its desire to embrace singular, hieratic woman herself, yourself, myself. Yet as pronouns multiply, a serious problem is accosted. “But you are myself. Can I?”The fragment stops, startled, where the cultural problem began. Authorship was compromised and almost aborted; in any event, these issues, which seemed to me, in my (then commonplace) ignorance of female cultural production, to have no analogues, pointed me toward total blockage. The “can I” is not simply a personal questioning of my own powers, but concerns general contingencies of gender and female place in culture, a then invisible social horizon. Am “I” forbidden to poetry by one—but one key—law of poetry—the cult of the idealized female? Should “Lady” be ditched totally? or examined? both? and how to poke at a Petrarchanism that seems utterly belated, never uniformly hegemonic, and not, after all, the whole content of poetry? (As I bear down upon it, it recedes, is evasive.) Yet any number of writers do take “Lady” for granted as one of the institutional assumptions of poetry. Many male writers get to say Lady early and often... (shrink)

Hard direction, e.g.: Universalese to Organicese. Suggestion: ‘Some chairs wobble’ should become something like ‘If composition were universal, some chairs wobble’ or ‘Assuming that composition is universal, some chairs wobble’ or ‘According to the fiction that composition is universal, some chairs wobble’.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Perjury and Pardon, Volume 1 by Jacques DerridaRalph ShainDERRIDA, Jacques. Perjury and Pardon, Volume 1. Translated by David Wills. Edited by Ginette Michaud and Nicholas Cotton. Chicago: The University of Chicago Press, 2022. 368 pp. Cloth, $45.00This is the translation of a volume in the posthumously published series of Derrida's lecture courses. The most important of these are the early Heidegger: The Question of Being and History (1964–65) (...) and Theory and Practice (1975–76), no parts of which were published by Derrida. Substantial portions of the first volume of the lectures on Perjury and Pardon were published as separate essays, so the main question concerning this book is what it adds to the published portions.For those readers who are familiar with Derrida's most famous work and are curious about his deconstructive ethics ("ethics beyond ethics") and have not read any of the essays drawn from this book (such as "To Forgive: the Unforgiveable and the Imprescriptible," "Literature in Secret," and "Typewriter Ribbon"), this is a good place to approach the topic. One will find here many of Derrida's classic moves, such as the deconstruction of texts, concepts, and traditions. One will find conditions of possibility that are also conditions of impossibility, concepts that are contaminated from within by their opposites, and appeals to the experience of the impossible and to the distinction between a general and restricted economy.One will also find here those points that seem to be Derrida's weakest, such as the insistence on the privacy of the mental, a rather wobbly treatment of the separation between intending and causality, and the [End Page 545] claim, important for Derrida's "poetico-performative" theory of truth, that all constatives depend on a prior performative—a promise to tell the truth, always already contaminated by failure and hence a "perjury." (The first and third of these are also found in Derrida's published work.)The topics in this book are helpful in situating Derrida vis-à-vis other thinkers, especially those in the Frankfurt School. Derrida's concept of an impossible, paradoxical pardon might be compared with Adorno's concept of utopian moments. The promise of truth implicit in every constative might be compared with Habermas's quasi-transcendental ideal speech situation.Even if one has read one or more of the published portions, if one is unsure how they fit together, these lectures will allow one to see how they cohere. In the third session Derrida provides an outline of the project, which he qualifies with the comment that "I am aware of the grossly schematic character of this outline." Grossly schematic, yes, but grossly schematic outlines are very helpful. Here's the gist of the outline: "stubbornly tracking down in the Biblio-Koranic tradition a logic of economy, an economy, a sublime ruse which... comes to contradict and undermine a demand for finite-infinite forgiveness, forgiveness without condition, the aneconomic forgiveness that is nevertheless at the heart of this same thinking... showing that on the supposed Greek side, the aneconomic notion of forgiveness comes to organize the aneconomic logic and 'syngnomic' rationality of a so-called Greek culture." In short, the concept of forgiveness that is derived from the monotheistic traditions of forgiveness claims not to be pragmatic or goal oriented, but Derrida shows that it is, whereas the Greek concept that is the closest equivalent, and is supposed to be entirely pragmatic, has moments that exceed any limited economy. (If this still sounds opaque, see Derrida's essay on Bataille and general economy in Writing and Difference.)Even those who are well versed in deconstructive ethics and have read the published parts of this book may still find it quite interesting. Derrida's verbal elucidations of the typescript are transcribed from recordings and placed in footnotes. There are quite a few of these, and some of them are interesting. The editorial apparatus will allow one to confirm that one has indeed read all of the published parts, which one should not take for granted since a couple of them are in relatively obscure venues. The readings of texts are of variable interest, but even in the... (shrink)

Many mathematicians have a rich internal world of mental imagery. Using elementary mathematical skills, this study probes the mathematical imagination's sensorimotor foundations. Mental imagery is perturbed using body position: having the head and vestibular system in different positions with respect to gravity. No two mathematicians described the same imagery. Eight out of 11 habitually visualize, one uses sensorimotor imagery, and two do not habitually used mental imagery. Imagery was both intentional and partly autonomous. For example, coordinate planes rotated, drifted, wobbled, (...) or slid down from vertical to horizontal. Parabolae slid into place or, on one side, a parabola arm reached upward in gravity. The sensorimotor foundation of imagery was evidenced in several ways. The imagery was placed with respect to the body. Further, the imagery had a variety of relationships to the body, such as the body being the coordinate system or the coordinate system being placed in front of the eyes for easy viewing by the mind's eye. The mind's eye, mind's arm, and awareness almost always obeyed the geometry of the real eye and arm. The imagery and body behaved as a dyad, so that the imagery moved or placed itself for the convenience of the mind's eye or arm, which in turn moved to follow the imagery. With eyes closed, participants created a peripersonal imagery space, along with the peripersonal space of the unseen environment. Although mathematics is fundamentally abstract, imagery was sometimes concrete or used a concrete substrate or was placed to avoid being inside concrete objects, such as furniture. Mathematicians varied in the numbers of components of mental imagery and the ways they interacted. The autonomy of the imagery was sometimes of mathematical interest, suggesting that the interaction of imagery habits and autonomy can be a source of mathematical creativity. (shrink)

What is right with this “comic” of Euripides's timeless and irreplaceable drama, The Trojan Women, is what was always right about a play that is relentlessly relevant. Carson's translation, spare and clear, distills the language of the original but keeps what is important, including some mouth-puckeringly wry lines. There is barbed wit and heartbreaking lullaby, sometimes coinciding on one page. Thus, the chorus comments, “Troy, you made a bad deal: / ten thousand men for a single coracle of cunt appeal.” (...) In the middle of the same page, the Greek herald Talthybius addresses Hector and Andromache's infant son Astyanax, whom he has come to carry off so that the baby can be thrown from the battlements: “Come along, little mushroom, / little rootlet, little sip, little milk fly, little asterisk, little welkin, / little silhouette, little sugar bubble—/ let go of your mother. / She's broken.” Then lower down on the same page: “It's time for your infinite leap / as decreed by the vote of men. / Take him. / The man to transact things like this / is one who doesn't know pity.”What is wrong with this new rendering is Bruno's awkward, amateurish drawings. Yes, the chorus are all animals, as are all the main characters except mad Cassandra (a partial exception might be made for Menelaus, who is some kind of machine); but Bruno is no Art Spiegelman, and this is no Maus. Spiegelman's cats, pigs, and mice make perfect sense and are elegantly and clearly depicted; they add resonance to the story without raising further questions. In this Trojan Women, it makes sense that Hecuba is an old bitch or Helen a svelte fox in high heels. Poseidon, a wave: okay. But Talthybius, a colossal raven? Athena, “a big pair of overalls, carrying an owl mask in one hand”? Andromache, “a poplar tree with trunk split and roots dragging out the back of the cart”? The infant Astyanax whom Andromache cradles in one Ent-like arm looks more like a cocoon or a hornet's nest or a hypertrophied oak gall than anything else. Menelaus, when he arrives, is “some sort of gear box, clutch or coupling mechanism, once sleek, not this year's model.” These surreal leaps might well work on the stage or screen, but the need to explain them in the text shows how uncomfortably they fit into the story. Carson's explanations, of course, constitute her only significant departures from Euripides.We do not need Bruno's drawings; Carson's pared-down text might work quite well on its own. But even grant the hypothetical that these drawings are an organic and crucial part of this version's vision, then the drawings should not need to be explained. Less would be more. What this version of the classic drama gains in succinctness it loses in tonal clarity—having said which, I would still like to try it out on my students, who might help me to change my mind. Does this retelling of the story remain heartrending and cruel, suffused with irony, sharpened by flashes of wit? Yes. Was it worth the experiment of turning the tragedy into a comic? Sure. Is this uneasy mix of verbal mastery and wobbly draftsmanship the ultimate version of The Trojan Women? Nope. (shrink)

The aim of this article is to explore bodily changes following weight loss surgery. Our empirical material is based on individual interviews with 22 Norwegian women. To further analyze their experiences, we build primarily on the phenomenologist Drew Leder`s distinction between bodily dis-appearance and dys-appearance. Additionally, our analysis is inspired by Simone de Beauvoir, Merleau-Ponty and Julia Kristeva. Although these scholars have not directed their attention to obesity operations, they occupy a prime framework for shedding light on different dimensions of (...) bodily change. In doing so, we were able to identify two main themes: The felt “inner” body versus the visible “surface” body and the “old” body versus the “new” body. In different, though interconnected ways, these main themes encompass tensions between changes the women experienced as contributing to a more “normal” and active life, feeling more accepted, and changes that generated ambivalence. In particular, their skin became increasingly problematic because it did not “shrink” like the rest of the body. On the contrary, it became looser and looser. Moreover, badsmelling folds of skin that wobbled, sweated and chafed at the smallest movement, aprons of fat hanging in front of their stomachs, batwing arms, thick flabby thighs and sagging breasts were described as a huge contrast to the positive response they received to their changed body shape when they were out and about with their clothes on. At the same time, they expressed ambivalence with regards to removing the excess skin by means of plastic surgery. Through their own and other women`s experiences they learned removing the excess skin by means of surgery could be a double-edged sword. By illuminating the experiences of the ones undergoing such changes our article offers new insight in a scholarly debate predominated by medical research documenting the positive outcomes of weight loss surgery. (shrink)

The peculiarity of any social teaching, Catholic, Protestant or otherwise, is that it is an unsteady marriage between the dogmatically permanent beliefs and the perennially changing historical contexts. Any authentic and relevant social teaching needs to mirror a two-fold fidelity: Faithfulness to the universal truths to which the social teaching is a reflection, and loyalty to the historical contexts to which the social teaching is inextricably embedded. The merit of Cartagenas’s book Unlocking the church’s best kept secret is that it (...) epitomizes the wobbly balancing act that takes cognizance of this two-fold fidelity. (shrink)

Don Juan said that my body was disappearing and only my head was going to remain, and in such a condition the only way to stay awake and move around was by becoming a crow ... He ordered me to straighten up my head and put it on my chin. He said that in the chin were the crow's legs. He commanded me to feel the legs and observe that they were coming out slowly. He then said ... that the (...) tail would come out of my neck. He ordered me to extend the tail like a fan, and to feel how it swept the floor ...I had no difficulty whatsoever eliciting the corresponding sensations to each one of his commands. I had the perception of growing bird's legs, which were weak and wobbly at first. I felt the tail coming out of the back of my neck and wings out of my cheekbones. . (shrink)