This study investigates to what extent the amount of variation in a visual scene causes speakers to mention the attribute color in their definite target descriptions, focusing on scenes in which this attribute is not needed for identification of the target. The results of our three experiments show that speakers are more likely to redundantly include a color attribute when the scene variation is high as compared with when this variation is low (even if this (...) leads to overspecified descriptions). We argue that these findings are problematic for existing algorithms that aim to automatically generate psychologically realistic target descriptions, such as the Incremental Algorithm, as these algorithms make use of a fixed preference order per domain and do not take visual scene variation into account. (shrink)

The aim of this study was to test red - green dichromats' ability to discriminate between illuminant and surface-reflectance changes in natural scenes. Stimuli were simulations of natural scenes presented on a colour monitor with 10-bit resolution per gun. The natural scenes were obtained with a fast hyperspectral imaging system. Six different scenes (including rocks, foliage, and buildings) were tested. In each trial, two images were presented in sequence, each for 1 s, with no interval. The images differed in the (...) phase of daylight on the scene: first with correlated colour temperature 25 000 K, then 6 700 K. The spectral reflectance of a region in the second image was changed randomly, consistent with a local change in daylight. The observer's task was to decide whether a particular surface in the successive images was the same (pure illuminant change) or different (illuminant change with a surface-reflectance change). The performance of four deuteranopes and five protanopes varied considerably across the scenes tested, with mean colour constancy indices (± 1 SEM) of 0.48 (± 0.13) and 0.19 (± 0.10), respectively (1.0 representing ideal performance). Deuteranopes seemed less disadvantaged than protanopes, performing close to normal with some scenes. (shrink)

Understanding how people comprehend visual narratives (including picture stories, comics, and film) requires the combination of traditionally separate theories that span the initial sensory and perceptual processing of complex visual scenes, the perception of events over time, and comprehension of narratives. Existing piecemeal approaches fail to capture the interplay between these levels of processing. Here, we propose the Scene Perception & Event Comprehension Theory (SPECT), as applied to visual narratives, which distinguishes between front-end and back-end cognitive processes. Front-end processes (...) occur during single eye fixations and are comprised of attentional selection and information extraction. Back-end processes occur across multiple fixations and support the construction of event models, which reflect understanding of what is happening now in a narrative (stored in working memory) and over the course of the entire narrative (stored in long-term episodic memory). We describe relationships between front- and back-end processes, and medium-specific differences that likely produce variation in front-end and back-end processes across media (e.g., picture stories vs. film). We describe several novel research questions derived from SPECT that we have explored. By addressing these questions, we provide greater insight into how attention, information extraction, and event model processes are dynamically coordinated to perceive and understand complex naturalistic visual events in narratives and the real world. (shrink)

Après avoir rappelé le sens musical du mot variation, l’article se penche sur les nuances synonymiques du lexique de la variation dans les dictionnaires des synonymes et dans les articles de Diderot de l’Encyclopédie. Emerge alors un embarras du philosophe sur la question morale et politique de la variation. Inéluctable et parfois souhaitable, la variation des pensées, des individus et des sociétés doit cependant être compensée par des ferments d’unité et de constance. L’écriture fictionnelle permet de (...) mettre en scène librement les variations morales des individus, notamment dans Jacques le fataliste, comme le constate avec jubilation Milan Kundera dans une nouvelle variation qu’il propose deux siècles plus tard sur le roman de Diderot. (shrink)

In "Literary Variation of Indian Buddhist Stories in Chinese 志怪 Novels," Wei Guo discusses Buddhist Sutra scriptures which have been a reservoir of inspiration for Zhiguai novels since their first introduction in Chinese literature. Buddhist texts were less relevant for the "documentary" tradition of Chinese literature owing to their rough structure, vague context, and lack of a sense of history and reality, since they were originally intended as texts of didacticism. Hence, in order to integrate these exotic literary materials (...) with local aesthetic concepts, Chinese writers explored creative adaptations including the addition of adding detail, linguistic embellishments, and the endowment of each story with specific narrative scenes in terms of character, place, and time. Guo argues that Indian Buddhist stories have been remolded in Zhiguai novels and transformed from imaginary religious literature into figurative and documentary literature whereby the convergence of the source texts with the target texts shows the processes of formation of world literature. (shrink)

ABSTRACT Using Michael Fried’s work on absorption and theatricality, and Walter Benjamin’s figure of the flâneur and its counterpart, the detective, and his disparaged figure of the badaud, this article considers ways to characterize the walks of Jean-Jacques Rousseau’s solitary walker, Socrates on the way to the Symposium, Henry V walking on the battlefield the night before Agincourt, and Trayvon Martin the evening he was killed by George Zimmerman. Each of these walks is a variation on contemplation, the risk (...) of death, and the role of absorption and theatricality. I work toward a notion of theatrical absorption, or absorptive theatricality—the right to be out walking dressed in what could be a costume, and yet absorbed. This right includes the right to make it home alive, a right denied to Trayvon Martin. The article explores the tensions that might explain this tragic fact. (shrink)

This article remedies the divide in the theory of cultural performance between contingent strategy and cultural structure by bringing scene back in. Scene fuses components of performance and links local performance to macrolevel cultural structures and historical events. I theorize two conceptual elements: scene-act ratio and event-scene link. A scene creates an emotive context that demands consistent and timely performance; features of macrolevel events shape the emotive context of the scene. The two concepts can (...) be deployed to explain variation in performance effectiveness. The theory is illustrated in a comparative study of Chinese leaders' empathetic performance in disasters. (shrink)

One of the chief difficulties we encounter as modern readers in perceiving the artistry of biblical narrative is precisely that we have lost most of the keys to the conventions out of which it was shaped. The professional Bible scholars have not offered much help in this regard, for their closest approximation to the study of convention is form criticism, which is set on finding recurrent regularities of pattern rather than the manifold variations upon a pattern that any system of (...) literary convention elicits; moreover, form criticism uses these patterns for excavative ends to support hypotheses about the social functions of the text, its historical evolution, and so forth. . . . The most crucial case in point is the perplexing fact that in biblical narrative more or less the same story often seems to be told two or three or more times about different characters, or sometimes even about the same character in different sets of circumstances. Three times a patriarch is driven by famine to a southern region where he pretends that his wife is his sister, narrowly avoids a violation of the conjugal bond by the local ruler, and is sent away with gifts. Twice Hagar flees into the wilderness from Sarah's hostility and discovers a miraculous well, and that story itself seems only a special variation of the recurrent story of bitter rivalry between a barren, favored wife and a fertile co-wife or concubine. That situation, in turn, suggests another oft-told tale in the Bible, of a woman long barren who is vouchsafed a divine promise of progeny, whether by God himself or through a divine messenger or oracle, and who then gives birth to a hero. Robert Alter, professor of Hebrew and comparative literature at the University of California at Berkeley, is the author of, among other works, Partial Magic: The Novel as a Self-Conscious Genre and Defenses of the Imagination. He has written a general literary study of biblical narrative, of which this essay forms a chapter. (shrink)

In this paper I attempt to look into a possible way in which cognitive pragmatics can help out variational studies in explaining the processes of language change. After broadly setting the scene this article proceeds by giving basic information about variational pragmatics. Then it concentrates on Sperber and Wilson’s relevance theory and its possible interaction with social sciences, namely its possible application in sociolinguistics. I next present my own research of Split dialect/vernacular change where I concentrate on explanatory side, (...) asking which explanation would be the best one for the changes of some variables in the dialect. The interpretation and discussion of the fi ndings preceed the discussion of salience as the explanatory tool for language change as seen from cognitivists and variationists with the hope that such discussions can bring closer cognitivists, i.e. relevantists, to sociolinguists, i.e. variationists. (shrink)

The predictable rhythmic structure is important to most ecologically relevant sounds for humans, such as is found in the rhythm of speech or music. This study addressed the question of how rhythmic predictions are maintained in the auditory system when there are multiple perceptual interpretations occurring simultaneously and emanating from the same sound source. We recorded the electroencephalogram (EEG) while presenting participants with a tone sequence that had two different tone feature patterns, one based on the sequential rhythmic variation (...) in tone duration and the other on sequential rhythmic variation in tone intensity. Participants were presented with the same sound sequences and were instructed to listen for the intensity pattern (ignore fluctuations in duration) and press a response key to detected pattern deviants (attend intensity pattern task); to listen to the duration pattern (ignore fluctuations in intensity) and make a button press to duration pattern deviants (attend duration pattern task), and to watch a movie and ignore the sounds presented to their ears (attend visual task). Both intensity and duration patterns occurred predictably 85% of the time, thus the key question involved evaluating how the brain treated the irrelevant feature patterns (standards and deviants) while performing an auditory or visual task. We expected that task-based feature patterns would have a more robust brain response to attended standards and deviants than the unattended feature patterns. Instead, we found that the neural entrainment to the rhythm of the standard attended patterns had similar power to the standard of the unattended feature patterns. In addition, the infrequent pattern deviants elicited the event-related brain potential called the mismatch negativity component (MMN). The MMN elicited by task-based feature pattern deviants had a similar amplitude to MMNs elicited by unattended pattern deviants that were unattended because they were not the target pattern or because the participant ignored the sounds and watched a movie. Thus, these results demonstrate that the brain tracks multiple predictions about the complexities in sound streams and can automatically track and detect deviations with respect to these predictions. This capability would be useful for switching attention rapidly among multiple objects in a busy auditory scene. (shrink)

Based on video-recordings of several weeks of rehearsals of a Japanese theater piece played by French actors, and adopting an ethnomethodological and conversation analytic perspective, this paper focuses on how the same few lines of a scene are subsequently enacted. In particular, it explores how the scene is played, not only in relation to the script but also to the situated moment-by-moment unfolding of embodied movements constituting the actions and achieving their detailed formatting and meaning. Whereas the dialogue (...) refers to the scripted text, we argue that the multimodal details of each scene constitute a unique situated course of action achieved for ‘another first time,’ whose multimodal configuration depends on the temporality and the shape of each step, gesture, and body posture, as they are embodied and responded to in the vivid present and its contingencies. We demonstrate this by revealing how variations of the scene are performed, explored, and serendipitously found by the actors. We focus in particular on embodied details like walking, sitting, hugging and kissing, and the sequential and temporal positions at which they co-occur with the lines of the script. The analysis demonstrates both the indexicality of the script interpretations and the creative contingencies of the embodied work of the actors. In this way, it aims at contributing to current growing literature revisiting theater rehearsal as a situated activity and an interactional multimodal achievement. (shrink)

ArgumentThe famousCahiersof Paul Valéry cannot be reduced to a single scientific discipline, a specific philosophical tradition, or a literary genre. For today's reader these notebooks constitute a formatsui generis, one very often characterized by an “observation of a second order”: in theCahiersValéry uses writing, drawing, and calculating not only for purposes of argumentation; he also pays attention to the significance of such writing, drawing, and calculating processes for the production of knowledge. It is particularly thepracticeof note-taking and sketching in Valéry's (...) notebooks that documents, rehearses, or questions the medial and instrumental conditions of both scientific research and artistic production. This is especially true of the early stages of theCahiersin the years beginning around 1894 when Valéry was intensely searching for notation systems that would be conducive to his research interests. At the time the problem of how to write was intrinsically bound up with the way he established his notebooks as a specific scene of writing. By closely examining a number of pages from the early notebooks I hope to show that the emerging regulation of Valéry's writing in theCahiersresults from simple operations that are noted and repeated by the writer until they gradually become procedures. What Valéry'sCahiersshow us, however, is that procedures do not always work in favor of a final synthesis, but may also give rise to a format of eternal beginning. In the following I will present some of the constitutive procedures found in Valéry's early notebooks, procedures that range from a tentative gathering together and simple forms of recursion and variation to the rehearsing or invention of symbolic or graphic forms of notation. (shrink)

This article proposes an account of color constancy based on an examination of the relevant scientific literature. Differences in experimental settings and task instructions that lead to variation in subject performance are given particular attention. Based on the evidence discussed, the core of the proposal made is that there are two different forms of color constancy, one phenomenal and the other projective. This follows the hypothesis of Reeves et al. (Perception & Psychophysics 70:219–228, 2008). Unlike Reeves et al. (Perception (...) & Psychophysics 70:219–228, 2008), it is argued that projective color constancy is crucially dependent upon phenomenal color constancy and certain aspects of scene perception. Additionally, it is hypothesized that capacities that support projective color constancy have an important role to play in facilitating our ability to quickly recognize scenes with diagnostic chromatic properties independently of assignments of colors to object surfaces. (shrink)

Previous work suggests that Asians allocate more attention to configuration information than Caucasian Americans do. Yet this cultural variation has been found only with stimuli such as natural scenes and objects that require both feature- and configuration-based processing. Here, we show that the cultural variation also exists in face perception—a domain that is typically viewed as configural in nature. When asked to identify a prototypic face for a set of disparate exemplars, Japanese were more likely than Caucasian Americans (...) to use overall resemblance rather than feature matching. Moreover, in a speeded identity-matching task, Japanese were more accurate than Americans in identifying the spatial configuration of features (e.g., eyes). Together, these findings underscore the robustness of culture’s influences on cognition. (shrink)

As many as two million people in the United Kingdom repeatedly see people, animals, and objects that have no objective reality. Hallucinations on the border of sleep, dementing illnesses, delirium, eye disease, and schizophrenia account for 90% of these. The remainder have rarer disorders. We review existing models of recurrent complex visual hallucinations (RCVH) in the awake person, including cortical irritation, cortical hyperexcitability and cortical release, top-down activation, misperception, dream intrusion, and interactive models. We provide evidence that these can neither (...) fully account for the phenomenology of RCVH, nor for variations in the frequency of RCVH in different disorders. We propose a novel Perception and Attention Deficit (PAD) model for RCVH. A combination of impaired attentional binding and poor sensory activation of a correct proto-object, in conjunction with a relatively intact scene representation, bias perception to allow the intrusion of a hallucinatory proto-object into a scene perception. Incorporation of this image into a context-specific hallucinatory scene representation accounts for repetitive hallucinations. We suggest that these impairments are underpinned by disturbances in a lateral frontal cortex–ventral visual stream system. We show how the frequency of RCVH in different diseases is related to the coexistence of attentional and visual perceptual impairments; how attentional and perceptual processes can account for their phenomenology; and that diseases and other states with high rates of RCVH have cholinergic dysfunction in both frontal cortex and the ventral visual stream. Several tests of the model are indicated, together with a number of treatment options that it generates. Key Words: Blindness; Charles Bonnet; cholinergic; cortical release; delirium; dementia; dream intrusion; hallucination; Perception and Attention Deficit (PAD) model; schizophrenia. (shrink)

Is genre film comparable to a thought experiment?Revising concepts of determinism and agency in three film noirs The philosophical approach of film genres, first popularized by authors like Stanley Cavell, allows to consider genre films as narrative variations as pertinent to philosophical discourse as can be a traditional thought experiment, since every question on the essence of a genre and every discussion related to its inner functions, its mechanisms and its themes, generate naturally a philosophical discourse on the way a (...) director uses filmic and narrative tools to transform his intentions into a specific system of meaning. This study adopts formalist and philosophical approaches to connect the narratives of the movies to the discourses it is prone to generate. The corpus draws on the ‘primitive scene' in three films noirs, Out of the Past, The Lady from Shanghai et Criss Cross : the tragic meeting of an anti-hero with the woman who will be responsible of his fall. Indeed, the sequence showing this first meeting becomes an exercise in style where forerunning signs of the two protagonists' fall organize the writing and the mise-en-scene, and explicitly shows how questions of agency and determinism are intimately articulated to the narrative and formal frame of the movies. (shrink)

Terence Horgan and John Tienson argue that there is phenomenal intentionality, i.e., “a kind of intentionality, pervasive in human mental life, that is constitutively determined by phenomenology alone” (p. 520). However, their arguments are open to two lines of objection. First, Horgan and Tienson are not sufficiently clear as to what kind of content it is that they take to be determined by, or to supervene on, phenomenal character. Second, critics have objected that, for their conclusion to follow, Horgan and (...) Tienson would first have to establish the co-variation of phenomenology and intentional content, but even so, phenomenal intentionality would still emerge as less plausible than its converse, representationalism. I will address these two challenges by appeal to Husserlian ideas. A consideration of perceptual phenomenology (i.e., phenomenal character) shows that there is a kind of perceptual content that is, indeed, determined by phenomenal character. Such content is conceived in terms of fulfillment conditions, or what it takes to bring aspects of objects and scenes to different, and more complete, ways of givenness. We can establish the primacy of phenomenology, relative to such fulfillment-conditional content, by tracing it back to the basic phenomenology of visual and other sensations. (shrink)

This study explores the relationship between language and thought in similarity judgments by testing how monolingual children who speak languages with partial typological differences in motion description respond to visual motion event stimuli. Participants were either Chinese- or English-speaking, 3-year-olds, 8-year-olds and adults who judged the similarity between caused motion scenes in a match-to-sample task. The results suggest, first of all, that the two younger groups of 3-year-olds are predominantly path-oriented, irrespective of language, as evidenced by their significantly longer fixation (...) on path-match videos rather than manner-match videos in a preferential looking scheme. Using categorical measurement of overt choices, older children and adults also showed a shared tendency of being more path-oriented. However, the analysis using continuous measurement of reaction time revealed significant variations in spatial cognition that can be related to linguistic differences: English speakers tended to be more manner-oriented while Chinese speakers were equally manner- and path-oriented. On the whole, our findings indicate a likelihood that children’s non-linguistic thought is similar prior to internalising the lexicalisation pattern of motion events in their native languages, but shows divergences after such habitual use, thus suggesting that the pattern of non-linguistic thought may be linked, among other things, to linguistic structure. (shrink)

The purpose of crowd counting is to estimate the number of pedestrians in crowd images. Crowd counting or density estimation is an extremely challenging task in computer vision, due to large scale variations and dense scene. Current methods solve these issues by compounding multi-scale Convolutional Neural Network with different receptive fields. In this paper, a novel end-to-end architecture based on Multi-Scale Adversarial Convolutional Neural Network (MSA-CNN) is proposed to generate crowd density and estimate the amount of crowd. Firstly, a (...) multi-scale network is used to extract the globally relevant features in the crowd image, and then fractionally-strided convolutional layers are designed for up-sampling the output to recover the loss of crucial details caused by the earlier max pooling layers. An adversarial loss is directly employed to shrink the estimated value into the realistic subspace to reduce the blurring effect of density estimation. Joint training is performed in an end-to-end fashion using a combination of Adversarial loss and Euclidean loss. The two losses are integrated via a joint training scheme to improve density estimation performance.We conduct some extensive experiments on available datasets to show the significant improvements and supremacy of the proposed approach over the available state-of-the-art approaches. (shrink)

Very encouraging results have been obtained from a new program that derives a dense three-dimensional evidence grid representation of a robot's surroundings from wide-angle stereoscopic images. The pro gram adds several spatial rays of evidence to a grid for each of about 2,500 local image features chosen per stereo pair. It was used to construct a 256x256x64 grid, representing 6 by 6 by 2 meters, from a hand- collected test set of twenty stereo image pairs of an office scene. (...) Fifty nine stereo pairs of an 8 by 8 meter laboratory were also processed. The positive (probably occupied) cells of the grids, viewed in perspec tive, resemble dollhouse scenes. Details as small as the curvature of chair armrests are discernible. The processing time, on a 100 MIPS Sparc 20, is less than five seconds per stereo pair, and total memory is under 16 megabytes. The results seem abundantly adequate for very reliable navigation of freely roaming mobile robots, and plausibly adequate for shape identification of objects bigger than 10 centimeters. The program is a first proof of concept, and awaits optimizations, enhancements, variations, extensions and applications. (shrink)

Variable responses to transcranial direct current stimulation protocols across individuals are widely reported, but the reasons behind this variation are unclear. This includes tDCS protocols meant to improve attention. Attentional control is impacted by top-down and bottom-up processes, and this relationship is affected by state characteristics such as anxiety. According to Attentional Control Theory, anxiety biases attention towards bottom-up and stimulus-driven processing. The goal of this study was to explore the extent to which differences in state anxiety and related (...) measures affect visual attention and category learning, both with and without the influence of tDCS. Using discovery learning, participants were trained to classify pictures of European streets into two categories while receiving 30 min of 2.0 mA anodal, cathodal, or sham tDCS over the rVLPFC. The pictures were classifiable according to two separate rules, one stimulus and one hypothesis-driven. The Remote Associates Test, Profile of Mood States, and Attention Networks Task were used to understand the effects of individual differences at baseline on subsequent tDCS-mediated learning. Multinomial logistic regression was fit to predict rule learning based on the baseline measures, with subjects classified according to whether they used the stimulus-driven or hypothesis-driven rule to classify the pictures. The overall model showed a classification accuracy of 74.1%. The type of tDCS stimulation applied, attentional orienting score, and self-reported mood were significant predictors of different categories of rule learning. These results indicate that anxiety can influence the quality of subjects’ attention at the onset of the task and that these attentional differences can influence tDCS-mediated category learning during the rapid assessment of visual scenes. These findings have implications for understanding the complex interactions that give rise to the variability in response to tDCS. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Richard J. Bernstein THE RAGE AGAINST REASON Recently, a number of phflosophers including Alasdair Maclntyre, Richard Rorty, Paul Ricoeur, and Jean-François Lyotard have reminded us about die centred (and problematic) role of narratives for philosophic inquiry. I say "reminded us" because narrative discourse has always been important for philosophy. Typically, every significant philosopher situates his or her own work by telling a story about what happened before he or (...) she came along— a story that has its own heroes and villains. This is the way in which philosophers are always creating and recreating dieir own traditions and canons. And die stories that they tell are systematically interwoven with what they take to be their distinctive contributions. Consider Aristotle's narrative in die first book of me Mdaphysics about the insights and blindnesses of his predecessors in grasping the multidimensional character of our scientific knowledge of causes. Or — to leap to the contemporary scene — think of the story that logical positivists told us about the confusions and linguistic blunders of most of their predecessors — with a few bright moments of anticipation of their own radical program for reforming phdosophy. Or again, there is the powerfully seductive story diat Husserl tells where the entire history of philosophy is viewed as a teleological anticipation of die new rigorous Wissenschaft of transcendental phenomenology. There is a common rhetorical pattern in these narratives. They tell stories ofanticipations, setbacks, and trials, but they culminate with the progressive realization of truth and reason, which is normally identified with what die philosopher/ storyteller now sees clearly — a "truth" which his or her predecessors saw only through a glass darkly. There is also die genre of philosophic narratives which has become so fashionable in the nineteenth and twentieth centuries and has dramatically reversed diis pattern. They tell of relentless decline, degeneration, catas186 Richard J. Bernstein187 trophe, and forgetfulness. A "classic" instance of this is Nietzsche's geneological unmasking of the "history" of reason, truth, and morality which culminates in the dominance and spread of a pernicious all-encompassing nihilism. But we also find variations of this pattern in Maclntyre's saga of the decline and degeneration of moral phdosophy and moral life since me Enlightenment. And — as we shall see — diis is die way in which Heidegger reads (in his "strong reading") the destiny of Western philosophy and metaphysics which is interwoven with the history of the forgetfulness and concealment of Being. It is not my intention to develop a typology of narrative patterns in philosophy, although I am convinced that such a typology would be extremely üluminating. Rather I want to set a context for what I will attempt to do in this article. For I want to oudine a narrative — or more accurately and modestly — a narrative sketch. Even diough I will be schematic, my tale is a complex one for several reasons. First, because it is a narrative about narratives, specifically narratives which themselves relate stories about the development of reason, or what thinkers such as Weber and Habermas call "rationalization" processes,1 Secondly, because it is a narrative that isolates different story lines, a plot and a counterplot that stand in an uneasy and unresolved tension with each odier. Thirdly, because it is not one of those narratives where all the loose threads are neady tied together at die end — or to switch metaphors, there is no grand Aufhebung because it is essentially an unfinished story. In the spirit of this prologue let me introduce die four main characters ofmyfirst story line, and tell you what I hope to achieve. The names of the main characters are Condorcet, Weber, Adorno, and Heidegger. My aim is to confront some deeply troubling contemporary questions, for I want to understand why today there are so many "voices" screeching about Reason. Why is there a rage against Reason? What precisely is being attacked, criticized, and damned? Why is it diat when "Reason" or "Rationality" are mentioned, they evoke images of domination, oppression, repression, patriarchy, sterility, violence, totality, totalitarianism, and even terror? These questions are especially poignant and perplexing when we realize that not so long ago, die call to "Reason" elicited associations with autonomy, freedom, justice, equality... (shrink)

ExtractA few years ago, I, an American, was giving a talk at a political philosophy conference in the United Kingdom. My topic was religion in democratic politics, and I delivered what I thought was a splendid line of argument supporting the idea that religion has at most a highly constrained role to play in democratic politics. The audience was appreciative enough, but during the question and answer session, there emerged the charge that my paper had addressed a uniquely ‘American’ problem, (...) a problem that was not of general significance to political philosophers outside of the United States. I replied that although the political scene in the contemporary United States provides many high-profile examples of the problem I had been addressing, the general problem of religion in politics confronts democracy as such. I then provided some cases from outside America in which the problem shows itself: the public slaying of Theo Van Gough, the controversy surrounding the publication of cartoon representations of Muhammad in Denmark, the reemergence of religiously-affiliated and reactionary political parties throughout Europe, and so on. Yet for the most part my audience remained unmoved.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.RELIGION IN POLITICS: WHAT'S THE PROBLEM?Volume 12, Issue 33Robert B. TalisseDOI: https://doi.org/10.1017/S1477175612000279Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. RELIGION IN POLITICS: WHAT'S THE PROBLEM?Volume 12, Issue 33Robert B. TalisseDOI: https://doi.org/10.1017/S1477175612000279Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. RELIGION IN POLITICS: WHAT'S THE PROBLEM?Volume 12, Issue 33Robert B. TalisseDOI: https://doi.org/10.1017/S1477175612000279Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation. (shrink)

ExtractA few years ago, I, an American, was giving a talk at a political philosophy conference in the United Kingdom. My topic was religion in democratic politics, and I delivered what I thought was a splendid line of argument supporting the idea that religion has at most a highly constrained role to play in democratic politics. The audience was appreciative enough, but during the question and answer session, there emerged the charge that my paper had addressed a uniquely ‘American’ problem, (...) a problem that was not of general significance to political philosophers outside of the United States. I replied that although the political scene in the contemporary United States provides many high-profile examples of the problem I had been addressing, the general problem of religion in politics confronts democracy as such. I then provided some cases from outside America in which the problem shows itself: the public slaying of Theo Van Gough, the controversy surrounding the publication of cartoon representations of Muhammad in Denmark, the reemergence of religiously-affiliated and reactionary political parties throughout Europe, and so on. Yet for the most part my audience remained unmoved.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.RELIGION IN POLITICS: WHAT'S THE PROBLEM?Volume 12, Issue 33Robert B. TalisseDOI: https://doi.org/10.1017/S1477175612000279Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. RELIGION IN POLITICS: WHAT'S THE PROBLEM?Volume 12, Issue 33Robert B. TalisseDOI: https://doi.org/10.1017/S1477175612000279Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. RELIGION IN POLITICS: WHAT'S THE PROBLEM?Volume 12, Issue 33Robert B. TalisseDOI: https://doi.org/10.1017/S1477175612000279Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation. (shrink)

Several factors have been put forward to explain the variability of moral judgments for superficially analogous moral dilemmas, in particular in the paradigm of trolley cases. In this paper we elaborate on Mikhail's view that (i) causal analysis is at the core of moral judgments and that (ii) causal judgments can be quantified by linguistic methods. According to this model, our moral judgments depend both on utilitarian considerations (whether positive effects outweigh negative effects) and on a representation of the causal (...) structure of the action (whether the negative effects are essentially side-effects rather than main goals). However, the exact contribution of each factor, as well as the precise way in which causal considerations interact with utilitarian considerations, has yet to be quantified and investigated. We present several variations on trolley dilemmas in which subjects had to assess the morality of the action and to evaluate their preference between two competing descriptions of the scene (.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, escaping (...) the vindictive wrath of John Reed. Repulsed by her angry brother, Maggie Tulliver flees to the house attic, fantasizing that her family will fear that she has died. Little Dorrit withdraws from the common space of the Marshalsea into her private room above the prison, and Little Nell hides behind trees and walls, silently observing clandestine meetings. Finally the seven-year-old Alice falls down a rabbit-hole into a Wonderland, the dreamspace of her own psyche.Of these images, none can be more embedded in our cultural imagination than the child Alice dropping into the subterranean well of Wonderland. Indeed, of the many celebrated scenes in the Alice narratives, the most memorable, most potent, most quoted is Alice’s initial descent to the bottom of the rabbit-hole. The lastingness of this scene seems even greater when we realize that, although neither Carroll in Alice’s Adventures Underground nor Tenniel in the first edition of Wonderland illustrated the moment with a picture, it still became (along with the Mad Hatter’s tea party) one of the signature images of the Alice stories. Why, we must ask, did the Victorians retain, with a powerful tenacity, this vision of a little girl moving through a tight space toward the hidden world of Wonderland?The answer to this question is not—at least not wholly—that the scene simply represents a child’s metaphorical progress through the [End Page 1] birth canal 1 and that this, in turn, symbolizes some kind of rite of passage, a movement towards some deeper knowledge. For then how do we explain Alice’s conspicuous lack of internal development in both stories? Indeed, for a narrative that thematizes motion, Alice’s psychical growth remains disturbingly static. Throughout both narratives, Alice displays little emotional variation, for when she is not frustrated or anxious, she is, for the most part, vapid or expressionless. In fact, one is immediately struck by her coolness and indifference as she drops through the rabbit-hole. 2 Thus, because scene changes in Wonderland and Looking-Glass rarely betoken any emotional or intellectual modulations, Alice’s falling into Wonderland signals no internal transition.But the image does relocate her body and within this fictive world, location is everything. The scene gestures Alice’s departure, her separation, her movement towards an autonomy of which every child dreams when, in play, retreating to a hidden space. A child’s impulse to hide, to create a secret space, is one of the most compelling of all human wishes, the wish for autonomy and autarchy—“to be cut off from the word and yet owner of the world.” 3 Throughout Victorian literature, the fantasy of autonomy sets children dreaming of far-away worlds and hidden gardens. The young Cathy and Heathcliff flee to the isolated moors, filling the open, empty space with dreams of unrestricted freedom. Little Dorrit envisages the locked garden behind the Marshalsea as an alternative world to the foul prison atmosphere. And what are the Brontës’s Angria and Gondol but disconnected, self-governing realms imagined from the standpoint of childhood powerlessness? The image, then, of Alice’s fall begins to fulfill this powerful wish for autonomy, which culminates, finally, in Alice’s self-coronation at the end of Looking-Glass. Yet it is only within the child’s willing imagination that a secret space can encroach so closely upon autonomy, for as we shall see, secrecy and autonomy are irreconcilable not only in the demanding world of realism, but even in the more elastic world of Carrollian fantasy.IAlice’s descent into Wonderland and her entrance into the Looking-Glass kingdom would seem like ripe metaphors for Carroll to explore the thoughts and fantasies of Alice’s psyche. What could be more... (shrink)

The two mythical tales from the Samguk yusa, “Lady Suro” and “Monk Hyet’ong Defeats the Dragon” reveal the little-known evil character of the Korean dragons. The second story presents a particular scene of a confrontation between a hero and a malicious dragon; this story leads us to reflect on the question of the symbolism of evil embodied by the Dragon who has a vengeful character. The dragon symbol and its semantic variations were constructed specifically within the singular Korean context (...) and cannot be limited to Chinese Buddhist heritage. (shrink)

One of the predominant iterations of the metaphor of entanglement in the nineteenth century is found in the closing paragraph of Charles Darwin’s On the Origin of Species. Darwin’s image of an “entangled bank, clothed with many plants of many kinds, with birds singing on the bushes, with various insects flitting about,” serves as a synecdoche for the patterns of biological interdependence and variation that animate the evolutionary process of natural selection.1 The “entangled bank” is both the scene (...) and the symbolic illustration of creaturely increase and multiplication. We cannot escape the influence of heredity in Darwin’s schema, just as surely as the imagined bank of vegetation will wreathe and entwine.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, escaping (...) the vindictive wrath of John Reed. Repulsed by her angry brother, Maggie Tulliver flees to the house attic, fantasizing that her family will fear that she has died. Little Dorrit withdraws from the common space of the Marshalsea into her private room above the prison, and Little Nell hides behind trees and walls, silently observing clandestine meetings. Finally the seven-year-old Alice falls down a rabbit-hole into a Wonderland, the dreamspace of her own psyche.Of these images, none can be more embedded in our cultural imagination than the child Alice dropping into the subterranean well of Wonderland. Indeed, of the many celebrated scenes in the Alice narratives, the most memorable, most potent, most quoted is Alice’s initial descent to the bottom of the rabbit-hole. The lastingness of this scene seems even greater when we realize that, although neither Carroll in Alice’s Adventures Underground nor Tenniel in the first edition of Wonderland illustrated the moment with a picture, it still became (along with the Mad Hatter’s tea party) one of the signature images of the Alice stories. Why, we must ask, did the Victorians retain, with a powerful tenacity, this vision of a little girl moving through a tight space toward the hidden world of Wonderland?The answer to this question is not—at least not wholly—that the scene simply represents a child’s metaphorical progress through the [End Page 1] birth canal 1 and that this, in turn, symbolizes some kind of rite of passage, a movement towards some deeper knowledge. For then how do we explain Alice’s conspicuous lack of internal development in both stories? Indeed, for a narrative that thematizes motion, Alice’s psychical growth remains disturbingly static. Throughout both narratives, Alice displays little emotional variation, for when she is not frustrated or anxious, she is, for the most part, vapid or expressionless. In fact, one is immediately struck by her coolness and indifference as she drops through the rabbit-hole. 2 Thus, because scene changes in Wonderland and Looking-Glass rarely betoken any emotional or intellectual modulations, Alice’s falling into Wonderland signals no internal transition.But the image does relocate her body and within this fictive world, location is everything. The scene gestures Alice’s departure, her separation, her movement towards an autonomy of which every child dreams when, in play, retreating to a hidden space. A child’s impulse to hide, to create a secret space, is one of the most compelling of all human wishes, the wish for autonomy and autarchy—“to be cut off from the word and yet owner of the world.” 3 Throughout Victorian literature, the fantasy of autonomy sets children dreaming of far-away worlds and hidden gardens. The young Cathy and Heathcliff flee to the isolated moors, filling the open, empty space with dreams of unrestricted freedom. Little Dorrit envisages the locked garden behind the Marshalsea as an alternative world to the foul prison atmosphere. And what are the Brontës’s Angria and Gondol but disconnected, self-governing realms imagined from the standpoint of childhood powerlessness? The image, then, of Alice’s fall begins to fulfill this powerful wish for autonomy, which culminates, finally, in Alice’s self-coronation at the end of Looking-Glass. Yet it is only within the child’s willing imagination that a secret space can encroach so closely upon autonomy, for as we shall see, secrecy and autonomy are irreconcilable not only in the demanding world of realism, but even in the more elastic world of Carrollian fantasy.IAlice’s descent into Wonderland and her entrance into the Looking-Glass kingdom would seem like ripe metaphors for Carroll to explore the thoughts and fantasies of Alice’s psyche. What could be more... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Kathryn Kein 671 Kathryn Kein Recovering Our Sense of Humor: New Directions in Feminist Humor Studies At the 2014 annual meeting of the American Studies Association (ASA), the Humor Studies Caucus held a panel titled “Female Comedians and the Critical Power of Laughter.” After listening to presentations on Gilda Radner, Lily Tomlin, and Black women comedians’ 1960s comedy albums, one audience (...) member asked the panel if the classic theories of humor—Freud’s theory of the joke, Bergson’s thoughts on laughter (all conceived of in relation to the work of men)—applied when analyzing female comedic performers. One panelist immediately responded that she found none of those theories useful to her work on female comedians, and that instead she used queer theory to aid her analysis. This exchange at ASA points to many of the questions that scholars of humor and feminism are currently facing as they work to address a dearth of scholarship dealing with women, feminism, and comedy. The nods in agreement around the room spoke to the notion that scholarship on the topic of women in comedy is not merely filling in gaps, but breaking new ground. With a few notable exceptions, scholars have been relatively silent on topics involving women and/in comedy.1 The meager 1. See Susanne Lavin, Women and Comedy in Solo Performance: Phyllis Diller, Lily Tomlin, and Roseanne (New York: Routledge, 2004); June Sochen, ed., Women’s Comic Visions (Detroit, MI: Wayne State University Press, 1991); John Limon, “Skirting, Kidding: Ellen Degeneres and Paula Poundstone,” in 672 Kathryn Kein scholarly space devoted to feminism and humor is likely shaped by the fraught relationship women and feminism have had with humor in our cultural imagination. Women have long battled a perception that they, as a sex, are biologically not funny. Men have always vastly outnumbered women on stand-up stages and in comedy writers’ rooms. Former Saturday Night Live writer Anne Beatts recalled that star John Belushi, being of the “chicks-aren’t-funny” school, often requested that the women writers be fired.2 In her bestselling Bossypants, Tina Fey recalls that the gender imbalance of the sketch comedy teams at Chicago’s Second City were due to the fact that directors believed “the audience doesn’t want to see a scene between two women.”3 In his 2007 piece in Vanity Fair brashly titled “Why Women Aren’t Funny,” Christopher Hitchens went so far as to call women and humor “antithetical.”4 In particular, feminist women have been painted as humorless and unable to take a joke. In The Promise of Happiness, Sarah Ahmed, defining her figure of the feminist killjoy, observes that “feminists are typically represented as grumpy his Stand-Up Comedy in Theory, or, Abjection in America (Durham, NC: Duke University Press, 2000). 2. For further accounts of women comedy writers’ and performers’ experiences, see Yael Kohen, We Killed: The Rise of Women in American Comedy: A Very Oral History (New York: Sarah Crichton Books, 2012). 3. Tina Fey, Bossypants (New York: Little, Brown, and Company, 2011), 87. 4. Christopher Hitchens, “Why Women Aren’t Funny,” Vanity Fair 557 (2007): 54 Books Discussed in This Essay All Joking Aside: American Humor and Its Discontents. By Rebecca Krefting. Baltimore, MD: Johns Hopkins University Press, 2014. Pretty/Funny: Women Comedians and Body Politics. By Linda Mizejewski. Austin: University of Texas Press, 2014. The Queer Cultural Work of Lily Tomlin and Jane Wagner. By Jennifer Reed. New York: Palgrave Macmillan, 2013. Kathryn Kein 673 and humorless.”5 In a variation of the age-old joke, when a jokester asks, “How many feminists does it take to change a light bulb?” the respondent doesn’t say “How many?” but instead deadpans, “That’s not funny.” In different ways, the three books reviewed in this essay take up the conversation at ASA and tackle these same questions: How do we analyze humor produced by (and for?) women when our understanding of humor is decidedly male? What omissions have the gendered assumptions about humor caused in scholarship on feminism? How does humor work to address these assumptions? And how does the backdrop of these assumptions influence the comedy... (shrink)

There is no fragment of the older Attic Comedy that concerns Greek religion so intimately as this, and none which has been so misinterpreted. It may also claim to have a certain value for our literary judgment of Plato. The story of Phaon is preserved for us by three authorities, Aelian, Palaiphatos, and Servius; and with few variations and additions all three present it as follows: Phaon was an elderly Lesbian ferryman who transported Aphrodite, disguised as an old woman, across (...) the sea; and she in reward gave him a magic ointment which restored his youth and ensured him the desperate love of all women. I am not concerned here with the handling of the story in other literature, nor with its original significance. We may suspect that it originated as a ίερòς λόγος. But it is presented to us merely as a piece of folklore, as a theme well suited to the temper of the Middle Attic Comedy. We may suppose that Plato followed a version known to Kratinos, according to which Aphrodite was the chief lover of Phaon and jealous of guarding him against her rivals. For it is certain, as Meineke has pointed out, that it is Aphrodite who delivers the speech contained in this fragment; in line seven she demands a preliminary sacrifice to herself, under the name κουροτρόος Only a divinity can demand sacrifice, and κουροτρόο;ος is a familiar epithet of many deities including Aphrodite, and she is the only deity possible in this scene, in which she is trying to keep off the ardent crowd of women from her beloved Phaon, by insisting on long and complicated preliminary rites and sacrifices before their admission to her shrine, where she is keeping him, as she once kept Kinyras. (shrink)

continent. 2.2 (2012): 60–63 Translated by Rodrigo Maltez Novaes. From the forthcoming book Post-History , Minneapolis: Univocal Publishing, 2013. It is not necessary to have a keen ear in order to find out that the steps we take towards the future sound hollow. But it is necessary to have concentrated hearing if one wishes to find out which type of vacuity resonates with our progress. There are several types of vacuity, and ours must be compared to others, if the aim (...) is to understand it. The incomparable is incomprehensible. If we affirm that our situation is incomparable, we give up the effort to grasp it. The comparison that imposes itself is to the vacuity of the Baroque. There are innumerable traces in the present that evoke the Baroque. We bear the mark of the same somber rationalism (logics, informatics, cybernetics), and of the same magic and fanatic irrationalism (mass media, phantastic ideologies). But there is a decisive difference. Humanity advanced over a stage during the Baroque. All of its gestures, even the most sincere, were marked by theatricality. The vacuity that resonated under its feet was of the void under the stage. Baroque man represented. 1 For example he represented faith in waging religious wars. Baroque vacuity was the consequence of a medieval loss of faith in dogmas . Our vacuity is different. We do not represent anything. Our world is not a stage. We are not actors, and if we act, it is not to represent a drama, but to divert the audience's attention and our own from the subjects that really matter. We act like criminals that try to hide their tracks. We pretend. Our progress is a farce. The vacuity under our feet is not Baroque. We have not lost our faith in dogmas: we have lost faith in ourselves . We are as counter-reformists as was the Baroque (we want to cover up the recent revolution with warm cloths), but for different reasons. Although comparable with the Baroque, in certain aspects, our situation is in fact incomparable to any other. That is because an incomparable, unheard of, never before seen event happened recently, which emptied the ground we tread. Auschwitz . Other posterior events; Hiroshima, the Gulags, are nothing but variations of the first. Therefore every attempt to grasp the present leads to the following questions: how was Auschwitz possible? How can we live after this? Such questions relate not only to the ones directly or indirectly responsible, and not only to those who were directly or indirectly hit by it: they relate to everyone who takes part in our culture. Because what is so incomparable, unheard of, never before seen and therefore incomprehensible in Auschwitz, is that it was there that Western culture revealed one of its inherent virtualities. Auschwitz is a characteristic realization of our culture. It is neither the product of a particular Western ideology, nor of specific “advanced” industrial techniques. It springs directly from the depths of culture and of its concepts and values. The possibility to realize Auschwitzes is implicit within our culture from the very start: the Western “project” already harbored it, although as a remote possibility. Auschwitz lies within the initial program of the West, which progressively realizes all of its virtualities as history unfolds. That is why the question that Auschwitz poses before us is not: how did it happen? It serves no purpose to “explain” Auschwitz. The fundamental question is: how was it possible? Because what is being questioned is not the extermination camp, but the West. Thus one other question: how to live within a culture henceforth unmasked? Everything that happened afterwards resonates with such a question, with such vacuity. Every economic, social, political, technical, scientific, artistic, philosophic event is corroded by such an undigested question. The distance that separates us from the event does not mitigate the abyss, it erodes it even deeper. Because the distance progressively dissolves the aura of the horror that envelops the event, and it progressively opens up a vision of the scene. It progressively reveals that there all of our categories, all of our “models”, suffered an irreparable shipwreck. Auschwitz was a revolutionary event, in the sense that it overthrew our culture. Insofar as we seek ways to cover up such revolution with trips to the moon or with genetic manipulations, we are counter-revolutionaries: we are inverting the course of history in order to cover up the past. The unspoken in Auschwitz is not the mass murder, it is not the crime . It is the ultimate reification of people into amorphous objects, into ashes. The Western tendency towards objectification was finally realized and it was done so in the shape of an apparatus . The SS were functionaries of an extermination apparatus, and their victims functioned in function of their own annihilation. The extermination camp's program, once it started functioning, developed in an automatic fashion, autonomous from the decisions of the initial programmers, even if, as it effectively did, it contributed to the defeat of the programmers. The SS and the Jews functioned one in function of the other like cogwheels. The models for such functionality were provided by the highest of Western values: the SS behaved like “heroes” and the Jews like “martyrs”. This is an apparatus that functions at a borderline situation: objective even beyond death. What has just been said is intolerable. We cannot accept it and so we mobilize arguments against it. Good arguments. The SS behaved like criminals: they removed the gold teeth from the cadavers. The Jews behaved like victims: they rose up in the Warsaw ghetto. Such arguments are true, but they do not reach the nucleus, the “ eidos ” of the phenomenon: they do not grasp it. Although there was “normal” behavior: (theft, murder, revolt, heroism), there was also “abnormal” behavior: functionality during a borderline situation. And this is what counts. There, for the first time in the history of humanity, an apparatus was put into operation that was programmed with the most advanced techniques available, which realized the objectification of man, together with the functional collaboration of man. The previous horrors committed by Western society against other societies and against itself (and there are many) were crimes . They were violations of Western models of behavior: anti-Christian, anti-human, irrational. So that it is possible to condemn them and continue to be Western, even if the horror is so colossal, such as the enslavement of Africans. However, it is not possible to condemn Auschwitz and continue to adhere consciously to the West. Auschwitz is not a violation of Western models of behavior, it is, on the contrary, the result of the application of such models. Our culture allowed its mystifying mask to fall and must be rejected in toto if we admit that the purpose of every culture is to allow for the convivial existence of men that recognize each other mutually as subjects. However: it is not possible to reject one's own culture. It is the ground we tread . Those who seek to reject their own culture (as Nietzsche did in rejecting Judeo-Christianity), fall victim to madness. Those who reject their culture's models, are incapable of grasping the world in which they live. Cultural models are traps to catch the world. Those who seek to substitute their own models for other's (for example by shouting “Hare Krishna”) will find that such exotic models have already been caught by the very models to be substituted. There is no exit: we are condemned to use our models and to serve such models, even after they have been unmasked, if we wish to continue living. The only alternative would be to commit suicide. That is: we must continue our economic, political, scientific, artistic, philosophic activities despite Auschwitz. We must continue progressing despite everything . That is why there are those who recommend that we should seek to forget what happened, that we should repress the event. They sustain that enough has already been said and written about the subject and that it is time to “overcome” it. But such an ostrich strategy reveals itself disastrous. Because the result is that Auschwitz transfers itself from Poland of the 1940s to the post-industrial society of the future. What characterizes the extermination camp is precisely that it is not an event that can be “overcome”, because it is the first realization of an inherent virtuality within the Western project, which will repeat itself in other formats unless we become totally conscious of it. The advantage (if this is an appropriate term) that Auschwitz offers us, is to give us a concrete example of the West’s tendency towards the apparatus. For the first time in our history it is possible for us to experience concretely the utopia inherent in our culture. For the first time in our history we have the experience that utopia, no matter in what form, towards which we progress, is the extermination camp. Everywhere we can observe, as of now, the emergence of variations on the theme “Auschwitz”. Everywhere apparatus spring, just like mushrooms after a Nazi rain, from the ground that has become rotten. Certainly: such new apparatus are not externally similar to the Nazi extermination camps. Their labels are different, as are the ideologies that pretend to inspire them. Even the apparatus that admittedly envision extermination, such as the Gulags, the ones of a future nuclear war, or the ones that functioned in Vietnam, claim to be different from Auschwitz. Others claim to be “friends of mankind”, such as the scientific, technical and administrative apparatus. But such labels and such ideologies are deceptive and serve only to cover up the essence of apparatus. They are all just like Auschwitz, black boxes that function with complex inner-workings in order to realize a program. They all function according to an inertia that is inherent to them and such functionality escapes , from a certain point, the control of their initial programmers. In a final analysis such apparatuses function, all of them, towards the annihilation of all their functionaries, including their programmers. Exactly because they objectify and dehumanize man. Thus Western culture reveals itself as a project that seeks to transform itself into an apparatus. What characterizes the West is its capacity for an objectifying transcendence. Such transcendence allows for the transformation of all phenomena, including the human phenomenon, into an object of knowledge and manipulation. The space for such transcendence opened up thanks to Judeo-Christianity and resulted, in the course of our history, in science, technique and recently, in Auschwitz. The ultimate objectification of the Jews into ashes is the ultimate victory of the spirit of the West. It is social technique taken to the extreme. Certainly: the transformation of men into ashes is primitive, incipient social technique that progressively refines itself. It will be followed by less brutal objectifications, such as the robotization of society. But it does not matter which form it will assume: it will always be an objectifying manipulation of mankind. Although the apparatus of the immediate future are not necessarily incineration ovens, all will be, and not only the nuclear ones, apparatus for the annihilation of man. The Western program contains several virtualities, not only apparatus. Numerous virtualities have not yet been realized. In this sense the “history of the West” has not ended yet, the Western game continues. But all not-yet realized virtualities are infected by apparatus. That is why it has become currently impossible to engage ourselves in the “ progress of culture .” As it would be to engage ourselves in our own annihilation. We have lost our faith in our culture, in the ground we tread. That is: we have lost faith in ourselves. It is this hollow vibration that follows our steps towards the future. What remains is for us to analyze the event “Auschwitz” in all its details in order to discover the fundamental project that realized itself there for the first time, so that we may nurture the hope to project ourselves out of that project. Out of the history of the West. This is the “post- historical” climate in which we are condemned to live from hereon. NOTES 1. In Portuguese representar (to represent) also means “to act” or “to play a role.&rdquo. (shrink)

While understanding and expressing causal relations are universal aspects of human cognition, language users may differ in their capacity to perceive, interpret, and express events. One source of variation in descriptions of caused motion events is agentivity, which refers to the attribution of a result to the agent's action. Depending on the perspective taken, the same event may be described with agentive or non-agentive interpretations. Does language play a role in how people construe and express caused motion events? The (...) present study investigated the use of agentive vs. non-agentive language by speakers of different languages (i.e., monolingual speakers of English and Korean, and Korean learners of English). All three groups described prototypical causal events similarly, using agentive language (active transitive sentences). However, when it came to non-prototypical causal events (where the agent was not shown in the scene), they diverged in their choice of language: English speakers favored agentive language (passive transitive sentences), whereas Korean speakers preferred non-agentive language (intransitive sentences). Korean learners of English patterned with Korean speakers, demonstrating L1 influence on their use of English. These findings highlight the effects of language on motion event construal. (shrink)

The article considers the narrative component of porn, in particular its temporal aspects. Pornography is defined as specific exonarrative, which is a form of disclosure/stimulation of sexual act as continuation of sex/narrative on the other side. The article determines out several moduses of time in the exonarrative of porn. In particular, it is argued that the sequence of variation and the sequence of scenes form the linear time of porn, which intersects the time delay. Emphasis is placed on continuation, (...) repetition and delay as modus of time of porn/sex that are directly related to enjoyment. Finally, it is concluded that the chronotope of the pornographic exonarrative is -here-being. Further, command/subjugation is considered as the main structural opposition in exonarrative of porn. In this context, porn and magic are compared. This is a magical time of magic, the action of which to take place immediately, as soon as there is a command. Thus, the magic of porn expresses/exposes the power, the paradigm of which is sex. The magical function of sex is to perform immersion when a certain multiple of sexual attributes has multiple reflections. And the porno-narrative homeomorphism of sex is revealed in the obligatory reciprocity, no matter what the social positions of bodies and actors. Porn is a utopia in which any possible antagonism, any problem is removed by sex. Sex is solution or deviation from the problem. The pornographic exonarrative transposes the solution into another/external plane, on the other side of the problem. Finally, it is argued that enjoyment arises from the creation of tension between the urgency of nature, passion, flesh, on the one hand, and the projection of history, ritual, language, on the other. (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)

The subject of the study is the late Soviet underground rock song both in the general context of Soviet popular culture and in the context of patriotic discourse in the Soviet popular song of the 1960s-1980s. The correlation of various segments of Soviet popular music and their access to mass communication media, the phenomenon of the transformation of rock music from a marginal subculture into one of the segments of popular Soviet song is considered. Concrete examples demonstrate the content versatility (...) of an uncensored Soviet rock song, in particular, its contribution to patriotic discourse. The duration and stability of the existence of the considered variations of patriotic discourse are considered. The main conclusions of the study include: -the development of mass/popular songs is directly dependent on the development of mass communication and access to them; -in the 1960s-1980s, the Soviet state lost its monopoly on the ownership of means of delivering music content to the listener; - by the early 1980s Soviet rock music ceased to be a copy of the Western model and became a Soviet/Russian song genre based on domestic melodics, Russian literary poetic tradition, etc.; -the access to the means of delivering song content turned rock song into a segment of Soviet popular music, both censored and in uncensored versions; -the socio-political content in general and the patriotic theme in particular were not an attribute exclusively of the official Soviet song, but found their expression in the work of the authors of the underground rock scene; - the Soviet popular uncensored song made the patriotic discourse much more diverse, rich, sharp, etc. - the identified interpretations of patriotic discourse have a stable existence, being actualized in the modern media environment. (shrink)

Organized after an almost complete term of office, but the end of which was marked by the resurgence of the community-linked problems and by the departure of the Ministers of the Volksunie, the parliamentary elections of 24th November 1991 will remain characterized by the punishment inflicted by apart of the voters, not only on the majority's parties, but also on the traditional parties as a whole.The opposition of the dissatisfied voters did not show itself either in a reduced participation to (...) the vote, a rather normal phenomenon in a country where voting is compulsory, or in a rise of the blank and spoilt ba/lot papers. The 1991 figures are, in these respects, very similar to the average figures of the last thirty years.The opposition was first characterized by high variations in the choice of the voters, which dit not, however, exceed the size of the movements noticed at previous elections. The rate of external mobility, as computed by us, is ranked fifth among the 22 levels that have been counted since universal suffrage has been introduced in Belgium. In 1991, this rate was the highest in Brussels, which is traditional, but it was also considerably higher in Flanders than in the Walloon Region, which quite seldom happens.Then, the opposition found expression in a setback for the Jour ruling parties.This set back amounted to about 8% and even 10% if account is taken of the Volksunie which was part of the Government until the very last weeks before the dissolution of the Houses of Parliament. Such a setback for an outgoing majority is not exceptional; a more unusual phenomenon lies in the f act that this decline was not profitable, on the whole, to the third traditional "family", i.e. the Liberals. As a result of this simultaneous setback for the three traditional families, these total only about 70% of the valid votes, which is the worst result of the whole Belgian electoral history.The political formations that are progressing are the Ecologists, on the one hand, and the far-right lists, on the other hand. Ecolo improves its results considerably in the Walloon Region and in Brussels, without however reaching the level obtained at the 1989 European elections, while Agalev only registers a slight progress.On the contrary, the winner of the elections in the Flemish Region, is unquestionablythe Vlaams Blok, as well as the "Rossem" lists that draw some 5% of the angry voters.If the far-left trend has almost disappeared from the Belgian political scene, the far-right parties, on the contrary, are making a breakthrough on it. The current made up by the Vlaams Blok and the openly far-right lists wins a bit less than 8% of the votes in the whole country. It is likely, however, that those who voted for the Vlaams Blok do not all adhere to the far-right ideas, but that some of them are attracted by the Flemish autonomist stands. The real electoral power of the far-right parties can then be assessed at 6 to 7%, which is much more than in 1987, hut does not make a record in comparison with other European countries.The votes of opponents without any clear political orientation, the bulk of which is won by the "Rossem" lists, amount to some 3%, which is new for Belgium.In a country where voting is optional, many of these voters would probably have stayed at home.This being so, and as f ar as these concepts still remain meaningful, the Belgian electoral pendulum shifted some 5% towards the right, at the expense of the left for more than 3% and the centre for a bit less than 2%.As far as the Parliament is concerned, the situation is clear in the Walloon Region and in the French-speaking Community where the Socialist Party, by far the most important party, is almost inevitable. It is however much more vague on the Flemish side, where the CVP's setback and the dispersion of the polical farces make several types of coalitions possible. (shrink)

This paper explores the complex relationship between the meaning of predicates and the morphosyntactic expression of their arguments, as manifested in the swarm-class alternations in Czech. One way of getting at the nature of the alternations is to take a frame-semantic approach, which allows us to introduce the notion of scene as an important factor in linking relationships. It is proposed that linking patterns are organized in a network of generalized scene types, each of which represents a particular (...) role configuration structured in such a way that one of its roles can be singled out as the vantage point from which that event type is conventionally presented in a particular diathesis; the analysis argues for the notion of viewpoint as an event-structuring concept (distinct from discourse-based topicness) that is directly reflected in certain conventionalized linking patterns. The results of the investigation show that what may appear to be hard-to-predict variations in subject selection can be treated as instances of regular linking relations. (shrink)

A rich tradition in philosophy takes truths about meaning to be wholly determined by how language is used; meanings do not guide use of language from behind the scenes, but instead are fixed by such use. Linguistic practice, on this conception, exhausts the facts to which the project of understanding another must be faithful. But how is linguistic practice to be characterized? No one has addressed this question more seriously than W. V. Quine, who sought for many years to formulate (...) a conception of use that makes sense of certain key features of meaning. The nature, development, and adequacy of his formulations are here explored. All are found to fall short of what he wanted to achieve. Donald Davidson has introduced significant variations on Quine's project. The resulting position is also examined, but likewise found to be problematic. Finally, a neo-Quinean conception is sketched, as are some of the problems such a view would have to surmount. (shrink)

The article surveys various potential sources for Dostoevsky’s knowledge of the Faust legend, examines a range of arts, from literature to music, and focuses on the novel of Friedrich Maximilian Klinger as an important influence for Dostoevsky as the writer interacts with Faustian themes in The Brothers Karamazov on both literary and meta-literary levels. Klinger’s novel is considered in terms of the problems of epistemology and the limits of human cognition, problems rooted in finiteness as a defining characteristic of human (...) nature. In the literary worlds of Klinger and Dostoevsky, the attempts to establish limited human cognition as unlimited, essentially divine, and capable of grasping the entire picture of the existence of both the individual human being and humanity as a whole cause unforeseen and tragic consequences. The article treats the Faustian musical scene in The Adolescent as a variation on the relevant scene in Gounod’s Faust, exploring similar epistemological problems. The article claims that Dostoevsky grants his characters and readers the same degree of freedom in exploring the nature of their cognitive processes and in choosing the voice they decide to listen to and follow. (shrink)

In this paper I attempt to look into a possible way in which cognitive pragmatics can help out variational studies in explaining the processes of language change. After broadly setting the scene this article proceeds by giving basic information about variational pragmatics. Then it concentrates on Sperber and Wilson’s relevance theory and its possible interaction with social sciences, namely its possible application in sociolinguistics. I next present my own research of Split (urban) dialect/vernacular change where I concentrate on explanatory (...) side, asking which explanation would be the best one for the changes of some variables in the dialect. The interpretation and discussion of the fi ndings preceed the discussion of salience as the explanatory tool for language change as seen from cognitivists and variationists with the hope that such discussions can bring closer cognitivists, i.e. relevantists, to sociolinguists, i.e. variationists. (shrink)

This paper discusses a krater recently discovered in a cultic building at Tel Burna in the Shephelah. Of special interest is the krater’s relatively well-preserved decoration containing multiple nature scenes related to the so-called tree of life or sacred tree motif. The krater’s physical description and archaeological context and the decoration’s relationship to relevant comparanda are explored in order to elucidate the significance of its iconography. In light of this discussion, we conclude that the decoration includes an abstract representation of (...) a Canaanite goddess as a “pubis of life” variation of the “tree of life” motif on the krater as a votive vessel in the Late Bronze Age cult. (shrink)

Tense/aspect morphology on verbs is often thought to depend on event features like telicity, but it is not known how speakers identify these features in visual scenes. To examine this question, we asked Japanese speakers to describe computer‐generated animations of simple actions with variation in visual features related to telicity. Experiments with adults and children found that they could use goal information in the animations to select appropriate past and progressive verb forms. They also produced a large number of (...) different verb forms. To explain these findings, a deep‐learning model of verb production from visual input was created that could produce a human‐like distribution of verb forms. It was able to use visual cues to select appropriate tense/aspect morphology. The model predicted that video duration would be related to verb complexity, and past tense production would increase when it received the endpoint as input. These predictions were confirmed in a third study with Japanese adults. This work suggests that verb production could be tightly linked to visual heuristics that support the understanding of events. (shrink)

Publication d'un miroir à boîte, provenant d'une tombe fortuitement découverte à Lamia en 1983. Le type du miroir et l'étude iconographique et comparative de la représentation en relief du couvercle se rapportant à une scène dionysiaque mettent en évidence son caractère attique, ainsi que sa datation aux environs du dernier quart du ive s. av. J.-C. Les éléments iconographiques analysés ici sont rapprochés de parallèles provenant tant de la sculpture et de la céramique que des terres cuites et des bronzes. (...) On constate que certains types et motifs de cette nouvelle représentation remontent à la dernière phase du ν s. av. J.-C, ce qui prouve, une fois encore, l'importance de l'influence du langage artistique de cette période sur les arts mineurs en général, et sur l'évolution de la toreutique en particulier. Ainsi sont mis en lumière des rapports étroits entre l'imagerie du ive s. avancé et celle des dernières décennies du ve s., phénomène qui va se poursuivre par la suite avec des variations. Les questions de la composition et de la signification de la scène sont brièvement traitées. (shrink)

The essay examines the three main epiphanic experiences in The Brothers Karamazov and shows how Dostoevskij's treatment of these experiences may offer a guide to spiritual renewal. The three experiences are Alësha's vision of the resurrected Zosima and transfigured Christ, Dmitrij's vision of the suffering babe, and Ivan's vision of the devil (which serves as a counter example to the first two). By examining the content of each of these visions, as well as the parallels and variations in the scenes (...) leading up to these visions, this essay seeks to explore Dostoevskij's understanding of transformational revelatory experience. (shrink)