For years, both psychologists and the general public have been fascinated with the notion that there are gender differences in cognitive abilities; even now, flashy cover stories exploiting this idea dominate major news magazines, while research focuses on differences in verbal, mathematical, spatial, and scientific abilities across gender. This new volume in the Counterpoints series not only summarizes and addresses the validity of such research, but also questions its ideology and consequences. Why do we search so intently for these differences? (...) And what are the social and cultural implications of this relentless emphasis? Do biological mechanisms, in fact, contribute to the male-female differences in cognition? These are just a few of the questions generated by this controversial topic as it is debated throughout the book. (shrink)

As interest in working memory is increasing at a rapid pace, an open discussion of the central issues involved is both useful and timely. This new volume compares and contrasts conceptions of working memory, with contributions from proponents of different views.

The experiences of students taking the same courses in the humanities by distance learning were compared when tutorial support was provided conventionally or online . The Course Experience Questionnaire and the Revised Approaches to Studying Inventory were administered in a postal survey to 1264 students taking two different courses with the UK Open University. There were no significant differences between the students who received face-to-face tuition and those who received online tuition either in their perceptions of the academic quality of (...) their courses or in the approaches to studying that they adopted on those courses. Provided that tutors and students receive appropriate training and support, course designers in the humanities can be confident about introducing online forms of tutorial support in campus-based or distance education. (shrink)

Peter Abelard (1079–1142 ce) was the most wide‐ranging philosopher of the twelfth century. He quickly established himself as a leading teacher of logic in and near Paris shortly after 1100. After his affair with Heloise, and his subsequent castration, Abelard became a monk, but he returned to teaching in the Paris schools until 1140, when his work was condemned by a Church Council at Sens. His logical writings were based around discussion of the “Old Logic”: Porphyry's Isagoge, aristotle'S Categories and (...) On Interpretation and boethius'S textbook on topical inference. They comprise a freestanding Dialectica (“Logic”; probably c.1116), a set of commentaries (known as the Logica [Ingredientibus], c. 1119) and a later (c. 1125) commentary on the Isagoge (Logica Nostrorum Petititoni Sociorum or Glossulae). In a work Abelard called his Theologia, issued in three main versions (between 1120 and c.1134), he attempted a logical analysis of trinitarian relations and explored the philosophical problems surrounding God's claims to omnipotence and omniscience. The Collationes (“Debates,” also known as “Dialogue between a Christian, a Philosopher and a Jew”; probably c.1130) present a rational investigation into the nature of the highest good, in which the Christian and the Philosopher (who seems to be modeled on a philosopher of pagan antiquity) are remarkably in agreement. The unfinished Scito teipsum (“Know thyself,” also known as the “Ethics”; c.1138) analyses moral action. (shrink)

How far does a researcher’s responsibility extend when an incidental finding is identified? Balancing pertinent ethical principles such as beneficence, respect for persons, and duty to rescue is not always straightforward, particularly in neuroimaging research where empirical data that might help guide decision making are lacking. We conducted a systematic survey of perceptions and preferences of 396 investigators, research participants, and Institutional Review Board members at our institution. Using the partial entrustment model as described by Richardson, we argue that our (...) data supports universal reading by a neuroradiologist of all research MRI scans for incidental findings and providing full disclosure to all participants. (shrink)

This article introduces the key issues and themes that the articles in the Special Issue aim to apply and develop in greater detail. First, we argue that the field of collective remembering can be conceived as a site of active contestation, rather than simply a means of communicating a historic past or our deontic position in relation to these pasts. Approaching collective remembering as a Lieu de Dispute allows us, in turn, to foreground three consequential dimensions of remembrance, which the (...) articles in the issue examine in different ways: that collective remembering is an interpersonal, political and affective practice. This introduction discusses these three dimensions to collective remembering in greater detail, before outlining the remaining contents of the Special Issue. (shrink)

In this article, we analyse Il Memoriale della Shoah, the memorial of the victims of the Shoah in Milan, which was inaugurated in 2013 and, in 2015, was turned into a night shelter for destitute migrants. To understand the rhetoric and politics of the Memorial, we bring together the notions of affective practices, découpages du temps (lit. slices of time) and multidirectional memory. This analytic approach allows us to examine the nonlinear shape of remembering, the dialectic relationships between the spatialisation (...) of time and the temporalisation of space, the ways in which emotions are brought into being semiotically in context, and the ethical questions that these feelings raise. Through detailed multimodal and affective analysis of the affordances of the built environment and its soundscape, the curation of the Memorial, the contextualisation of three guided tours (two online and one in situ) and politicised commentary on the Memorial’s decision to shelter refugees, our paper illustrates the multi-layered character of the relationship between space and time – one in which the past, the present and the future partly overlap and mobilise political action. (shrink)

This article, taking a social semiotic approach, analyses two pieces of music written, shared and exalted by two pre-1945 European fascist movements – the German NSDAP and the British Union of Fascists. These movements, both political and cultural, employed mythologies of unity, common identity and purpose in order to elide the realities of social distinction and political–economic inequalities between bourgeois and proletarian groups in capitalist societies. Visually and inter-personally, the fascist cultural project communicated a machine-like certainty about a vision for (...) a new society based on discipline, conformity and the might of the nation. In this article, we are interested in the ways that these very same discourses are also communicated through sound and music in two songs: The Horst Wessel Lied and the BUF marching song, two songs that used the same melody. We analyse the discourses communicated by the semiotic choices made in melody, arrangements, sound qualities, rhythms as well as in lyrics. The article first identifies some of the underlying semiotic resources for meaning making in sound and then shows how these are used in order to communicate specific ideas, values and attitudes. (shrink)

This article explores the rhetoric, and mass mediation, of the national Holocaust Memorial Day commemoration ceremony, as broadcast on British television. I argue that the televised national ceremonies should be approached as an example of multi-genre epideictic rhetoric, working up meanings through a hybrid combination of genres, author/animators and modes. Epideictic rhetoric has often been depreciated as simply ceremonial ‘praise or blame’ speeches. However, given that the topics of praise/blame assume the existence of social norms, epideictic also acts to presuppose (...) and evoke common values, in general, and a collective recognition of shared social responsibilities, in particular. My methodology draws on the Discourse-Historical Approach to Critical Discourse Analysis, given, first, its central prominence in analysing argumentative strategies in discourse and, second, the ways it facilitates a reflexive ‘shuttling’ between text-discursive features, intertextual relations and wider contexts of society and history. Here, I examine how a catastrophic past is invoked in speech and evoked through image and music, in response to the demands that uncertainty of the future ‘places upon one’s conscience’. (shrink)

In this article, we trace the histories of discourses supporting ‘jobs for natives’ in the UK and Austria using the discourse-historical approach to critical discourse studies. DHA uses four ‘levels of context’ as heuristic devices in critical analysis. In this article, we focus our attention predominantly on the broadest of these, largely eschewing the text internal analysis typical of CDA, in favour of a wider contextual sweep. In this way, we deconstruct and trace the conceptual history of British and Austrian (...) slogans of the extreme right related to issues of un/employment. We argue that slogans such as ‘British Jobs for British workers’ and ‘Austria First’ have been recontextualised into current political rhetoric while carrying historical context-dependent connotations, stemming from pre-World War II colonialism and antisemitism. Hence, we further claim that – although such rhetoric is currently widespread across EU member states – the ideologies and traditions drawn upon are distinct and create specific subtexts to be exploited for political ends; this is part of the discursive strategy of ‘calculated ambivalence’ employed in such rhetoric. (shrink)

A key and continuing concern within the pragma-dialectical theory of argumentation is how to account for effective persuasion disciplined by dialectical rationality. Currently, van Eemeren and Houtlosser offer one response to this concern in the form of strategic manoeuvring. This paper offers a prior/passing theory of communicative interaction as a supplement to the strategic manoeuvring approach. Our use of a prior/passing model investigates how a difference of opinion can be resolved while both dialectic obligations of reasonableness and rhetorical ambitions of (...) argumentative success are simultaneously accommodated. The paper explores the model with particular reference to the pragma-dialectical rules of critical discussion, strategic manoeuvring and fallacious reasoning. (shrink)

In the romantic tradition, music is consistently associated with madness, either as cause or cure. Writers as diverse as Kleist, Hoffmann, and Nietzsche articulated this theme, which in fact reaches back to classical antiquity and continues to resonate in the modern imagination. What John Hamilton investigates in this study is the way literary, philosophical, and psychological treatments of music and madness challenge the limits of representation and thereby create a crisis of language. Special focus is given to the decidedly (...) autobiographical impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system. The study begins in the 1750s with Diderot's _Neveu de Rameau_, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance. (shrink)

In the romantic tradition, music is consistently associated with madness, either as cause or cure. Writers as diverse as Kleist, Hoffmann, and Nietzsche articulated this theme, which in fact reaches back to classical antiquity and continues to resonate in the modern imagination. What John Hamilton investigates in this study is the way literary, philosophical, and psychological treatments of music and madness challenge the limits of representation and thereby create a crisis of language. Special focus is given to the decidedly (...) autobiographical impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system. The study begins in the 1750s with Diderot's _Neveu de Rameau_, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance. (shrink)

Subcreative sets, introduced by Blum, are known to coincide with the effectively speedable sets. Subcreative sets are shown to be the complete sets with respect to S-reducibility, a special case of Turing reducibility. Thus a set is effectively speedable exactly when it contains the solution to the halting problem in an easily decodable form. Several characterizations of subcreative sets are given, including the solution of an open problem of Blum, and are used to locate the subcreative sets with respect to (...) the complete sets of other reducibilities. It is shown that q-cylindrification is an order-preserving map from the r.e. T-degrees to the r.e. S-degrees. Consequently, T-complete sets are precisely the r.e. sets whose q-cylindrifications are S-complete. (shrink)

Subcreative sets, introduced by Blum, are known to coincide with the effectively speedable sets. Subcreative sets are shown to be the complete sets with respect to S-reducibility, a special case of Turing reducibility. Thus a set is effectively speedable exactly when it contains the solution to the halting problem in an easily decodable form. Several characterizations of subcreative sets are given, including the solution of an open problem of Blum, and are used to locate the subcreative sets with respect to (...) the complete sets of other reducibilities. It is shown that q-cylindrification is an order-preserving map from the r.e. T-degrees to the r.e. S-degrees. Consequently, T-complete sets are precisely the r.e. sets whose q-cylindrifications are S-complete. (shrink)

My plan is to examine Nietzsche's view of (what is I think) the most characteristically Kantian kind of argument, what's now often called 'transcendental argument'. I understand this as an argument in which a concept or principle or value is justified as a 'condition of the possibility' of something indisputable (or indispensable). I will look at Nietzsche's critique of this pattern of argument in Kant, but also at the ways he still uses such arguments himself, in all three of the (...) sectors of Kant's critique: theoretical, practical, aesthetic. Planejo examinar a visão de Nietzsche sobre o que creio seja o tipo de argumento mais kantiano, o que é atualmente chamado de 'argumento transcendental'. Eu o entendo como um argumento no qual um conceito, ou princípio, ou valor seja justificado como uma 'condição da possibilidade' de algo indisputável (ou indispensável). Aprofundar-me-ei na crítica que Nietzsche estabelece sobre esse padrão de argumento em Kant, mas também nas formas em que ele mesmo se utiliza de tais argumentos, em todos os três setores da crítica de Kant: a teórica, a prática e a estética. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Rembrandt BookProfessor Emeritus John Adkins RichardsonThe Rembrandt Book by Gary Schwartz. New York: Harry N. Abrams, 2006, 384 pp. $40.95, cloth.This truly is the Rembrandt book. Substantial in every way, it is physically imposing, magnificently printed on heavy, glossy stock and profusely illustrated with splendid color reproductions of all the master’s major works and many sketches and preparatory drawings, as well as etchings and dry-point engravings. (...) Gary Schwartz, who studied art history at New York University and Johns Hopkins University, is now living in the Netherlands. The merits of his book are enormous. Not only is it filled with magnificent reproductions, there are tables and graphs detailing such things as the number of Rembrandt paintings in catalogues from 1836 to 1992; analyses of the artist’s borrowings and adaptations in five-year periods; key dates in the life of the man; Rembrandt’s relation to the forms of sale for paintings in the Dutch seventeenth century; and so on. There is even a computer rendering of the famous depiction of Captain Banning Cocq’s Company of Guards at the Gates of Amsterdam (popularly called The Night Watch), specifying the weapons shown and identifying all present, either by name and title or by a description, such as “girl in gold and blue,” “pikeman,” “musketeer,” etc.A sampling of the chapter headings and subcategories suggests just how comprehensive is Schwartz’s treatment: 1. Introduction, 2. A Dutch Artist’s Life, 3. Family, Loved Ones, Households, 4. Craft, 5. Earning and Spending, 6. Patrons, 7. Landscape, 8. Humankind, 9. Man and God. Just the specifics of the last chapter are remarkably capacious: Holy Family; Christ’s Ministry; Passion, Death and Afterlife; Divine Intervention; Holy People; Moral Examples from the Old Testament; The Man of God, Simeon; Afterlife; and Rembrandt as a Christian Rhetorician of the Brush. It’s hard to imagine a better reference for the lay reader than The Rembrandt Book.The book is also full of interesting contrasts of opinion as well as some surprising remarks. As for one of the latter, Schwartz writes that Rembrandt’s “portraits are said to be more ‘psychological’ than those of his contemporaries. What this might mean I frankly do not understand” (213). He goes on to note that the field of psychology did not exist in Rembrandt’s time. However, from long before its invention people spoke of Rembrandt’s ability to reveal the soul of the sitter. Indeed, the reason I was not surprised, although somewhat distressed, when the Rembrandt Research Project—a group of connoisseurs set up in 1969 with the explicit charge of authenticating all works ascribed to the master—announced in 1985 that The Man with a Golden Helmet in Berlin was not by the master at all, was that I had all along been troubled by this face that lacked the quality of animation in repose so [End Page 115] characteristic of Rembrandt portraits. Schwartz thinks the artist would have to have relied upon the ancient theory of the humors to do “characterological descriptions” of his sitters, and that in portraiture, “such characterizations would quickly resemble caricatures.” And, indeed, they do, but in profoundly subtle ways, much as someone like the popular illustrator Norman Rockwell employed tiny caricature-like distortions to project a kind of homely Americanism. I’m not comparing Rockwell to Rembrandt but choosing a realistic illustrator in whose work the trick is more apparent. Caricature can be as broad as it is in Jacques Callot, William Hogarth, or Honoré Daumier and yet be a feature of true art. Or so it seems to me, admittedly, a sometimes cartoonist as well as painter and engraver.Schwartz’s completeness of coverage leads him to include, in addition to superb drawings and prints, some that are so careless and hasty as to make one doubt their authenticity. One of the works of marginal quality is an etching of Six’s Bridge, which is said to have been created outdoors, hastily, on the site. This is a hotly debated issue. Rembrandt is known to have carried “varnished”—that is, grounded—copper etching plates, so there wouldn’t seem much reason to... (shrink)

Drawing on a landscape analysis of existing data-sharing initiatives, in-depth interviews with expert stakeholders, and public deliberations with community advisory panels across the U.S., we describe features of the evolving medical information commons. We identify participant-centricity and trustworthiness as the most important features of an MIC and discuss the implications for those seeking to create a sustainable, useful, and widely available collection of linked resources for research and other purposes.

We propose a criterion to regard a property of a theory (in first or second order logic) as virtuous: the property must have significant mathematical consequences for the theory (or its models). We then rehearse results of Ajtai, Marek, Magidor, H. Friedman and Solovay to argue that for second order logic, ‘categoricity’ has little virtue. For first order logic, categoricity is trivial; but ‘categoricity in power’ has enormous structural consequences for any of the theories satisfying it. The stability hierarchy extends (...) this virtue to other complete theories. The interaction of model theory and traditional mathematics is examined by considering the views of such as Bourbaki, Hrushovski, Kazhdan, and Shelah to flesh out the argument that the main impact of formal methods on mathematics is using formal definability to obtain results in ‘mainstream’ mathematics. Moreover, these methods (e.g., the stability hierarchy) provide an organization for much mathematics which gives specific content to dreams of Bourbaki about the architecture of mathematics. (shrink)

The present paper examines the trinitarian theology of Adam Wodeham and Walter Chatton through an examination of the filioque, i.e., the procession of the Holy Spirit from the Father and Son. The paper argues that the strong emphasis on divine simplicity that emerged in the early fourteenth century had a subtle influence on how Wodeham and Chatton understood the intra-trinitarian distinctions between the Father, Son and Holy Spirit.