Ebbhinghaus, H., J. Flum, and W. Thomas. 1984. Mathematical Logic. New York, NY: Springer-Verlag. Forster, T. Typescript. The significance of Yablo’s paradox without self-reference. Available from http://www.dpmms.cam.ac.uk. Gold, M. 1965. Limiting recursion. Journal of Symbolic Logic 30: 28–47. Karp, C. 1964. Languages with Expressions of Infinite Length. Amsterdam.

Ebbhinghaus, H., J. Flum, and W. Thomas. 1984. Mathematical Logic. New York, NY: Springer-Verlag. Forster, T. Typescript. The significance of Yablo’s paradox without self-reference. Available from http://www.dpmms.cam.ac.uk. Gold, M. 1965. Limiting recursion. Journal of Symbolic Logic 30: 28–47. Karp, C. 1964. Languages with Expressions of Infinite Length. Amsterdam.

Arthur S. Eddington, FRS, (1882–1944) was one of the most prominent British scientists of his time. He made major contributions to astrophysics and to the broader understanding of the revolutionary theories of relativity and quantum mechanics. He is famed for his astronomical observations of 1919, confirming Einstein’s prediction of the curving of the paths of starlight, and he was the first major interpreter of Einstein’s physics to the English-speaking world. His 1928 book, The Nature of the Physical World, here re-issued (...) in a critical, annotated edition, was largely responsible for his fame as a public interpreter of science and has had a significant influence on both the public and the philosophical understanding of 20th-century physics. In degree, Eddington’s work has entered into our contemporary understanding of modern physics, and, in consequence, critical attention to his most popular book repays attention. Born at Kendal near Lake Windermere in the northwest of England into a Quaker background, Eddington attended Owens College, Manchester, and afterward Trinity College, Cambridge, where he won high mathematical honors, including Senior Wrangler. He became Plumian Professor of Astronomy at Cambridge in 1913 and in 1914 Director of the Cambridge Observatory. Eddington was a conscientious objector during the First World War. By the end of his career, he was widely esteemed and had received honorary degrees from many universities. He was elected president of the Royal Astronomical Society (1921–1923), and was subsequently elected President of the Physical Society (1930–1932), the Mathematical Association (1932), and the International Astronomical Union (1938–1944). Eddington was knighted in 1930 and received the Order of Merit in 1938. During the 1930s, his popular and more philosophical books made him a well known figure to the general public. Philosophers have found his writings of considerable interest, and have debated his themes for nearly a hundred years. (shrink)

Love's memories, love recalling itself in letters lost and found over an interval of forty years: Cixous's writer-narrator advances here far into a labyrinth of passions long ago delivered and yet still arriving through the mail, through letters and literature, in other words, the poetry of the post. As for the lovers' returning scenes, they have their addresses in Paris and in New York, but also in a lost oasis of the Egyptian desert during the Napoleonic wars, in Athens and (...) along the shores of a great lake centuries ago in the country of myth. The lovers are poets or soldiers, philosophers or students madly in love with poetry and poets. They are as well mermaids or panthers. Panthers? Yes, for it is the passion of the animal that drives all these lovers to bare themselves, and sometimes their claws, before the beloved. Misunderstandings are often, even inevitably the result. Seconded and witnessed by her passionate, truth-telling cats, Cixous's narrator-writer returns unerringly to moments of errancy inflicted on address and language, those errors and faults when love, perhaps, is listening only to itself, without subject or object, lover or beloved, just love itself, l'amour meme, l'amour m'aime, love loving me, in the letter box of memory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 77-89 [Access article in PDF] Engaging Nature Aesthetically Joseph H. Kupfer Acting in Nature For the most part, most of us appreciate nature as spectators. Some portion of a natural scene is viewed as if it were a painting or photograph. We look for the picturesque in experiencing the real thing because our aesthetic approach toward nature has been filtered through pictures (...) — a canyon's spacious contours, a spectacular waterfall, a weeping willow swaying and billowing in the breeze. And there is certainly nothing wrong with this approach. I like a splendid sunset or majestic peak as much as the next person. However, thinking of nature solely or chiefly as an aesthetic scene to be observed is unnecessarily limiting. Regarding natural phenomena as material for detached, pictorial observation overlooks the aesthetic features revealed only through our active intercourse with nature.In what follows, I outline an active aesthetic of nature appreciation in particular, a series of physical responses to nature which yield a spectrum of aesthetic possibilities. Our active relationship toward nature is expressible by the relevant prepositions, as action can be in or into nature, against or with nature. Of course there will be overlap among these modes of dealing with nature aesthetically, but they are nevertheless fairly distinct and distinguishable. Moreover, the types of activity are arranged so that each succeeding way of addressing nature encompasses the aesthetic virtues of the preceding types of activity. As we move from acting in nature to acting with nature, therefore, our aesthetic experience becomes richer and more inclusive. 1The first active departure from the role of mere observer is found in acting in nature. When we act in or within nature, natural phenomena are the medium of our movement. Whether, hiking up the valley or swimming in the lake, we participate in the natural environment. And that participation [End Page 77] uncovers aesthetic features of nature not available to the mere spectator or observer. Walking through the valley, the prospect of wildflowers shifts from a distant, cascading carpet to a direct encounter with individual shapes, colors, fragrances, and textures. Our aesthetic experience includes appreciation of the shift in perspective itself, from long-range floral vista to more intimate perception.When we swim in the lake, it is no longer simply a thing viewed — a shifting montage of patterns of light playing on its surface. Instead, the lake is experienced as a translucent medium which alternately resists and yields to our arm, leg, and torso movement. Immersed in the water, we feel warm and cool patches, and hear sounds muffled and transmuted by the lake. The sound of our breathing is also modified by the watery medium, as well as by our physical labors.Acting in nature provides two aesthetic opportunities absent from mere spectating. First, the fact that we are active in the natural environment brings home a sense of ourselves as causal agents. Instead of change merely taking place in the natural environment, we are directly bringing about the change. Because we walk through the valley or swim in the lake, otherwise unavailable sensory experiences are enjoyed. Our movement, moreover, enables these experiences to develop from one moment to the next, at best, in an integrated sequence. In addition, there are the specific aesthetic features created for us by our physical activity — our bodily involvement beyond the more typical visual panorama. For example, tension and relaxation in our muscles, the feel and sound of our breathing and heartbeat correspond to change in our natural surroundings. Our bodies furnish us with responses to the natural environment because we are moving in it, not simply observing it.A more homey example of acting in nature is the case of standing or climbing "inside" a tree. Most of us enjoy the aesthetic experience of walking in the woods, among clusters of trees and other wildlife. But the individual tree also offers an opportunity for acting in or within nature. Enclosed within its branches and leaves, whether on the ground or alight a limb, we gain a new aesthetic perspective. The... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 77-89 [Access article in PDF] Engaging Nature Aesthetically Joseph H. Kupfer Acting in Nature For the most part, most of us appreciate nature as spectators. Some portion of a natural scene is viewed as if it were a painting or photograph. We look for the picturesque in experiencing the real thing because our aesthetic approach toward nature has been filtered through pictures (...) — a canyon's spacious contours, a spectacular waterfall, a weeping willow swaying and billowing in the breeze. And there is certainly nothing wrong with this approach. I like a splendid sunset or majestic peak as much as the next person. However, thinking of nature solely or chiefly as an aesthetic scene to be observed is unnecessarily limiting. Regarding natural phenomena as material for detached, pictorial observation overlooks the aesthetic features revealed only through our active intercourse with nature.In what follows, I outline an active aesthetic of nature appreciation in particular, a series of physical responses to nature which yield a spectrum of aesthetic possibilities. Our active relationship toward nature is expressible by the relevant prepositions, as action can be in or into nature, against or with nature. Of course there will be overlap among these modes of dealing with nature aesthetically, but they are nevertheless fairly distinct and distinguishable. Moreover, the types of activity are arranged so that each succeeding way of addressing nature encompasses the aesthetic virtues of the preceding types of activity. As we move from acting in nature to acting with nature, therefore, our aesthetic experience becomes richer and more inclusive. 1The first active departure from the role of mere observer is found in acting in nature. When we act in or within nature, natural phenomena are the medium of our movement. Whether, hiking up the valley or swimming in the lake, we participate in the natural environment. And that participation [End Page 77] uncovers aesthetic features of nature not available to the mere spectator or observer. Walking through the valley, the prospect of wildflowers shifts from a distant, cascading carpet to a direct encounter with individual shapes, colors, fragrances, and textures. Our aesthetic experience includes appreciation of the shift in perspective itself, from long-range floral vista to more intimate perception.When we swim in the lake, it is no longer simply a thing viewed — a shifting montage of patterns of light playing on its surface. Instead, the lake is experienced as a translucent medium which alternately resists and yields to our arm, leg, and torso movement. Immersed in the water, we feel warm and cool patches, and hear sounds muffled and transmuted by the lake. The sound of our breathing is also modified by the watery medium, as well as by our physical labors.Acting in nature provides two aesthetic opportunities absent from mere spectating. First, the fact that we are active in the natural environment brings home a sense of ourselves as causal agents. Instead of change merely taking place in the natural environment, we are directly bringing about the change. Because we walk through the valley or swim in the lake, otherwise unavailable sensory experiences are enjoyed. Our movement, moreover, enables these experiences to develop from one moment to the next, at best, in an integrated sequence. In addition, there are the specific aesthetic features created for us by our physical activity — our bodily involvement beyond the more typical visual panorama. For example, tension and relaxation in our muscles, the feel and sound of our breathing and heartbeat correspond to change in our natural surroundings. Our bodies furnish us with responses to the natural environment because we are moving in it, not simply observing it.A more homey example of acting in nature is the case of standing or climbing "inside" a tree. Most of us enjoy the aesthetic experience of walking in the woods, among clusters of trees and other wildlife. But the individual tree also offers an opportunity for acting in or within nature. Enclosed within its branches and leaves, whether on the ground or alight a limb, we gain a new aesthetic perspective. The... (shrink)

The first translation into English and the first detailed interpretation of Hegel’s System der Sittlichkeit and of Philosophie des Geistes, the two earliest surviving versions of Hegel’s social theory. Hegel’s central concept of the spirit evolved in these two works. An 87-page interpretation by Harris precedes the translations.

To localize wheat ESTs on chromosomes, 882 homoeologous group 6-specific ESTs were identified by physically mapping 7965 singletons from 37 cDNA libraries on 146 chromosome, arm, and sub-arm aneuploid and deletion stocks. The 882 ESTs were physically mapped to 25 regions flanked by 23 deletion breakpoints. Of the 5154 restriction fragments detected by 882 ESTs, 2043 were localized to group 6 chromosomes and 806 were mapped on other chromosome groups. The number of loci mapped was greatest on chromosome 6B and (...) least on 6D. The 264 ESTs that detected orthologous loci on all three homoeologs using one restriction enzyme were used to construct a consensus physical map. The physical distribution of ESTs was uneven on chromosomes with a tendency toward higher densities in the distal halves of chromosome arms. About 43% of the wheat group 6 ESTs identified rice homologs upon comparisons of genome sequences. Fifty-eight percent of these ESTs were present on rice chromosome 2 and the remaining were on other rice chromosomes. Even within the group 6 bins, rice chromosomal blocks identified by 1-6 wheat ESTs were homologous to up to 11 rice chromosomes. These rice-block contigs were used to resolve the order of wheat ESTs within each bin. (shrink)

The idea of translating Gerdil into English is brilliant, the translation is very good and the introduction of William Frank precise and inspiring.... Rousseau proposes a complete break with tradition. A new man will arise who is severed from the whole heritage of the past. With him the history of mankind begins anew. In one sense we have here a transposition in the field of philosophy of education of the Cartesian cogito. The subject begins with himself. To this philosophical project (...) Gerdil opposes the idea of tradition. We have not made ourselves. Our parents have procreated us. The parents do not only procreate their offspring, they also introduce them into the natural and social reality, that is they educate. No education is possible without a lively dialogue with history and society. Since the beginning man stands in a close relationship to others, is made for the human society.... In these our times one form of modernity is collapsing and the mood of the day is an unclear postmodernity that in some of its versions could well be a return to barbarianism. All the more important is then that another form of modernity be rediscovered and brought to the attention of the American public. - Rocco Buttiglione, University of St. Pius V, Rome A timely translation of a compelling 18th century critique of Rousseau by the neglected Italian author, Hyacinth S. Gerdil. Gerdil's Anti-Emile may have been written as a critique of Rousseau's Emile, but it can equally be read as a critique of the philosophy embraced by the American educational establishment. Through the influence of John Dewey, Rousseau came to inform much of the educational theory regnant in the United States, with disastrous consequences, now acknowledge by nearly all. In a valuable preface to his translation, Professor Frank, drawing upon his experience both here and abroad, not only places Emile in context, but defends Gerdil's time-transcending, classical view of education against its modern detractors. "Gerdil," Frank tells us, "addressed his Anti-Emile to elders responsible for education, be they parents, teachers, or political authorities, who might find themselves swayed by the powerful rhetoric of Rousseau's Emile." The same may be said of this translation and its informative prefatory material, for it is clearly a study that will be valued by anyone interested in principled education. - Jude P. Dougherty, Catholic University of America Cover image: "Adam and Eve" by Tintoretto. St. Augustine's Press acknowledges the kind permission granted by la Scuola Grande di San Rocco, Venice, for the use of the image. All rights reserved by la Scuola Grande di San Rocco. (shrink)