In replying to Jay Schleusener, I have also answered many of the objections put less abstractly, though often more sharply, by Stanley Fish. For instance, Fish's assertion that my category of unintended negative consequences "will be filled by whatever does not accord with what Rader has decreed to be the positive constructive intention" is essentially the same charge brought by Schleusener and requires no further substantive answer than I have already offered here and, for that matter, in my original (...) essay. I would point out, however, that in this remark as elsewhere Fish loads his statements with inaccurate pejoratives: I do not decree but postulate the positive constructive intention and test it for explanatory adequacy by deduction open at every point to the counterdemonstration of fallacy. I would point out also that, in making this charge, he operates under different explanatory standards from those he adopts elsewhere. The statement quoted imputes to my theory as a special defect the fact of its supposedly self-fulfilling and nonfalsifiable character, whereas later Fish clearly asserts that all interpretations including his own are necessarily self-confirming. Ralph W. Rader has written Tennyson's "Maud": The Biographical Genesis. Among his influential articles are "Literary Form in Factual Narrative: The Example of Boswell's Johnson" and "The Concept of Genre and Eighteenth-Century Studies." He is professor of English at the University of California at Berkeley. His contributions to Critical Inquiry include "Fact, Theory, and Literary Explanation" , "The Dramatic Monologue and Related Lyric Forms", and "The Literary Theoretical Contribution of Sheldon Sacks". (shrink)

We are free to get our theories where we will. As Einstein said, the emergence of a theory is like an egg laid by a chicken, "auf einmal ist es da.1" In practice theories are usually derived as improvements on earlier theories, as better tools are refinements of earlier, cruder ones; and they are directed explanatorily not at the facts of their own construction but at independently specifiable facts which, left unexplained by earlier theories, have therefore refuted them. A new (...) theory should cogently and directly explain all that its predecessors explain and in addition those particular facts which they conspicuously do not explain. The ideal is to have the simplest possible premises explaining most precisely the widest possible range of problematical facts. · 1. Ronald W. Clark, Einstein: The Life and Times , p.173 n. Ralph W. Rader has written Tennyson's "Maud": The Biographical Genesis. Among his influential articles are "Literary Form in Factual Narrative: The Example of Boswell's Johnson" and "The Concept of Genre and Eighteenth-Century Studies." He is professor of English at the University of California at Berkeley. His contributions to Critical Inquiry are "Explaining Our Literary Understanding: A Response to Jay Schleusener and Stanley Fish" , "The Dramatic Monologue and Related Lyric Forms", and "The Literary Theoretical Contribution of Sheldon Sacks". (shrink)

The most distinctive and highly valued poems of the modern era offer an image of a dramatized "I" acting in a concrete setting. The variety and importance of the poems which fall under this description are suggested simply by the mention of such names as "Elegy Written in a Country Courtyard," "Tintern Abbey," "Ode to a Nightingale," "Ulysses," "My Last Duchess," "Dover Beach," "The Windhover," "The Darkling Thrush," "Sailing to Byzantium," "Leda and the Swan," "The Love Song of J. Alfred (...) Prufrock," "Stopping by Woods on a Snowy Evening." The power and beauty of such poems seems intimately connected with the fact of their dramatic integrity and autonomy, and we have all been taught, in analyzing them, to refer to a "speaker" existing independent of the poet and to avoid the "intentional" and "biographical" fallacies which spuriously link the poem to the poet and the world outside the poem. Such an approach tends to undercut any notion that a poem has a single definite meaning, the meaning the poet gave it, and to support the idea that the meaning of a poem is indeterminate and/or multiple. All this is quite in accord with the orthodox critical doctrine that poetic language is differentiated from scientific language and preserved from competition with it by the fact that it is nonreferential, making no claim upon the real world; and complex, indefinite, and alogical, where scientific language is simple, definite, and logical. Ralph W. Rader is chairman of the department of English at the University of California at Berkeley. His previous contributions to Critical Inquiry are "Fact, Theory, and Literary Explanation" , "Explaining Our Literary Understanding: A Response to Jay Schleusener and Stanley Fish" , and "The Literary Theoretical Contribution of Sheldon Sacks" . Professor Rader's influential studies include Tennyson's "Maud": The Biography Genesis, "Literary Form in Factual Narrative: The Example of Boswell's Johnson," and "The Concept of Genre and Eighteenth-century Studies.". (shrink)

Behind all of Sheldon Sacks' writing and teaching lay an intense belief in the objectivity of literary experience and our capacity to achieve a shared conceptual understanding of the forms which underlie it. Literary criticism for him was not the critic's unique and unrepeatable performance but a serious inquiry—a critical inquiry—seeking explicit and precise explanatory concepts which others could grasp, test, and build upon. His effort was to show that we could in significant measure understand and explain literature and its (...) value as standing independent of our understanding and explanation, and it was this double emphasis on the real being of literature and the possibility of valid conceptualization of it which gave his thought its appeal for those whom it influences. His creative constitution—and the length and circumstances of his life—were such as to allow only the one sustained effort of Fiction and the Shape of Belief and a series of articles in which he modified and expanded the application of the ideas developed therein. Yet in this relatively small body of work he revised and extended the ideas of the Chicago School within which he worked so as to achieve what seem to me genuine advances in the explicit conception of novelistic forms—what might be called portable ideas, sharp and definite enough to be adopted and used and in their turn revised and redefined by others; this sets them apart from much critical work and marks their value and his intention. Ralph W. Rader, chairman of the department of English at the University of California at Berkeley, is the author of Tennyson's "Maud": The Biographical Genesis. His previous contributions to Critical Inquiry are "Fact, Theory, and Literary Explanation" , "Explaining Our Literary Understanding: A Response to Jay Schleusener and Stanley Fish" , and "The Dramatic Monologue and Related Lyric Forms". (shrink)

Experimental radiobiology represented a long-standing priority for the U.S. Atomic Energy Commission, but organizational issues initially impeded the laboratory progress of this government-funded work: who would direct such interdisciplinary investigations and how? And should the AEC support basic research or only mission-oriented projects? Alexander Hollaender's vision for biology in the post-war world guided AEC initiatives at Oak Ridge, where he created and presided over the Division of Biology for nearly two decades. Hollaender's scheme, at once entrepreneurial and system-oriented, made good (...) use of the unique resources provided by the AEC and by Oak Ridge's national laboratory setting, while at the same time it restructured wartime research practices to better reflect biologists' own priorities. Because Hollaender offered many academic experimental biologists a way of envisioning military-related patronage as integral - rather than antithetical - to their professional identities, his work provides an important lens through which to examine the early post-war intellectual and institutional development of radiobiology. (shrink)

For 150 years Africans have been longing for a Christianity which is not the -White man's religion.- Missionaries have often failed to strip the Western cultural -garb- from their presentation of the gospel. Emerging African theologians in rapidly expanding congregations are beginning to formulate an explicitly African theology. The Christian message must be contextualized within the local culture if it is to be communicated effectively in the daily life of the African Christian. This book shows how missionaries and African Christians (...) can work together to find timeless biblical principles and allow those principles to directly impact African culture.". (shrink)

A searching examination of marx's writings reveals that he has no single, Consistent theory of the economic basis of art. The more extreme marxist position, With its metaphor of economic base and cultural superstructure, Is misleading and belies marx's own deeper insight. His doctrine of creativity, And of alienation and its overcoming, Is aesthetic in tinge, And points to a less reductionist theory than that of orthodox marxism.

Diversity.--The two faces of perception.--The limits of reductionism.--Beauty: pattern and change.--Communication and collective choice.--Shaping the evolutionary future.--What we must do.

BackgroundAccurate reporting on sex and gender in health research is integral to ensuring that health interventions are safe and effective. In Canada and internationally, governments, research organizations, journal editors, and health agencies have called for more inclusive research, provision of sex-disaggregated data, and the integration of sex and gender analysis throughout the research process. Sex and gender analysis is generally defined as an approach for considering how and why different subpopulations (e.g., of diverse genders, ages, and social locations) may experience (...) health conditions and interventions in different or similar ways.The objective of this study was to assess the extent and nature of reporting about sex and/or gender, including whether sex and gender analysis (SGA) was carried out in a sample of Canadian randomized controlled trials (RCTs) with human participants.MethodsWe searched MEDLINE from 01 January 2013 to 23 July 2014 using a validated filter for identification of RCTs, combined with terms related to Canada. Two reviewers screened the search results to identify the first 100 RCTs that were either identified in the trial publication as funded by a Canadian organization or which had a first or last author based in Canada. Data were independently extracted by two people from 10% of the RCTs during an initial training period; once agreement was reached on this sample, the remainder of the data extraction was completed by one person and verified by a second.ResultsThe search yielded 1433 records. We screened 256 records to identify 100 RCTs which met our eligibility criteria. The median sample size of the RCTs was 107 participants (range 12–6085). While 98% of studies described the demographic composition of their participants by sex, only 6% conducted a subgroup analysis across sex and 4% reported sex-disaggregated data. No article defined “sex” and/or “gender.” No publication carried out a comprehensive sex and gender analysis.ConclusionsFindings highlight poor uptake of sex and gender considerations in the Canadian RCT context and underscore the need for better articulated guidance on sex and gender analysis to improve reporting of evidence, inform policy development, and guide future research. (shrink)

“O, rocks!” Molly exclaims in impatience with Bloom’s first definition of metempsychosis, “tell us in plain words” . Looking forward, then, we remember that Bloom asks Murphy if he has seen the Rock of Gibraltar and asks further what year that would have been and if Murphy remembers the boats that plied the strait. “I’m tired of all them rocks in the sea,” replies Murphy . Bloom’s interest derives from Molly’s connection with Gibraltar, and Molly herself in her monologue remembers (...) the boats well and thinks of missing the boat at Algeciras , just before the book ends with her thoughts of the awful deepdown torrent,” the tide that moves like a river through the strait. Imaginatively she moves with that torrent, figuratively the torrent of time that plunges from the future to the past, which she accepts, with her yes, going deeply with the flow of life, and with her goes Murphy/Joyce, touching on Gibraltar at last. Molly remembers Ulysses S. Grant getting off a boat in Gibraltar, an occurrence that Adams sees as unduly stretching probability merely in order to bring Molly in incidental touch with a man named Ulysses.19 But remembering that Murphy is a “wily old customer,” we may remember also that the Ulysses of Joyce’s favorite Dante cannot rest with Penelope but, in search of knowledge and excellence, moves on through the two rocks of the straits of Gibraltar, the pillars of Hercules, to further adventure and also to destruction; and we may then think that with this reference, Joyce took pains to tell us that the Ulysses of this book here completes in hidden climax the design and purpose of his work, and sails on to oblivion, or rather to dispersion and reconstitution as everyone in the new adventure of Finnegans Wake. 19. See Adams, Surface and Symbol, p. 233. Ralph W. Rader, professor of English at the University of California, Berkeley, is the author of Tennyson’s “Maud”: The Biographical Genesis. He is currently working on a theoretical study of form in the novel and other genres. His previous contributions to Critical Inquiry include “The Literary Theoretical Contribution of Sheldon Sacks” and “The Dramatic Monologue and Related Lyric Forms”. (shrink)

It is our great pleasure to announce that the recipient of the 2020 Everett Mendelsohn Prize is Daniel Liu, whose essay, “The Cell and Protoplasm as Container, Object, and Substance, 1835–1861,” appeared in the Journal of the History of Biology, Volume 50, 4 (2017), pp. 889–925.