One does not read very far in the second and by far the longest section of Herbert’s The Temple before the single-minded exhortations of the speaker in “The Church Porch” and the early Lenten “complaints” of Christ to his people in “The Sacrifice” turn to the unpredictable elements of the speaker’s human condition: puzzlement, striving, grief, joy. The quick movement between these elements is due not only to Herbert’s poetic sensibility, I argue, but also to his anthropological understanding and his (...) interest in early Christian precedent. I focus on remnants of Prudentius’ 5th-century Psychomachia in Herbert’s poetry and prose and suggest that they open a new vista onto Herbert’s performance of the unsteady dual state of the temple builder, whether poet or reader. (shrink)

This article details the personal involvement of the author in the early stages of the infamous Pinto fire case. The paper first presents an insider account of the context and decision environment within which he failed to initiate an early recall of defective vehicles. A cognitive script analysis of the personal experience is then offered as an explanation of factors that led to a decision that now is commonly seen as a definitive study in unethical corporate behavior. The main analytical (...) thesis is that script schemas that were guiding cognition and action at the time precluded consideration of issues in ethical terms because the scripts did not include ethical dimensions. (shrink)

My article focuses on Le Théâtre existentialiste by Simone de Beauvoir, recently translated and published in the volume of the Beauvoir Series on her literary writings. The first part introduces the original sound recording of this text and the circumstances behind its possible production in New York City in 1947 and my discovery of it at Wellesley College in 1996. The second part analyzes the divisions of Beauvoir's remarks as she presents Jean-Paul Sartre, Albert Camus, and their principal plays from (...) the period of the Occupation: The Flies, No Exit, and Caligula. The third part then evaluates certain of Beauvoir's key concepts in terms of how they were able to define adequately the substance of existentialist theater for a postwar American audience and whether they remain valid for a more contemporary theatrical public some six decades later. (shrink)

In this paper, we report on some machine experiments which suggest that waveforms of CM-type are asymptotically Gaussian-distributed.

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Post-modernism believes in nothing, not even unbelief. Hence it is a genial version of nihilism, and the flip side of despair. Like skepticism (from which it descends), it is healthy insofar as it rejects all dogmas; but unhealthy insofar as it substitutes its own, while eating its own essence. This book diagnoses this disease, and offers irony as its cure. What failure of nerve did to Hellenism, strength of character must do for the decline of the best. Humor, laughter, and (...) detachment are the gifts of historical art, and of Socratic science. As we take refuge in the myth of truth, we must realize that there is no truth in myth, and no comfort in illusion, except the lie of immortality. (shrink)

The major themes of this study are, first, that philosophy is not a technical enterprise or primarily a branch of knowledge, but a way of life; second, that philosophy cannot be understood apart from its history, and its history cannot be understood apart from the recognition that philosophy does designate a way of life.

At a time when a "return to Sartre" is being heralded in France and elsewhere in preparation for the celebration of the centennial of his birth, it seems appropriate to ponder the nature and tenor of this renewal. To which aspects of Sartre's work are we returning as the centennial approaches, and are we doing so with fresh eyes or with the same critical prejudices that have obscured our appreciation of this work in the past? If one looks for answers (...) to Bernard-Henri Lévy (aka BHL), the principal instigator of this current renewal, with specific regard to the genre that interests us in these pages—the theater—one is going to be sorely disappointed. For while Lévy considers Sartre "the first [writer]—the only [writer]—to know how to split himself equally well between being a theoretician and an accomplished storyteller," he lavishes this praise solely on the theory and practice of Sartre's novels: "The concept of engagement is not a political concept stressing the social duties of the writer; it is a philosophical concept highlighting the metaphysical powers of language. … Sartre … has never really written a novel with a [totalizing] thesis or message" (BHL 85, 86). (shrink)

Sartre’s scattered commentaries and remarks on theater, published in a variety of media outlets, as well as in the most unlikely of essays, were finally assembled late in Sartre’s career and published in one volume, Un Théâtre de situations, put together by Michel Contat and Michel Rybalka in 1973. Inevitably, a number of later or missing theatrical documents then came to light, and an updated edition of Un Théâtre de situations appeared in 1992. There still remained, however, other documents on (...) theater which for one reason or another were not included in the later volume. Two of these documents are published interviews that Sartre gave to the Russian theater journal, Teatr, in 1956 and 1962. It is those virtually unknown interviews by Sartre on theater that we are pleased to publish here for the first time in English translation. (shrink)