It is an irony perhaps worthy of John Ashbery that the critics who made his reputation as our premier contemporary poet have virtually ignored the innovations which in fact make his work distinctively of our time. The received terms show us how Ashbery revitalizes the old wisdom of Keats or the virile fantasies of Emersonian strength but they do so at the cost of almost everything about the work deeply responsive to irreducibly contemporary demands on the psyche. Such omissions (...) not only distance Ashbery from the urgencies of the present, they also make it far more difficult to appreciate just how the best contemporary art actually defines the challenges and possibilities created by that present. By banishing writers like Ashbery to literary tradition, we leave the domain of the postmodern to two dominant discourses. One is driven by post-structural theory’s idealization of the nomadic, the undecidable, and the profusion of simulacra. The other champions Marxist values which cast as the most significant contemporary art the rather slight oppositional devices of artists like Sherrie Levine, Hans Haacke, and Barbara Kruger. These critical idealizations then ignore what might be the central historical problem facing contemporary art. Can it continue to elaborate new dimensions of that late fifties postmodernism which set the values of Marcel Duchamp, John Cage, and Robert Rauschenberg against the increasingly formalist versions of modernism that then dominated the art world and the poetry workshops? Or does the age demand the emergence of a new sensibility, strands of which are being woven in post-structuralist mills? Charles Altieri is professor of English and comparative literature at the University of Washington. Author of books on contemporary poetry and literary theory, he has just completed a book on abstraction in modern poetry and painting. This essay lays some groundwork for a book, Bourgeois Utopians, attempt to keep the arts central to our discussion of postmodernism. (shrink)

In "A Serpentine Gesture": John Ashbery's Poetry and Phenomenology Elisabeth W. Joyce examines John Ashbery's poetry through the lens of Maurice Merleau-Ponty's conception of phenomenology. For Merleau-Ponty, perception is a process through which people reach outside of themselves for sensory information, map that experiential information against what they have previously encountered and what is culturally inculcated in them, and articulate shifts in their internal repositories through encounters with new material. Joyce argues that this process reflects Ashbery's classic statement (...) of poetry being the "experience of experience." Through incisive close readings of Ashbery's poems, Joyce examines how he explores this process of continual reverberation between what is sensed and what is considered about that sensation and, ultimately, how he renders these perceptions into the 'serpentine gesture' of language. (shrink)

This paper gives a short description of basic features of the dominating mindset in the Western world between the 1970s and today, often called “post-modern”, through a re-reading of John Ashbery’s poem “Self-Portrait in a Convex Mirror” . In doing so, it applies the viewpoint of an interdisciplinary history of ideas. Since collective mindsets have become the most important contextual political factors, the implications are multiple.

The essay attends to a paradox found in some crucial poetic efforts by Wallace Stevens and John Ashbery. In some of their most important poetic works Stevens and Ashbery take on the task of positioning the poem toward the plurality of reality, the plurality that is concentrated in the phenomenon of change. As they do so, they invariably encounter a tension within the poem itself: as the poem merges with the flow of changes in the external world-the physical changes (...) in time and space-it also calls up permanent forms of imaginative purposive capability of attending to change, envisioning it, or, indeed, of installing it. These forms must be more permanent than it is postulated by some theories of the poetics of transitiveness, which are polemically discussed in the text. The tension between the element of change and permanence is what allows the poems of Stevens and Ashbery-each poet finding his own aesthetic and epistemic strategy-to put the poem forward not as an external “representation” of change, but as the very source of the abundant possibilities of producing world descriptions in which the notion of change may be meaningful. Such positioning of the poem is what I am calling “the poetics of plenitude.” This poetic strategy makes the poem an aesthetic counterpart to the epistemic action of developing an inquiry, and I am building a definition of this term by reference to the classical pragmatist theory of inquiry. This move is related to my treating Stevens and Ashbery as the poets belonging to the Emersonian-pragmatist intellectual and aesthetic tradition. The paradoxes of change and permanence discussed in the text are treated as inherent in this tradition. (shrink)

The Wallflower Avant-Garde highlights a strain of formalism visible in both modernist literature and contemporary queer studies, drawing attention to an aesthetic that is as quiet and quirky as it is queer. In studies of Gertrude Stein, Djuna Barnes, Richard Bruce Nugent, Frank O'Hara, and John Ashbery, Brian Glavey argues for a recalibrated understanding of the relation between sexuality and the aesthetic, revealing a non-oppositional avant-gardism that opts out of some of the binaristic imperatives that have structured recent debates (...) in queer theory. Refusing to decide between positive and negative affects or to side with either utopian or antisocial ambitions, The Wallflower Avant-Garde explores models of reading and writing about art that remain flexible enough to dig deep even as they gloss the surface.At the heart of this argument is a revaluation of modernist ekphrasis, a mode understood as literature's imitation or description of the visual arts. From the well-wrought urns of the New Critics onward, ekphrasis has figured prominently in the legacy of modernist literary criticism, but a tendency to read its complicated modes of relationality in terms of either autonomy or antagonism has obscured the forms of creative failure and imitation embodied in the desire to confuse poetry for pottery. Attending to mimetic and descriptive strategies without dismissing the aspirations for wholeness and closure that often animate them allows for the recognition that queerness and modernism are intertwined in unexpected and unpredictable ways, revealing new insights into the varieties of abstraction, preterition, and spatial form that stand behind modernism's investment in the aesthetic. (shrink)

The persistence of Romantic thought and literary practice into the late twentieth century is evident in many contexts, from the philosophical and ideological abstractions of literary theory to the thematic and formal preoccupations of contemporary fiction and poetry. Though the precise meaning of the Romantic legacy is contested, it remains stubbornly difficult to move beyond. This collection of essays by prominent critics and literary theorists was first published in 1999, and explores the continuing impact of Romanticism on a variety of (...) authors and genres, including John Barth, William Gibson, and John Ashbery, while writers from the Romantic and Victorian period include Wordsworth, Byron and Emily Brontë. Many critics have assumed that the forms and modes of feeling associated with the Romantic period continued to influence the cultural history of the the first half of the twentieth century. This was the first book to consider the mutual impact of postmodernism and Romanticism. (shrink)

We will next speak of Liberality. Now this is thought to be the mean state, having for its object-matter Wealth: I mean, the Liberal man is praised not in the circumstances of war, nor in those which constitute the character of perfected self-mastery, nor again in judicial decisions, but in respect of giving and receiving Wealth, chiefly the former. By the term Wealth I mean all those things whose worth is measured by money.

Loneliness in medicine is a serious problem not just for patients, for whom illness is intrinsically isolating, but also for physicians in the contemporary condition of medicine. We explore this problem by investigating the ideal physician-patient relationship, whose analogy with friendship has held enduring normative appeal. Drawing from Talbot Brewer and Nir Ben-Moshe, we argue that this appeal lies in a dynamic form of companionship incompatible with static models of friendship-like physician-patient relationships: a mutual refinement of embodied virtue that draws (...) both persons together. The ideal physician-patient relationship has a dialectical character that fosters each member's improvement of phenomenologically recognizing and embodying moral virtues. A key component of this dynamic is a commitment to the common goal of the patient's health, realized through joint interactivities and conversations over time. The physician's presence to the patient's suffering—understood best as an alienating phenomenological condition for the patient—orients and discloses possibilities for virtuous caregiving by structuring the meanings of the goals, conversations, and joint narrative constitutive of their relationship. Presence to suffering, paradoxically, is perhaps an important prerequisite for this dynamic partnership. These activities dialectically build an interpretive horizon of understanding through which moral goods and character refinement—in and for the other—may become revealed for both persons in their shared being-in-the-world. This analysis of suffering, mood, and revealing of (possible) moral goods has implications for addressing the modern problem of loneliness for patients and physicians, who are increasingly inhibited from building flourishing relationships with each other. (shrink)

In _Interpreting Interpretation_, William E. Rogers searches for a model for literary education. This model should avoid both of two undesirable alternatives. First, it should not destroy any notion of discipline in the traditional sense, terminating in the stance of Rorty's "liberal ironist." Second, it should not regard literary education as an attempt to cause students to ingest a pre-determined mix of facts and cultural values, terminating in the stance of E. D. Hirsch's "cultural literate." From the semiotics of C. (...) S. Peirce, Rogers develops the notion of interpretive system. The interpretive system called textual hermeneutics is used to interpret interpretation. From that perspective, the world looks like a text. Applying the principle rigorously allows an articulation of the problematic relations among interpretation, philosophy, and language itself. _Interpreting Interpretation_ clarifies the conception of textual hermeneutics as an ascetic discipline by showing the consequences of this conception for interpreting canonical texts and for humanities education in general. Discussions of poetry by Robert Frost and by John Ashbery illustrate how this conception applies to an analysis of literary texts. Ultimately, the book offers a Peircean alternative to the educational theories implied in the pragmatism of John Dewey and of Richard Rorty. Rogers provides a new vocabulary for talking about what people are doing when they read, write, speak, and hear interpretive statements about texts. The new vocabulary acknowledges the great difficulty of "teaching texts" in the face of postmodern anxieties about pluralism, relativism, or nihilism. What emerges is not curriculum but method—an argument that the humanities teach not texts but interpretive systems. (shrink)

The customary assumption about dying is that one would rather not. The event of death itself should be postponed for as long as possible, and comfort may be gained from doctrines which promise a victory over it. We celebrate those who try to cheat it. The dying Henry James thought he was Napoleon, and there is something in that, over and above the pathos of a wandering mind, that exemplifies, however parodically, the mental set we expect to find and what (...) we relish in those who attempt to press their own strong case against the disintegrative flow of time and change. We assume that one should struggle against death, setting such a stamp on life that even if the body must die, something the mind has done may not. Attitudes that run counter to this stubbornness are thought defeatist or unwholesome. In his own decline, Charles Baudelaire, catching sight of himself in a mirror, bowed, thinking himself a stranger. That confusion is more chilling than Jams’ because it undermines the treasured integrity of the self: it shows that death is not an invader attacking suddenly from outside. We are in one sense always in its keeping. In this essay I shall argue that whatever revolt against death may catalyse the act of writing poetry, poems are intimately tied to death in ways that complicate and even undermine that revolt. Indeed, since the inception of Romanticism , a poem in order to be a poem has had to engage not only with the fact that in the midst of life we are in its negation, but also with death’s analogues: madness, trance, divisions and questionings of the self. The relationship between poetry and the disruption of the customary self may even be celebratory.But before investigating the relationship between poetry and death, we had better be sure that one can indeed die:At first glance, the preoccupation of the writer who writes in order to be able to die is an affront to common sense. It would seem we can be sure of at least one event: it will come without any approach on our part, without our bestirring ourselves at all; yes, it will come. That is true, but at the same time it is not true, and indeed quite possibly it lacks truth altogether. At least it does not have the kind of truth which we feel in the world, which is the measure of our action and of our presence in the world. What makes me disappear from the world cannot finds its guarantee there; and thus, in a way, having no guarantee, it is not certain. This explains why no one is linked to death by real certitude. No one is sure of dying.1No one can think to cheat death, but to contemplate death is to introduce into thought the epitome of doubt. The one thing I can never know in advance or know demonstrably, by my very nature and by its, is the actual instant of my own death. Conventionally, “I will go when my time comes”: the phrase gestures toward the privacy of each human death, and the Protestant tone of “my time”—part predestination, part ownership—barely hides the inaccessibility of death inside that privacy. There are two certainties in life. One is that death will come. The other is that no one can be sure of this. Perhaps no one has truly died yet. 1. Maurice Blanchot, The Space of Literature, trans. Ann Smock , p. 95; all further references to this work, abbreviated SL, will be included in the text. Geoffrey Ward is lecturer in English at the University of Liverpool. He is at present completing his first critical book, The Poetry of Estrangement. His published articles include essays on symbolism in John Ashbery, Conrad’s English, metaphor in Shelley’s longer poems, the novels of Henry Green, and Wyndham Lewis. He has also published five volumes of poetry, mot recently Not the Hand Itself. (shrink)

Much current theorizing about literature involves efforts to renew our sense of aesthetic values in reading. Such is the case with new formalism as well as recent appeals to the notion of “surface reading.” While sympathetic to these efforts, Charles Altieri believes they ultimately fall short because too often they fail to account for the values that engage literary texts in the social world. In Reckoning with the Imagination, Altieri argues for a reconsideration of the Kantian tradition of Idealist ethics, (...) which he believes can restore much of the power of the arguments for the role of aesthetics in art. Altieri finds a perspective for that restoration in a reading of Wittgenstein’s later work that stresses Wittgenstein’s parallel criticisms of the spirit of empiricism. Altieri begins by offering a phenomenology of imagination, because we cannot fully honor art if we do not link it to a distinctive, socially productive force. That force emerges in two quite different but equally powerful realizations in his reading of John Ashbery’s “Instruction Manual,” which explicitly establishes a model for a postromantic view of imagination, and William Butler Yeats’s “Leda and the Swan.” He then turns to Wittgenstein with chapters on the role of display as critique of Enlightenment thinking, the honoring of qualities like sensitivity and the ability to attune to the actions of others, the role of expression in the building of models, and the contrast between ethical and confessional modes of judgment. Finally, Altieri produces his own model of aesthetic experience as participatory valuation and makes an extended argument for the social significance of appreciation as a way to escape the patterns of resentment fundamental to our current mode of politics. A masterful work by one of our foremost literary and philosophical theorists, Reckoning with the Imagination will breathe new life into ongoing debates over the value of aesthetic experience. (shrink)

Many real-world agents recognise that they impose harms by choosing to emit carbon, e.g., by flying. Yet many do so anyway, and then attempt to make things right by offsetting those harms. Such offsetters typically believe that, by offsetting, they change the deontic status of their behaviour, making an otherwise impermissible action permissible. Do they succeed in practice? Some philosophers have argued that they do, since their offsets appear to reverse the adverse effects of their emissions. But we show that (...) they do not. In practice, standard carbon offsetting does not reverse the harms of the original action, nor does it even benefit the same group as was harmed. Standard moral theories hence deny that such offsetting succeeds. Indeed, we show that any moral theory that allows offsetting in this setting faces a dilemma between allowing any wrong to be offset, no matter how grievous, and recognising an implausibly sharp discontinuity between offsettable actions and non-offsettable actions. The most plausible response is to accept that carbon offsetting fails to right our climate wrongs. (shrink)

What is the significance of that loose collective enterprise, sprung up in the aftermath of the sixties, known as L=A=N=G=U=A=G=E Writing? To answer this question I will be taking, initially, a somewhat oblique route. And I shall assume an agreement on several important social and political matters: first, that the United States, following the Second World War, assumed definitive leadership of a capitalist empire; second, that its position of leadership generated a network of internal social contradictions which persist to this (...) day ; third, that this postwar period has been characterized, at the international level, by an extended cold war shadowed by the threat of a global catastrophe, whether deliberate or accidental. Whatever one’s political allegiances, these truths, surely, we hold as self-evident.Postwar American poetry is deployed within that general arena, and to the degree that it is “political” at all, it reflects and responds to that set of overriding circumstances.1 In my view the period ought to be seen as falling into two phases. The first phase stretches from about 1946 to 1973 . This period is dominated by a conflict between various lines of traditional poetry, on one hand, and the countering urgencies of the “New American Poetry” on the other. In the diversity of this last group Donald Allen argued for a unifying “characteristic”: “a total rejection of all those qualities typical of academic verse.”2Of course, this representation of the conflict between “tradition” and “innovation” obscures nearly as much as it clarifies. The New American poets were, in general, must moe inclined to experimentalism than were writers like Richard Wilbur, Anthony Hecht, Louis Simpson, or Donald Justice. But Allen’s declaration can easily conceal the academic and literary characteristics of the innovators. Robert Duncan and Charles Olson, for example, key figures in the New American Poetry, can hardly not be called “literary” or even “academic” poets. If they opened certain new areas in the field of poetic style, no less could and has been said of Lowell, even in his early work. And if Frank O’Hara seems the antithesis of academic work, John Ashbery is, in his own way, its epitome. Yet both appear in Allen’s New American Poetry anthology. Moreover, who can say, between O’Hara and Ashbery, which is the more innovative of the two—so different are their styles of experimentation? 1. Black and feminist writing in the United States often confines the focus of the political engagement to a more restricted national theater. Nevertheless, even in these cases engagement is necessarily carried out within the global framework I have sketched above.2. The New American Poetry: 1945-1960, ed. Donald M. Allen , p. xi. Jerome J. McGann is Commonwealth Professor of English, University of Virginia. His most recent critical work, Buildings of Loss: The Knowledge of Imaginative Texts, will appear in 1987. “Some Forms of Critics Discourse” and “The Religious Poetry of Christina Rosetti” are among his previous contributions to Critical Inquiry. (shrink)

Important to the essays here is the possibility of using logos without the negative, restricting and violent aspects of logos. In this respect I speak about affirmation and about tragic awareness rather than about the tragic itself or tragic conflict, as I read texts of a literary democracy that is already here, texts by Don DeLillo, Tomas Transtromer, John Ashbery and Thanasis Valtinos, or see arrangements by Lo Snofall. Indeed it is all about arrangements, about knowing how to affirm (...) and doing it rather than using language and its codes in order to transcribe, however accurate this might be. Arrangements say yes, since they do not raise any absolute boundaries. The arrangement is a logos without logos: it is a cosmos, where affirming is a tragically aware cosmetics. Cosmos is neither the world nor any ordering or embellishment of this world, but an openness as the incalculable accumulation of arrangements that say yes in their awareness that they do not amount to an ontology. (shrink)

This study of contemporary art and culture brings together Boyers's sharply focused essays on writers, filmmakers, painters, and critics, first published in the _TLS_, _The American Scholar_, _Granta_, _The_ _American Poetry Review, and Salmagundi. The essays respond to the diversity of "events" that make up our cultural life, and take as their central theme what Boyers calls "object loss" in the art and writing of some prominent contemporaries. The term designates a radical incapacity to think clearly about the objects—actual or (...) imagined—that give a work point or focus. He argues that this incapacity has produced various kinds of irrelevance and dishonesty, not so much in the art of our day as in the various critical theories and response patterns which are dominant among us._ Dwelling on such figures as Jean-Luc Godard, Mario Vargas Llosa, Marcel Duchamp, John Ashbery, and William Styron, Boyers frequently casts his reflections as responses to theories that have gained—especially among contemporary literary intellectuals—an indisputable currency. His essays constitute a negative aesthetic, a "definition by recoil" of postmodernist art and the ideology that promotes or defends it. (shrink)

My critics in this symposium illustrate one principle and three fallacies of disability studies. The principle, which we all share, is that all persons are equal and none are less equal than others. No disability, however slight, nor however severe, implies lesser moral, political or ethical status, worth or value. This is a version of the principle of equality. The three fallacies exhibited by some or all of my critics are the following: Choosing to repair damage or dysfunction or to (...) enhance function, implies either that the previous state is intolerable or that the person in that state is of lesser value or indicates that the individual in that state has a life that is not worthwhile or not thoroughly worth living. None of these implications hold. Exercising choice in reproduction with the aim of producing children who will be either less damaged or diseased, or more healthy, or who will have enhanced capacities, violates the principle or equality. It does not. Disability or impairment must be defined relative either to normalcy, “normal species functioning”, or “species typical functioning”. It is not necessarily so defined. (shrink)

This paper discusses the role of consent in decision making generally and its role in end of life decisions in particular. It outlines a conception of autonomy which explains and justifies the role of consent in decision making and criticises some misapplications of the idea of consent, particular the role of fictitious or “proxy” consents.Where the inevitable outcome of a decision must be that a human individual will die and where that individual is a person who can consent, then that (...) decision is ethical if and only if the individual consents. In very rare and extreme cases such a decision will be ethical in the absence of consent where it would be massively cruel not to end life in order to prevent suffering which is in no other way preventable.Where, however, the human individual is not a person, as is the case with abortion, the death of infants like Mary , or in the very rare and extreme cases of those who have ceased to be persons like Tony Bland, such decisions are governed by the ethics of ending the lives of non-persons. (shrink)

In contemporary American poetry, poets practice open form. Charles Olson, Robert Duncan, Paul Blackburn, Robert Creeley, Jack Spicer, Denise Levertov, Gary Snyder, Allen Ginsberg, Edward Dorn, Louis Zukofsky, John Ashbery, and Frank O'Hara belong to this school of open form. Their open form advocates creative spontaneity, fragmentation, and juxtaposition. It repudiates thematic and formal closure and requires of its readers a willingness to value a poem as process and event. Recent studies of open form inform us that in both (...) theory and practice they descended from Pound and Williams. However, my intention is to establish the foreground of open form in the poetics and poetry of Yeats, Pound, and Eliot. My major objective is to establish Yeats as the precursor of the poetics of open form, and then to apply his poetics to his poetry, and to those of Pound and Eliot. ;Part I, with the aid of the theories of language by Paul de Man, Jacques Derrida, Jacques Lacan, and Martin Heidegger, examines the linguistic turn revealed in Yeats's A Vision which manifests the poetics of open form through the rhetoric of prophecy. Chapter One defines the concept of the Unity of Being. Chapter Two illustrates how Yeats disciplines himself in his poetic quest for the Unity of Being. Chapter Three defines prophecy and the rhetoric of prophecy. Exergue, an inter-chapter, surveys and assesses contemporary theories of language in an attempt to relate metaphor to rhetoric. Chapter Four closely examines A Vision in the light of the rhetoric of prophecy and poetics of open form. ;Part II demonstrates how the poetry of Yeats, Pound and Eliot provides the praxis of Yeats's poetics. Conclusion discusses the poetics of Duncan, Olson, and Levertov and show how they reflect Yeats's, thereby demonstrating the continuity between the poetry of modernism and postmodernism. (shrink)

There are already many excellent books on existentialism. Some of them deal with particular problem or particular existentialist writers. Most of those that deal with existentialism as a whole divide their subject-matter according to authors, presenting chapters on Kierkegaard, Heidegger, Sartre, and the rest. Thus I think that there is room for the present book, which attempts a comprehensive examination and evaluation of existentialism, but does so by thematic treatment. That is to say, each chapter deals with a major theme (...) of existentialist philosophy, and these themes are arranged in the order of the existential dialect. Of course, each chapter is illustrated with material from the writings of existentialists, from Kierkegaard to Camus. (shrink)

Cadaver organs should be automatically availableThe shortage of donor organs and tissue for transplantation constitutes an acute emergency which demands radical rethinking of our policies and radical measures. While estimates vary and are difficult to arrive at there is no doubt that the donor organ shortage costs literally hundreds of thousands of lives every year. “In the world as a whole there are an estimated 700 000 patients on dialysis . . .. In India alone 100 000 new patients present (...) with kidney failure each year” . Almost “three million Americans suffer from congestive heart failure . . . deaths related to this condition are estimated at 250 000 each year . . . 27 000 patients die annually from liver disease . . .. In Western Europe as a whole 40 000 patients await a kidney but only . . . 10 000 kidneys”1 become available. Nobody knows how many people fail to make it onto the waiting lists and fail to register in the statistics. “As of 24th November 2002 in the United Kingdom 667 people have donated organs, 2055 people have received transplants, and 5615 people are still awaiting transplants.”2Conscious of the terrible and unnecessary tragedy that figures like these represent I have been advocating for more than 20 years now some radical measures to stem this appalling waste of human life. The measure which is the subject of Hamer and Rivlin’s paper 3 concerns the automatic availability of all cadaver organs—a measure, which I first advocated publicly in 1983.4THE AUTOMATIC AVAILABILITY OF DONOR ORGANSWe need to begin by being clear about just what it is I propose and why. At the moment in the United Kingdom we …. (shrink)

An Ironic Approach to the Absolute: Schlegel’s Poetic Mysticism brings Friedrich Schlegel’s ironic fragments in dialogue with the Dao De Jing and John Ashbery’s Flow Chart to argue that poetic texts offer an intuition of the whole because they resist the reader’s desire to comprehend them fully.

Analysing film. Distinguishing the filmic contribution to meaning -- Examples of filmic "textual organisation" -- Redrawing boundaries -- Organisation of the book -- Semiotics and documents. Semiotics and its relations to film -- The nature of discourse semantics -- The film as cinematographic document -- A combined view: filmic documents for filmic discourse -- Constructing the semiotic mode of film. Semiotic multimodality -- The internal organisation of semiotic strata -- Composing and combining semiotic modes -- Materiality and "epistemological commitment" -- (...) Christian Metz and the grande syntagmatique of the image track. The original model -- Two examples of analysis with the grande syntagmatique -- Revisions and rebuttals -- Foundations for analysis: filmic units. The basic units of film: preliminaries -- Audiovisual iconic representations -- Perception, perceptual realism and reliable measurement -- Multiplicity: from perception to discourse -- Filmic units revisited: discourse-motivated definitions -- The paradigmatic organisation of film. Beyond Metz: towards a grande paradigmatique -- Capturing discourse dependency structures in film -- The paradigmatic dimensions of projection, taxis and plane -- Two examples of paradigmatic analysis -- Summary and conclusions. (shrink)

Postmodernism today is driven by a set of theoretical stances that grow increasingly problematic. But as the theoretical contradictions emerge, it becomes possible to contrast this theoretical discourse to the ambitions that initially led writers and artists to pursue their version of postmodern perspectives. So this book explores what remains viable and valuable in some representative versions of what these writers and artists created. Altieri begins with an essay defining five basic contradictions in postmodern theory and outlining specific artistic strategies (...) for dwelling with and within those contradictions. Part Two then sets the historical stage with two essays—one focusing on the efforts to overthrow late modernism by Jasper Johns and John Ashbery, the other tracing the emergence of a logic of contingency in the poetics of Robert Creeley, Frank O'Hara, and Sylvia Plath. With Part Three the focus shifts to essays proposing different value frameworks for postmodern poets, frameworks that range from moral philosophy to the resources of the tradition of love poetry. Part Four turns to visual artists first engaging the efforts to politicize the postmodern in the 1980s, then showing how Frank Stella's work can be put in dialogue with that of Jacques Derrida. Finally, the book swallows its own tail by proposing an argument that the only version of the sublime that today does not collapse into self-congratulation is the sublime of self-disgust. _Postmodernism Now_ holds out the possibility that the arts have been America’s richest negotiations of postmodernity, and it insists that criticism need not displace art into social allegories in order to develop their relevance to social life. (shrink)

The reviews of this book which greeted its appearance in America, where it won a Catholic Press Association Religious Book Award, speak for themselves. 'The real core of the book is the question that is raised - the demanding bone-crushing question we all face - alone - at one time - the question of death/life and immortality. In these few pages we set out on a journey - one that winds its way among ancient stories and myths ... one's constant (...) disturbing companion is death - a reality that keeps breaking in upon our imes, our friends, our dreams and hopes and even our changing and becoming. The richness of the book lies in the questioning and some of the answers other men's times have given in attempt to live with this probing. We meet Kazantzakis, Homer, Melville, Hegel, Dante in their humanness in the face of death and in their timeless answers' (National Catholic Reporter). From the Protestant side, Martin Marty commented how John Dunne, 'perhaps the most intuitive and natively talented Catholic around, has cast a new spell', and The Critic remarked: 'As a meditation ought to be, it is simple and profound at once. And it is beautifully done, in some ways the richest of John Dunne's works.' All of which amounts to an invitation to join the author as he poses the timeless dilemma of the human condition and seeks to resolve it through stories of adventures, journeys and voyages inspired by man's encounter with death; stories of childhood, youth, manhood and age; and finally stories of God and of man wrestling with God and the unknown. (shrink)

John Dillon presents an English translation of Alcinous' Handbook of Platonism, accompanied by an introduction and a philosophical commentary which explain the ideas in the work and show their intellectual and historical context. The Handbook purports to be an introduction to the doctrines of Plato, but in fact gives us an excellent survey of Platonist thought in the second century AD.

This brief paper shows that the idea of benefits to the subject compensating for the harms of disability is at best self defeating and at worst sinister. Equally benefits to third parties while real are dubious as compensating factors. This shows that disabilities are just that, a net loss and not a net gain.

Herodotus. Custom is king.--Engels, F. Ethics and law: eternal truths.--Sumner, W. G. Folkways.--Ross, W. D. The meaning of right.--Duncker, K. Ethical relativity?--Herskovits, M. J. Cultural relativism and cultural values.--Kluckhohn, C. Ethical relativity: sic et non.--Taylor, P. W. Social science and ethical relativism.--Ladd, J. The issue of relativism.--Redfield, R. The universally human and the culturally variable.--Bibliography (p. 145-146).

This book provides an intellectual biography of Max Horkheimer during the early and middle phases of his life and analyzes his model of early Critical Theory.

Utilizing a contractualist framework for understanding the basis and limits for the use of force by police, this article offers five limiting principles—respect for status as moral agents, proportionality, minimum force necessary, ends likely to be accomplished, and appropriate motivation—and then discusses uses of force that violate or risk violating those principles. These include, but are not limited to, unseemly invasions, strip searches, perp walks, handcuffing practices, post-chase apprehensions, contempt-of-cop arrests, overuse of intermediate force measures, coerced confessions, profiling, stop and (...) frisk practices, and the administration of street justice. (shrink)

When things go wrong with assisted reproduction we should look at what’s best for everyone in the particular circumstancesA RTBs, as we must now call them, are becoming more and more frequent. In the recent United Kingdom case Mr and Mrs A, a “white” couple, gave birth to twins described as “black”. The mix up apparently occurred because a Mr and Mrs B, a “black” couple, were being treated in the same clinic and Mrs A’s eggs were fertilised with Mr (...) B’s sperm. Mr and Mrs A love the twins and wish to keep them and the facts seem to be that Mrs A is the genetic mother of the twins but her partner is not the genetic father. Under English law, in assisted reproduction, the woman who gives birth to the child is the legal mother and this is true also in cases of surrogacy. I think there is no doubt in this case that English law has taken the right path and that it would be unconscionable to contemplate taking a child away from the woman who had undergone the risks and pains of pregnancy and childbirth and the bonding process that goes along with that when she wishes to keep the child particularly when there is no substantial and pressing evidence that she would be an unsafe parent. I argued this in my book The Value of Life4 and I think it is still true. So in this case justice, morality, and decency are served by confirming Mr and Mrs A as the parents of the children. Since in English law there is some ambiguity over paternity and how that is to be assigned and since Mr A is apparently not the genetic father, I think it is important …. (shrink)

Bu yazı organ nakli ile ilgili şu soruyu ele almaktadır: Doktorlar sağlıklı bir kişinin organlarını alarak organ nakline gereksinim duyan birden fazla kişinin yaşamını kurtarırlarsa ahlaksal açıdan yanlış bir şey yapmış olurlar mı? Her ne kadar sağlıklı bir insanın organlarını alarak onun ölümüne neden olmak kabul edilemez görünse de bunu yapmamanın daha çok sayıda kişinin ölümüne neden olacağı düşünülürse ortada araştırılmaya değer bir soru olduğu görülür.

Open‐ended tasks can be decomposed into the three levels of Newell's Cognitive Band: the Unit‐Task level, the Operation level, and the Deliberate‐Act level. We analyzed the video game Co‐op Space Fortress at these levels, reporting both the match of a cognitive model to subject behavior and the use of electroencephalogram (EEG) to track subject cognition. The Unit Task level in this game involves coordinating with a partner to kill a fortress. At this highest level of the Cognitive Band, there is (...) a good match between subject behavior and the model. The EEG signals were also strong enough to track when Unit Tasks succeeded or failed. The intermediate Operation level in this task involves legs of flight to achieve a kill. The EEG signals associated with these operations are much weaker than the signals associated with the Unit Tasks. Still, it was possible to reconstruct subject play with much better than chance success. There were significant differences in the leg behavior of subjects and models. Model behavior did not provide a good basis for interpreting a subject's behavior at this level. At the lowest Deliberate‐Act level, we observed overlapping key actions, which the model did not display. Such overlapping key actions also frustrated efforts to identify EEG signals of motor actions. We conclude that the Unit‐task level is the appropriate level both for understanding open‐ended tasks and for using EEG to track the performance of open‐ended tasks. (shrink)

What are the purposes of education and what is the relationship between educational research and policy? Using the twin lenses of Visible Learning and educational philosophy these are among the many fascinating topics discussed in extended conversations between John Hattie and Steen Nepper Larsen. This wide-ranging, and informative book offers fundamental propositions about the nature of Education. It maps out in fascinating detail a coming together of Hattie's empirical data and world-famous Visible Learning paradigm with the rich heritage of (...) educational philosophy. As well as exploring the inevitable questions of the purpose of education and the development of students in a learning society. Part clash of cultures, part meeting of minds, always fascinating and illuminating, this intriguing book will inspire teachers, students and parents at all levels of the educational system - from kindergarten through school to university. Conversations include: What is the purpose of education? Does educational data speak for itself? What is the role of the teacher? Is learning a visible phenomenon? Is it important to teach and learn specific subjects? What is the role of Neuroscience research? What is the relationship between educational research and educational politics? What is the role of the state in education? (shrink)

Philosophy and Contemporary Issues contains contemporary readings of philosophical significance designed to introduce philosophy to college and university students. The authors' goal is to demonstrate how philosophy illuminates and helps solve some of the important problems facing contemporary man. This edition contains additional readings.

This paper discusses the provocative views of Skene and Parker as to the role of religious or other ideologically based interest groups in law and policy making. We draw distinctions between doctrine and prejudice and between argument and ideology which we trust take the debate further. Finally we recommend an ethereal, democratic, and populist partial solution.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)