This is an entirely new translation of one of the fundamental works in the development of the study of language. Published in 1836, it formed the general introduction to Wilhelm von Humboldt's three-volume treatise on the Kawi language of Java. It is the final statement of his lifelong study of the nature of language, and presents a survey of a great many languages, exploring ways in which their various grammatical structures make them more or less suitable as vehicles of (...) thought and cultural development. Empirically wide-ranging - von Humboldt goes far beyond the Indo-European family of languages - it remains one of the most interesting and important attempts to draw philosophical conclusions from comparative linguistics. (shrink)

This article examines Catherine Malabou’s philosophical concept of plasticity as a new materialist methodology. Given that plasticity simultaneously maintains the ability to receive, give, and annihilate form, plasticity and plastic readings offer material-discursive possibilities for educational research. This article begins by discussing the evolution of plasticity, applications thereof, and its location within new materialist philosophy. To then demonstrate the possibilities of plasticity, this article takes the example of educational policy reform in relation to technology-centered models of education. A plastic reading (...) of ongoing policy discourses argues that conceptualizing policy, stakeholders, and technology as plastic contribute new scholarly understandings regarding the shape and movement of educational policy formation. Significantly, the methodology of plastic readings provides an ideal lens through which to approach educational policy development as a series of entangled ideas and interests. In addition, plastic readings enable the re-envisioned types of analysis and critique increasingly called for by qualitative methodologists and new materialist scholars. (shrink)

Glassary is a companion volume to Glas. It offers English readers fuller access to the masterwork of Jacques Derrida, the leading philosopher in France. Derrida is important for his investigations of language, philosophy, and writing. He has perforated the boundaries between academic disciplines, has demonstrated the theological underpinnings of apparently atheological philosophies, and has thrown into question traditional notions about the "ownership" of ideas. Glas exemplifies Derrida's methodology of reading and his central philosophical and literary concerns. The reader fascinated by (...) its complexities will appreciate the assistance of Glassary. Written by the chief translator of Glas, John P. Leavey, Jr., it includes an essay by Gregory Ulmer and a foreword by Jacques Derrida. The book provides all of the apparatus a reader of Glas might immediately desire, including notes on difficult or ambiguous passages, identifications of allusions and puns, locations of citations, and translations of passages in languages other than French. But Leavey does not stop there. He includes a glossary of use to readers of Glas in any language and essays that relate it to Derrida's texts and to the modern French critical enterprise as a whole. Leavey's essay focuses on Glas and literature and philosophy; Ulmer's on Glas and psychoanalysis. (shrink)

Wilhelm von Humboldt's classic study of human language was first published in 1836, as a general introduction to his three-volume treatise on the Kawi language of Java. It is the final statement of his lifelong study of the nature of language, exploring its universal structures and its relation to mind and culture. Empirically wide-ranging - Humboldt goes far beyond the Indo-European family of languages - it remains one of the most interesting and important attempts to draw philosophical conclusions (...) from comparative linguistics. This volume presents a translation by Peter Heath, together with an introduction by Michael Losonsky that places Humboldt's work in its historical context and discusses its relevance to contemporary work in philosophy, linguistics, cognitive science, and psychology. (shrink)

This study examines two recent cases of ethical responses to crisis management; the 1995 fire at Malden Mills and Aaron Feuerstein''s response, and a 1998 fire at Cole Hardwoods, followed by the response of CEO Milt Cole. The authors describe these crises, the responses of Feuerstein and Cole, their motivations and the impact on crisis stakeholders using the principles of virtue ethics and effective crisis management. What emerges is set of post-crisis virtues grounded in values of corporate social responsibility and (...) entrepreneurial ethics. These include virtues of immediacy of response, supportiveness of victims, and rebuilding and renewal. (shrink)

One of the first Swiss performance artists, Manon has fashioned a career for herself out of the identities of others. Whether exploring the limits of gender or the beauty of decay, Manon—through her personas, installations, and performance pieces—continually foregrounds the instability of place and self. Her most recent project, She Was Once MISS RIMINI, is one of her most brutal and touching. Here, she literally depicts imagined futures for an aging beauty queen. Each exquisite image in this pictorial essay teases (...) out the possible paths Miss Rimini—an alter-ego for Manon who “happened” upon a beauty pageant in the early 1970s and walked away with the crown—could have taken. A small-town diva? A hypersensitive viola player? Perhaps even a psychiatric patient? She Was Once MISS RIMINI is a trenchant meditation on the art, or artifice, of growing older. Costume, lipstick, lighting, attitude—all aspects of self-presentation are in concert here with quiet critiques of social and economic systems that limit the options of older women. Accompanied by an enlightening introduction by art theorist Brigitte Ulmer, She Was Once MISS RIMINI is the first and only documentation of Miss Rimini and one of the first books in English on Manon. (shrink)

Jacques Derrida's Politics of Friendship is adopted as a theoretical guide to the mutation of metaphysical categories under way in the shift from literacy to electracy. The politics is embodied in the design of a digital “memory palace,” created by the Florida Research Ensemble, whose setting is the city of Miami, Florida. Listening with an ear attuned by Derrida, through Freud and Heidegger, one hears in “Miami” a creole phrase “my friend” resonating with the aphorism by Aristotle—“O my friend, there (...) is no friend”—whose “event” Derrida traces to the “other” beginning. His alternative politics of hospitality is articulated with the history of prudence and the possibility of an image category supporting digital deliberative reason in an Internet public sphere. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museums in Transition:Thoughts from an EmpiricistSean UlmerIn March 2005 Daniel Siedell, curator of the Sheldon Memorial Art Gallery and Sculpture Garden at the University of Nebraska in Lincoln, approached me with an invitation to participate in a symposium for the Journal of Aesthetic Education that he was guest editing. He said that the symposium would be dedicated to curatorial and educational issues and suggested that each of the contributors (...) could use David Carrier's forthcoming book as a starting point for their essays. At that time, I did not know of Carrier's thoughts but had a number of thoughts myself on issues related to curatorial and educational strategies within the museum setting. My experience in a variety of positions in three—now four—institutions had provided me with a number of perspectives about different facets of the museum and its curatorial and educational missions.In Carrier's book, Museum Skepticism, released in May 2006, the author posits a number of thought-provoking observations regarding the birth, evolution, and decline of the museum. Tracing this development from the French Revolution and the opening of the Louvre, through the Isabel Stewart Gardner Museum, the Boston Museum of Fine Arts, Albert Barnes's collection and foundation/museum, and finally the J. Paul Getty Museum, Carrier looks at specific examples to support claims he makes in his intriguing opening and concluding chapters. While there are too many worthwhile observations to explore in great detail here, I will address some of the issues that piqued my interest, coming at the question from a different point of view, that of a working museum professional.Let me begin by stating that I am no theorist. Instead, I am an unapologetic pragmatist.1 My entire career has been shaped by actual work within a museum, seeing the institution—or "organism" as I usually refer to it—from a number of different vantage points.2 These varied experiences have given me the opportunity to see the museum—at least a Kunsthalle, two university museums, and a public museum—from several different vantage points. [End Page 4]In his introductory chapter, Carrier asks his primary question: "What is it like to lead the life of a work of art?"3 This is a very interesting question, and one with which many of us rarely consider in our day-to-day work within the museum's walls. In order to answer the question fully, Carrier suggests that "we need to understand museums."4 Indeed. In actuality, museums (and there are many different types) are just one component that must be considered. For a full consideration of the life of the work of art, one must start with the artist. What were his or her motivations? What was he or she trying to accomplish with the work? How was it first shown? In a gallery? In a museum show? How did the artist intend the work to be shown? What was the role of the patron or commissioner, if there was one? We know that the Catholic Church was an important originator of a number of great works of art and many were destined for church interiors, and some still are in situ. One cannot deny, however, that many of the world's great works of art ("great" simply deemed so by consensus) have found their way into museums. Museums are much more complex beasts than Carrier—or anyone for that matter—can cover within the confines of a single, publishable book. So many factors must be considered, especially when considering today's museums, as they continue to evolve and grow: the role of the collector, the patron, the board, the director, the curator, the education staff, the guards, and the public, to name just a few individuals who require consideration when analyzing museums. Such an interesting mixture of different individuals, each with a unique perspective (and agenda), coming together in one place makes for this complexity. And while the author uses this question of the life of a work of art as a starting point, he finds in the progress of the text a number of other stimulating and thoughtful observations. There is much more contained within... (shrink)