In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 105-115 [Access article in PDF] Intimacy and Monumentality in Chandigarh, North India: Le Corbusier's Capitol Complex and Nek Chand Saini's Rock Garden Sharon Irish School of Architecture University of Illinois, Urbana-Champaign Chandigarh's Le Corbusier: The Struggle for Modernity in Postcolonial India, by Vikramaditya Prakash. Seattle: University of Washington Press, 2002, 179pp., $35.00 cloth. The seventh century poet and philosopher Dharmakirti wrote (...) of the path we each must make: No one behind, no one ahead, The path the ancients cleared has closed. And the other path, everyone's path, easy and wide, goes nowhere. I am alone and find my way.1The image in Figure 1 shows the bottom of a concrete ramp that angles back upon itself as it connects two levels of the government complex in Chandigarh and ends in a grassy hillside that has several dirt paths cutting across it. The concrete ramp begins just to the left of Le Corbusier's Assembly Hall (Figure 2). What I hope is evident from just two images is the contrast between the curving, unplanned path that pedestrians have made as they leave the bottom of the ramp, and the axial, monumental path implicit in the organization of the large concrete plaza in front of the Assembly Hall. One is informal and intimate because of the many footprints that have worn away the grass; the other is formal and monumental in its carefully controlled framing of a sculptural presence. They are two very different paths, offering different rewards as we wander upon them.As Vikramaditya Prakash's book, Chandigarh's Le Corbusier, emphasizes, the Capitol Complex derived from Le Corbusier's personal mythology, transmogrified somewhat by the site, the politics, and the climate. Le Corbusier "considered it the true mission of modern architecture to reestablish the aesthetic and poetic forms necessary for the liberation and deliverance of...modern man."2 Le Corbusier's monumentalism, then, was imposed on Chandigarh's landscape and the inhabitants with the assumption that he knew best what architecture was appropriate for "liberation." While there are many aspects of his designs to appreciate and admire, his buildings only indirectly address the visitor, preferring uncanny to intimate relationships.3 [End Page 105] Click for larger viewFigure 1 The bottom of the ramp leading into a path toward the Trench of Consideration, Capitol Complex, Chandigarh. Photo by the author. Click for larger viewFigure 2 Façade of the Assembly Building, Le Corbusier, 1953-61, Chandigarh. Photo by the author. [End Page 106]For six months in 1999, I lived in Chandigarh within a few blocks of Le Corbusier's government complex and another compelling place, the nearby and unrelated Rock Garden. While the paths at the Government Complex are, for the most part, empty, those in the Rock Garden are not and provide chances for intimate interactions that are only hinted at underneath Le Corbusier's concrete ramp. Poignant informality in Le Corbusier's government sector exists in areas that were never completed according to plan.4 Its predominant monumentality provides a useful contrast to the intimate spaces of the Rock Garden.In the 1950s, two men, Le Corbusier and Nek Chand Saini, began two very different projects within a kilometer of each other in Chandigarh. Le Corbusier's Capitol Complex started in the very highest government circles with Prime Minister Jawaharwal Nehru: the plan was to build a new state capital for a newly divided Punjab in a newly independent India. In architectural history, Chandigarh is well known and well studied due to its planning and design. Nek Chand's Rock Garden (under construction since 1958, and open to the public since 1976) began as an illegal private project by one man to give form to his imagination. This essay is my impressionistic response to these two projects.Monumental buildings often function powerfully as icons or as proud isolated structures. Visited on ceremonial occasions, they can provide visually compelling backdrops to large-scale... (shrink)

This paper explores the dynamic interaction between contemporary Irish women poets and the notion of tradition in Irish poetry. Looking at the work of Eavan Boland, Susan Connolly, Paula Donlon, Mary Dorcey, Paula Meehan and Nuala Ní Dhomhnaill, the paper suggests that women poets today are subverting tradition and destabilizing a conventionally accepted fusion of the feminine with the national. This is achieved through direct challenge, through dislocation and through establishing a dialogue between the mythical and the real (...) in the context of the lived experience of women in Ireland. Finally, the paper suggests the potential for civil and social effect of the work of women who engage consciously in the process of giving women an active voice. (shrink)

The word “tragedy,” as Irish critic Shaun Richards points out, “is a term frequently used to describe the contemporary Northern Irish situation. It is applied both by newspaper headline writers trying to express the sense of futility and loss at the brutal extinction of individual lives and by commentators attempting to convey a sense of the country and its history in more general terms.” 1 Since identifying this particular use of the word, it has be- come clear that (...) the Irish are not referring to tragedy in general, but to Greek tragedy in particular. For example, Deaglán de Bréadun writes in The Irish Times: “The whole community knows outright disaster was only narrowly averted at Drumcree last year [1996]. There is also a terrible creeping feeling that Drumcree Three will be upon us soon and that, like a Greek tragedy, this time disaster is inevitable.” 2 Another article the following year, on Sinn Fein’s exclusion from the 1998 Peace Process, reported: “One long-distance peace processor lamented that today’s events were ‘like a Greek tragedy. You can see the end coming but you can’t do any- thing about it.’” This “language of exhausted fatalism” 4 is not unfamiliar to the Irish, and offers an explanation for the more than twenty Irish authors who have translated, produced, or adapted over two dozen Irish versions of Greek tragedies in the last century alone. 5 Irish poets have translated the tragedies of Aeschylus, Sophocles, and Euripides, yet all with a distinctly Irish stamp. Moreover, these Irish-Greek adaptations all, in one way or another, comment upon and question the instability of twentieth-century Ireland – the people, the poets, and the divided country. (shrink)

A growing number of Irish women have chosen to write in Irish for reasons varying from a desire to promote and preserve the Irish language to a belief that a marginalized language is an appropriate vehicle of expression for marginalized women. Their work explores aspects of womanhood relating to sexuality, relationships, motherhood and religion. Some feel hampered by the lack of female models. Until recent years there were few attempts on the part of women to explore the (...) reality of women's lives through literature in Irish. The largely subordinate role played by women in literary matters as teachers, translators, and writers of children's literature reflected the position of women in Irish society since the achievement of independence in the 1920s. The work of earlier women poets has, for the most part, lain buried in manuscripts and is only recently being excavated by scholars. The problems of writing for a limited audience have been partially overcome in recent years by increased production of dual-language books. The increase in translation has sparked off an intense controversy among the Irish language community, some of whom are concerned that both the style and content of writing in Irish are adversely influenced by the knowledge that the literature will be read largely in translation. Nevertheless, translation also has positive implications. Interest in women's literature is helping to break down the traditional barriers between Irish literature in Irish and in English. The isolation of Irish literature in Irish is further broken down by the fact that women writers in Irish and their critics operate in a wider international context of women's literature. (shrink)

The first complete introduction to the subject ever published, A History of Irish Thought presents an inclusive survey of Irish thought and the history of Irish ideas against the backdrop of current political and social change in Ireland. Clearly written and engaging, the survey introduces an array of philosophers, polemicists, ideologists, satirists, scientists, poets and political and social reformers, from the anonymous seventh-century monk, the Irish Augustine, and John Scottus Eriugena, to the twentieth century and W.B. (...) Yeats and Iris Murdoch. Thomas Duddy rediscovers the liveliest and most contested issues in the Irish past, and brings the history of Irish thought up to date. This volume will be of great value to anyone interested in Irish culture and its intellectual history. (shrink)

The first complete introduction to the subject ever published, _A History of Irish Thought_ presents an inclusive survey of Irish thought and the history of Irish ideas against the backdrop of current political and social change in Ireland. Clearly written and engaging, the survey introduces an array of philosophers, polemicists, ideologists, satirists, scientists, poets and political and social reformers, from the anonymous seventh-century monk, the Irish Augustine, and John Scottus Eriugena, to the twentieth century and W.B. (...) Yeats and Iris Murdoch. Thomas Duddy rediscovers the liveliest and most contested issues in the Irish past, and brings the history of Irish thought up to date. This volume will be of great value to anyone interested in Irish culture and its intellectual history. (shrink)

Ireland has struggled with its ‘feminine’ identity throughout its history. The so-called ‘chasmic dichotomy of male and female' is embedded in colonial and postcolonial constructions of Irishness and it continues to manifest itself in contemporary cultural representations of Ireland and Irishness. This study explores issues of gender and nationality via a reading of a 70-second television advertisement for Caffrey's Irish Ale, titled ‘New York’. The article suggests that, although colonial and postcolonial discourse on Ireland continues to perceive the ‘feminine’ (...) in problematic terms, this is gradually changing as Irish women increasingly, in poet Eavan Boland's words, ‘open a window on those silences, those false pastorals, those ornamental reductions’ that have confined us. (shrink)

Women's Power To Be Loud: The Authority of the Discourse and Authority of the Text in Mary Dorcey's Irish Lesbian Poetic Manifesto "Come Quietly or the Neighbours Will Hear" The following article aims to examine Mary Dorcey's poem "Come Quietly or the Neighbours Will Hear," included in the 1991 volume Moving into the Space Cleared by Our Mothers. Apart from being a well-known and critically acclaimed Irish poet and fiction writer, the author of the poem has been, from (...) its beginnings, actively involved in lesbian rights movement. Dorcey's poem "Come Quietly or the Neighbours Will Hear" is to be construed from a perspective of lesbian and feminist discourse, as well as a cultural, sociological and political context in which it was created. While analyzing the poem, the emphasis is being paid to the intertwining of various ideological and subversive assumptions, their competing for importance and asserting authority over one another, in line with, and sometimes, against the grain of the textual framework. In other words, Dorcey's poem introduces a multilayered framework that draws heavily on various sources: the popular culture idiom, religious discourse, the text even employs, in some parts, crime and legal jargon, but, above all, it relies upon sensuous lesbian experience where desire and respect for the other woman opens the emancipating space allowing for redefining of one's personal and textual location. As a result of such a multifarious interaction, unrepresented and unacknowledged Irish women's standpoints may come to the surface and become articulated, disrupting their enforced muteness that the controlling heteronormative discourse has attempted to ensure. In Dorcey's poem, the operating metaphor of women's silence, conceived of, at first, as the need to conceal one's sexual identity in fear of social ostracism and contempt of the "neighbours," is further equated with the noiseless, solitary and violent death of the anonymous woman, the finding of whose body was reported on the news. In both cases, the unwanted Irish women's voices of either agony, during the unregistered by anybody misogynist bloodshed that took place inside the flat, or the forbidden sounds of lesbian sexual excitement, need to be censored and stifled, not to disrupt an idealized image of the well-established family and heteronormative patterns. In the light of the aforementioned parallel, empowered by the shared bodily and emotional closeness with her female lover, and already bitterly aware that silence in discourse is synonymous with textual, or even, actual death, the speaker in "Come Quietly or the Neighbours Will Hear" comes to claim her own agency and makes her voice heard by others and taken into account. (shrink)

"This book is about the way shifting conceptions of ecology, biology and technology significantly alter what it means to write poetry about nature in a time of environmental crisis. It offers a radical re-reading of three major British poets, Ted Hughes, Derek Mahon and JH Prynne, and their aesthetic strategies for negotiating the complex feedbacks between organisms and their environments in a technological world. Their poetry not only provides ways of thinking and communicating about ecology and biology, but shows how (...) the unpredictable processes of thought and communication impact on organic life in the Anthropocene, providing a substantial challenge to aesthetics, ethics and politics" --. (shrink)

The Irish poet W. B. Yeats once wrote, with great sapience and perception: Nor dread, nor hope attend A dying animal; A man awaits his end Dreading and hoping all. That death has ever been a problem to man is attested as far back as we can trace our species in the archaeological record—indeed, it seems to have been a problem even for that immediate precursor of homo sapiens, the so-called Neanderthal Man; for he buried his dead.

In ‘The Woman Poet: Her Dilemma’ (1986—7), the Irish poet Eavan Boland argued that women poets were obstructed on the one hand by traditional ideas of femininity and poetry, and on the other by the demands of separatist feminism. In ‘Dilemmas and Developments: Eavan Boland Re-examined’ Sarah Maguire argues that in recent years women poets have clearly achieved greater confidence as a result of changes in their audience. However, the underlying dilemma facing a woman poet — that of the (...) tension between the demands of femininity and the role expected of a post-Romantic lyric poet — continues to remain unresolved. (shrink)

While it has been omitted by numerous critics in their otherwise comprehensive readings of Yeats’s oeuvre, “Beautiful Lofty Things” has been placed among the mythical poems, partly in accordance with Yeats’s own intention; in a letter to his wife, he suggested that “Lapis Lazuli, the poem called ‘To D. W.’ ‘Beautiful Lofty Things,’ ‘Imitated from the Japanese’ & ‘Gyres’... would go well together in a bunch.” The poem has been inscribed in the Yeats canon as registering a series of fleeting (...) epiphanies of the mythical in the mundane. However, “Beautiful Lofty Things,” evocative of a characteristically Yeatsian employment of myth though it certainly is, seems at the same time to fuse Yeats’s quite earthly preoccupations. It is here argued that the poem is organized around a tightly woven matrix of figures that comprise Yeats’s idea of the Irish nation as a “poetical culture.” Thus the position of the lyric in the poet’s oeuvre deserves to be shifted from periphery towards an inner part of his cultural and political ideas of the time. Indeed, the poem can be viewed as one of Yeats’s central late comments on the state of the nation and, significantly, one in which he is able to proffer a humanist strategy for developing a culturally modern state rather than miring his argument in occasionally over-reckless display of abhorrence of modernity. (shrink)

The essay explores Paul Muldoon’s elegy for the fellow Northern Irish poet Ciaran Carson with a view to showing that “The Triumph” seeks to evoke a ground where political, cultural and religious polarities are destabilized. As the various intertextual allusions in the poem are traced, it is argued that Muldoon seeks to revise the notion of the Irish shibboleths that, as the poem puts it, “are meant to trip you up.” In lieu of this linguistic and political slipperiness, (...) “The Triumph” situates Carson’s protean invocations of Belfast and traditional Irish music as the new shibboleths of collectivity. (shrink)

A contribution to the Common Knowledge symposium on xenophilia, this article examines the travelogue of Mirza Abu Taleb ibn Muhammed Isfahani, the Muslim Indo-Persian scholar, poet, and Lucknow nobleman who sympathized with the Irish during his travels to England and Ireland in 1799–1802. Translated from Persian to English by an Irish scholar working for the British East India Company, Charles Stewart, and published in London in two editions, The Travels of Mirza Abu Taleb Khan records the author's love (...) for the Irish and theirs for him. This mutual xenophilia, the article argues, is politically motivated by Abu Taleb's strong, but mostly tacit, reservations about the English, his imperial patrons. He realigns the relationship between metropole and colony by casting Ireland as the bridgehead of a glorious Islamic-Persianate culture that spread westward, a transcultural fantasy that takes two forms. First, the unconditional hospitality Abu Taleb experiences among his Irish and Anglo-Irish hosts leads him to imagine a linguistic-ethnic kinship between ancient Celts and Persians, recalled in the similarities he sees between a subimperial capital, Dublin, and an Indian Mughal city, Lucknow. Second, in his detailed account of a patriotic performance that he attended in Dublin of the British siege of Seringapatam in 1799, he identifies with the skeptical audience who, he assumes, are self-conscious about this propagandistic medium. (shrink)

This book deals with Johannes Scottus Eriugena, an Irish scholar at the Court of Charles the Bald in France in the second half of the ninth century - to be clearly distinguished from John Duns Scotus, after whom `Scotist' philosophy is named. Eriugena's main work, Periphyseon, is a remarkable attempt at a real intellectual synthesis between the Bible and Neoplatonist philosophy. It was not looked upon with great favour in the West except by the mystics and, more recently, by (...) German Idealist philosophers of the last century. Now, however, because of the growth of interest in Medieval Studies, there is an increasing curiosity about Eriugena and his work - but there has been no comprehensive book about him since that of M. Cappuyns in 1933. Bringing together the results of the most recent research on Eriugena, this book discusses his background in Ireland and life in France, and of his career as teacher, controversialist, translator, and poet. It gives an extended and careful summary of the Periphyseon, and the first translation into English of the brief Homily on the Prologue to St.John's Gospel. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Little Eternities: Henry James’s Horatian Sense of Time KATHLEEN RILEY Summer’s lease hath all too short a date. —Shakespeare, Sonnet 18 On a visit to Bodiam Castle in Sussex in 1908, Henry James remarked to Edith Wharton: “Summer afternoon—summer afternoon; to me those have always been the two most beautiful words in the English language.”1 The potency of those two words derives from their immediate evocation of an arrested (...) moment between the day’s halcyon perfection and its imminent dying fall. Small wonder that those same words were later used to mythologize an Edenic Edwardian England poised on the brink of war, to preserve in aspic the fancy of a gilded innocence and order, and the promise of “blue remembered hills,”2 careless of the teeming, tumultuous reality of an England already in the shadow of the Tree of Knowledge. James’s masterpiece of 1881, The Portrait of a Lady, begins with a luxuriously redolent depiction of a summer afternoon, of the hours before dusk that constitute a pleasurable little eternity, of the languorous rhythms and rituals of what Disraeli called “the sustained splendour of [a] stately life.”3 Under certain circumstances there are few hours in life more agreeable than the hour dedicated to the ceremony known as afternoon tea. There are circumstances in which, whether you partake of the tea or not—some people of course never do,—the situation is in itself delightful. Those that I have in mind in beginning to unfold this simple history offered an admirable setting to an innocent pastime. The implements of the little feast had been disposed upon the lawn of an old English country-house, in what I should arion 27.1 spring/summer 2019 call the perfect middle of a splendid summer afternoon. Part of the afternoon had waned, but much of it was left, and what was left was of the finest and rarest quality. Real dusk would not arrive for many hours; but the flood of summer light had begun to ebb, the air had grown mellow, the shadows were long upon the smooth, dense turf. They lengthened slowly, however, and the scene expressed that sense of leisure still to come which is perhaps the chief source of one’s enjoyment of such a scene at such an hour. From five o’clock to eight is on certain occasions a little eternity; but on such an occasion as this the interval could be only an eternity of pleasure.4 This passage, it strikes me, is essentially Horatian in its Epicurean delight in the passing moment. For the Augustan poet Horace, this delight, which is intrinsically elegiac, is expressed in the sympotic pleasures of wine and friendship, in the freedom aestivam sermone benigno tendere noctem (“to prolong the summer night with genial conversation,” Epistles i.5.11). For Henry James, it rests in “the ceremony known as afternoon tea,” in the lengthening shadows on an English lawn by “the reedy, silvery Thames” (PL 32). In both cases the evanescence of these simple pleasures is deeply felt and pleasure itself heightened by an undertone of melancholy, by a nostalgic apprehension of the present. LOCI AMOENI in his review of Augustus J. C. Hare’s Days near Rome (1875), Henry James commented: “The smallest pretext for quoting from Horace—the most quotable of the ancients— should always be cultivated.”5 His own facility for quoting from Horace was evident from his earliest published works, and belied an “extraordinarily haphazard and promiscuous” education shuttling, at his father’s restless instigation, between New England, Britain and Continental Europe.6 James’s biographer, Leon Edel, recorded the family legend that William James (Henry’s Irish grandfather), “who was eighteen in 1789, when he set foot in the New World, 22 little eternities brought with him a ‘very small sum of money,’ a Latin grammar and a desire to visit the fresh battlefields of the Revolutionary War.”7 Young Henry’s instruction in Latin grammar seems to have begun in the Old World, under a private tutor in London in 1855, a Scotsman named Robert Thomson who later ran a small school in Edinburgh attended by Robert Louis Stevenson. It... (shrink)

A wry and compassionate selection of essays reflecting on mortals and mortality, from the acclaimed author of The Undertaking. For nearly four decades, poet, essayist, and small- town funeral director Thomas Lynch has probed relations between the literary and mortuary arts. His life's work with the dead and the bereaved has informed four previous collections of nonfiction, each exploring identity and humanity with Lynch's signature blend of memoir, meditation, gallows humor, and poetic precision. The Depositions provides an essential selection from (...) these masterful collections, as well as new essays in which the space between Lynch's hyphenated identities-as an Irish American, undertaker-poet-is narrowed by the deaths of poets, the funerals of friends, the loss of neighbors, intimate estrangements, and the slow demise of a beloved dog. Meanwhile, the press of the author's own mortality sharpens a curiosity about where we come from, where we go, and what it means. In The Depositions, Lynch continues to illuminate not only how we die, but also how we live. (shrink)

Jean-Michel Rabaté uses Nietzsche's image of a "pathos of distance," the notion that certain values cannot originate in a community but are created by a few gifted and lofty individuals, as the basis for a wide-ranging investigation into the ethics of the moderns. The expression of "pathos of distance" impressed would-be modernists like the American James Huneker and the Irish poet W. B. Yeats as they confronted the new in the arts. Later, it helped Deleuze and Barthes make sense (...) of modernity when they tried to tease out all the implications of "distance." Despite Benjamin criticism of Nietzsche's doctrine of the "eternal return of the same" in the Arcades Project, in his "Theses on the Philosophy of History" Benjamin envisions a redeemed history that follows Nietzsche's basic intuition about the need to make every moment count for history. By first establishing this unlikely meeting of Nietzsche and Benjamin through their ideas of history and ethics, Rabaté is able then to provide an original genealogy for the ethics of the modern, moving through figures and moments as varied as Yeats and the birth of Irish Modernism, the ethics of courage in Virginia Woolf, Rilke, Apollinaire, and others in 1910, Gide and Genet's ethical impulse to combine erotic liberation with the motivation for political revolution, and Derrida's reading of Joyce's Ulysses and a modern mode of writing that sought to get closer to the senses. The result is a fascinating critique of Nietzsche, Benjamin, affect theory, and the origins of the ethics of modernism. (shrink)

Narratives of the experience of pulmonary tuberculosis are relatively rare in the Irish context. A scourge of the early twentieth century, TB was as much a social as a physically debilitating disease that rendered sufferers silent about their experience. Thus, the personal diaries and letters of Irish poet, Seán Ó Ríordáin, are rare. This article presents translations of his personal papers in a historico-medical context to chronicle Ó Ríordáin’s experience of a life marred by respiratory disease. Familiar to (...) generations of schoolchildren are his imaginative poems, whose lively metre punctuated the Irish language curriculum from primary through to secondary schooling; for most they leave an indelible mark. Such buoyant poems however belie the reality of his existence, lived in the shadow of chronic illness, and punctuated with despair over his condition and anxiety about the periods of extended sick leave his illness necessitated. Although despair dominated his diaries and he routinely begged God, Mary, the Saints and the devil for death, they were also the locus where his creativity developed. In his diaries, caricatures of friends and sketches of everyday things nestle among the first lines of some of his most influential poems and quotes from distinguished philosophers and writers. Evocative and tragic, his diaries offer a unique prism to the experience of respiratory disease in Ireland. (shrink)

The Use of Ulster Speech by Michael Longley and Tom Paulin The article examines the application and exploration of Ulster dialects in the work of two poets of Northern Irish Protestant background, Tom Paulin and Michael Longley. It depicts Paulin's attitude to the past and the present of their community of origin, the former positive and the latter negative, which is responsible for the ambiguities in his use of and his comments on the local speech. Both poets employ the (...) vernacular to refer to their immediate context, i.e. the conflict in Ulster, and in this respect linguistic difference comes to be associated with violence. Yet another vital element of their exploration of the dialect is its link to their origins, home and the intimacy it evokes, which offers a contrary perspective on the issue of languages and makes their approach equivocal. This context in Paulin's poetry is further enriched with allusions to or open discussion of the United Irishmen ideal and the international Protestant experience, and with his reworking of ancient Greek myth and tragedy, while in Longley's poetry it is set in the framework of "translations" from Homer which, strangely enough, transport the reader to contemporary Ireland. While Longley in his comments relates the dialect to his personal experience, Paulin seems to situate it in a vaster network of social and political concepts that he has developed in connection with language, which in Ireland has never seemed a neutral phenomenon detached from historical and political implications. Longley's use of local speech is seldom discussed by critics; Paulin's, on the contrary, has stirred diverse reactions and controversies. The article investigates some of these critical views chiefly concerned with the alleged artificiality of his use of local words and with his politicizing the dialects. Performing the analysis of his poems and essays, the article argues for Paulin's "consistency in inconsistency," i.e. the fact that his application of dialectal words reflects his love-hate attitude to his community of origin, and that in the clash of two realities, of the conflict and of home, his stance and literary practice is not far from Longley's, which has been regarded as quite neutral as one can infer from the lack of critical controversy about it. The voices of the two poets and their use of local speech provide a crucial insight into the Northern Irish reality with all its intricacy and paradox. (shrink)

The article examines the application and exploration of Ulster dialects in the work of two poets of Northern Irish Protestant background, Tom Paulin and Michael Longley. It depicts Paulin's attitude to the past and the present of their community of origin, the former positive and the latter negative, which is responsible for the ambiguities in his use of and his comments on the local speech. Both poets employ the vernacular to refer to their immediate context, i.e. the conflict in (...) Ulster, and in this respect linguistic difference comes to be associated with violence. Yet another vital element of their exploration of the dialect is its link to their origins, home and the intimacy it evokes, which offers a contrary perspective on the issue of languages and makes their approach equivocal. This context in Paulin's poetry is further enriched with allusions to or open discussion of the United Irishmen ideal and the international Protestant experience, and with his reworking of ancient Greek myth and tragedy, while in Longley's poetry it is set in the framework of "translations" from Homer which, strangely enough, transport the reader to contemporary Ireland. While Longley in his comments relates the dialect to his personal experience, Paulin seems to situate it in a vaster network of social and political concepts that he has developed in connection with language, which in Ireland has never seemed a neutral phenomenon detached from historical and political implications. Longley's use of local speech is seldom discussed by critics; Paulin's, on the contrary, has stirred diverse reactions and controversies. The article investigates some of these critical views chiefly concerned with the alleged artificiality of his use of local words and with his politicizing the dialects. Performing the analysis of his poems and essays, the article argues for Paulin's "consistency in inconsistency," i.e. the fact that his application of dialectal words reflects his love-hate attitude to his community of origin, and that in the clash of two realities, of the conflict and of home, his stance and literary practice is not far from Longley's, which has been regarded as quite neutral as one can infer from the lack of critical controversy about it. The voices of the two poets and their use of local speech provide a crucial insight into the Northern Irish reality with all its intricacy and paradox. (shrink)

Book reviewed in this article: In Search of History: Historiography in the Ancient World and the Origins of Biblical History. By John Van Seters. The Hidden God: The Hiding of the Face of God in the Old Testament. By Samuel E. Balentine. Theodicy in the Old Testament. Edited by James L. Crenshaw. Ce Dieu censé aimer la Souffrance. By François Varone. Evil and Evolution, A Theodicy. By Richard W. Kropf. ‘Poet and Peasant’ and ‘Through Peasant Eyes’: A Literary‐Cultural Approach to (...) the Parable in Luke. By Kenneth Bailey. The Biblical Foundations for Mission. By Donald Senior and Carroll Stuhlmueller. New Testament Foundations of Ministry. By Colin Kruse. Church, Ministry and Unity. By James E. Griffiss. Theology of Ministry. By Thomas Franklin O'Meara. Yesterday and Today: A Study of Continuities in Christology. By Colin E. Gunton. I believe in the Holy Spirit. By Yves Congar. Between Jesus and Paul. By Martin Hengel. From Nicaea to Chalcedon: A Guide to the Literature and its Background. By Frances Young. Alan of Lille: The Frontiers of Theology in the Later Twelfth Century. By G.R. Evans. Mystic and Pilgrim: The Book and the World of Margery Kempe. By Clarissa W. Atkinson. Church, Politics and Society: Scotland 1408–1929. Edited by N. Macdougall. Renaissance and Reform: The Italian Contribution. Collected Essays, Volume II. By Frances A. Yates. Seven‐Headed Luther: Essays in Commemoration of a Quincentury, 1483–1983. Edited by Peter Newman Brooks. Ökumenische Erschliessung Martin Luthers. Edited by Peter Manns and Harding Meyer. Luther's Ecumenical Significance, An Interconfessional Consultation. Edited by Peter Manns and Harding Meyer, in collaboration with Carter Lindberg and Harry McSorley. States of Mind: A Study of Anglo‐Irish Conflict 1780 to 1980. By Oliver MacDonagh. The Parish Clergy in Nineteenth‐Century Russia: Crisis, Reform, Counter Reform. By Gregory L. Freeze. Pusey Rediscovered. Edited by Perry Butler. Between Two Worlds: George Tyrrell's Relationship to the Thought of Matthew Arnold. By Nicholas Sagovsky. The Concept of Glaubenslehre. By Walter E. Wyman, Jr. The Existence and Nature of God. Edited by Alfred J. Freddoso. Faith and Reason. By Anthony Kenny. Logic and The Nature of God. By Stephen T. Davis. Personal Responsibility and Christian Morality. By Josef Fuchs. Morality and Conflict. By Stuart Hampshire. Realism and Imagination in Ethics. By Sabina Lovibond. Intentionality. By John R. Searle. Philosophical Papers, I: Practical Reason. By G.H. von Wright. Philosophical Papers, II: Philosophical Logic. By G.H. von Wright. A Model of Making: Literary Criticism and its Theology. By Ruth Etchells. The Return of the Goddess: Femininity, Aggression and the Modern Grail Quest. By Edward Whitmont. The Power of the Poor in History. By Gustavo Gutierrez, translated by Robert R. Barr. The God of the Xhosa. By Janet Hodgson. Our Hymn Tunes: Their Choice and Performance. By Donald Webster. The Almighty Wall: The Architecture of Henry Vaughan. By William Morgan. An Introduction to Plato's Laws. By R.E. Stalley. Plato's Late Ontology: A Riddle Resolved. By Kenneth M. Sayre. Plato's ‘Parmenides’: Translation and Analysis. By R.E. Allen. Politics in the Ancient World. By M.I. Finley. (shrink)

It is in the context of this auditory imagination that I wish to discuss the language of Ted Hughes, Geoffrey Hill, and Philip Larkin. All of them return to an origin and bring something back, all three live off the hump of the English poetic achievement, all three, here and now, in England, imply a continuity with another England, there and then. All three are hoarders and shorers of what they take to be the real England. All three treat England (...) as a region—or rather treat their region as England—in different and complementary ways. I believe they are afflicted with a sense of history that was once the peculiar affliction of the poets of other nations who were not themselves natives of England but who spoke the English language. The poets of the mother culture, I feel, are now possessed of that defensive love of their territory which was once shared only by those poets whom we might call colonial—Yeats, MacDiarmid, Carlos Williams. They are aware of their Englishness as deposits in the descending storeys of the literary and historical past. Their very terrain is becoming consciously precious. A desire to preserve indigenous traditions, to keep open the imagination's supply lines to the past, to receive from the stations of Anglo-Saxon confirmations of ancestry, to perceive in the rituals of show Saturdays and race-meetings and seaside outings, of church-going and marriages at Whitsun, and in the necessities that crave expression after the ritual of church-going has passed away, to perceive in these a continuity of communal ways, and a confirmation of an identity which is threatened—all this is signified by their language. Seamus Heaney, recognized today as one of Ireland's leading poets, has received numerous honors, among them the E. C. Gregory Award, the Cholmondeley Award, the Irish Academy of Letters Award, the Denis Devlin Award, and the American Academy of Arts and Sciences E. M. Forster Award. His published poems have been collected in four volumes: Death of a Naturalist , Door in the Dark , Wintering Out , and North . In another form this essay was delivered as the Beckham Lecture at Berkeley in the spring of 1976. He has also contributed to the Summer 1981 issue on “Current Unstated Assumptions about Poetry” for Critical Inquiry. (shrink)

The paper scrutinizes the literary output of George Moore with reference to the expectations of the new generation of Irish writers emerging at the beginning of the twentieth century. Although George Moore is considered to belong to the Anglo-Irish ascendancy writers, he began his writing career from dissociating himself from the literary achievements of his own social class. His infatuation with the ideals of the Gaelic League not only brought him back to Dublin, but also encouraged him to (...) write short stories analogous to famous Ivan Turgenev’s The Sportsman’s Sketches. The idea of using a Russian writer as a role model went along with the Gaelic League advocating the reading of non-English European literature in search for inspiration. However the poet’s involvement in the public cause did not last long. His critical view on Ireland together with his uncompromising approach towards literature resulted in a final disillusionment with the movement. The paper focuses on this particular period of Moore’s life in order to show how this seemingly unfruitful cooperation became essential for the development of Irish literature in the twentieth century. The Untilled Field, though not translated into Irish, still marks the beginning of a new genre into Irish literature—a short story. More importantly, the collection served as a source of inspiration for Joyce’s Dubliners. These and other aspects of Moore’s literary life are supposed to draw attention to the complexity of the writer’s literary output and his underplayed role in the construction of the literary Irish identity. (shrink)

Between pessimism and optimism, Samuel Vriezen attempts to intuit a third way through an assessment of failure and negativity in the consonances and tensions between the prosody of Irish playwright Samuel Becekett and American poet Gertrude Stein.

Although Sir Samuel Ferguson is generally recognized as one of the key figures of mid-nineteenth-century Irish literature, there has been no major edition of his poems since 1916, as a result of which his work tends to be known to the general reader through selections published in anthologies. The essay analyzes the selections of Ferguson’s work in anthologies of Irish literature published between 1895 and 2010 in an attempt to assess the impact of the cultural dynamics of twentieth-century (...) Ireland on the interpretation of Ferguson’s achievement as a poet. The evidence collected demonstrates that the image of Ferguson perpetuated by most twentiethcentury anthologists, most of them Hibernocentric in approach, was that of a respectable if rather old-fashioned Romantic nationalist antiquarian, whose work focused primarily on familiarizing the Victorian reader with the ancient myths and traditions of Ireland. This interpretation of Ferguson’s achievement, motivated, it is argued, by the predominantly nationalist agenda of modern Ireland’s cultural establishment, has largely marginalized the other side of Ferguson—a political thinker committed to the unionist cause and vehemently opposed to the violence perpetrated by the emergent Irish republican movement and culminating in the Phoenix Park murders of 1882, which formed the subject of two of Ferguson’s most powerful late poems, “At the Polo-Ground” and “In Carey’s Footsteps.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Dictionary of Eighteenth-Century British PhilosophersHeiner F. KlemmeJohn W. Yolton, John Valdimir Price, John Stephens, general editors. The Dictionary of Eighteenth-Century British Philosophers. Vols. 1, 2. Bristol: Thoemmes Press, 1999. Pp. xxiii + 1,013. Cloth, $550.00.Good dictionaries are like good maps of a city: they indicate the main and minor quarters, give you an impression of its internal developments, and they indicate to where its highways eventually lead. (...) In philosophy, comprehensive subject dictionaries have a long history, and they do seem to experience a revival these days. To be sure, the lives and works of the leading figures of the history of ideas are generally well explored and documented. We even know which French dishes Hume liked to cook or which types of wine Kant preferred. But the lives and works of lesser known philosophers and men of letters still seem to be more or less neglected. The Dictionary of Eighteenth-Century British Philosophers fills this gap for the period and the subject it covers. It comprises entries on almost six hundred persons as well as a number of entries on anonymous works. The work of close to a hundred scholars from several countries, it is unique in its attempt to bring together in two extensive volumes all minor and major British philosophers of the period between John Locke and Dugald Stewart. Since "British" is to be understood in a broad sense meaning authors who lived under British rule, it also includes Americans writing before 1776, Irish philosophers (like George Berkeley) and the French thinker Pierre Desmaizeaux, who lived and worked for a long period in Britain. Nor is the Dictionary restricted to philosophers in today's sense of the word, comprising entries on people who made in one way or the other a contribution to the history of ideas, even if their contributions are of marginal importance. Besides historians, poets, translators, mathematicians and physicists, dissenting ministers and physicians are well represented.In almost all cases, the selection makes sense. The boundaries between philosophy and, say, natural sciences were not as nicely drawn in the eighteenth century as they are today. But there are a few entries where one might wonder whether the subject's work had any specific philosophical importance or influence at all, as for example: Charles Burnet, author of a history of music; John Ellicott, who wrote on Electricity, and Thomas Innes, who published in 1729 a book on "Ancient Inhabitants on the Northern Parts of Britain or Scotland." One might also wonder if Gaelic scholar Beg Eolach Moidhach would appreciate being remembered today as a British philosopher.The length of the entries varies from several lines to up to seven pages. Generally, each entry gives the details of the life and work of the person covered, provides a bibliography of his or her main works, references to "other relevant works," and a section of "further reading." While the larger entries are naturally devoted to the better known figures, most of the authors dealt with in the minor sections cannot complain either. In many cases, information about the life and work of these minor authors is scarce and the entries are useful for this reason alone. But unfortunately, there are also cases in which essential references to "classical" biographical accounts are not listed in the bibliography, like Williams Smellie´s account of James Gregory or George Skene Keith´s biography of John Campbell.The entries on Lord Kames and George Turnbull lay, as far as their length is [End Page 282] concerned, somewhere in the middle between the shorter and longer contributions. They nevertheless are highly informative, densely argued, and are good reading. Knud Haakonssen sees in Kames "perhaps the most complete 'Enlightenment man' among the eighteenth-century Scottish thinkers´" because he covers like no other author "the whole spectrum of human knowledge and its applicability to his society" (503). The most philosophical work of Kames is his Essays on the Principles of Morality and Natural Religion (1751). According to Haakonssen, it is important because in it Kames "turns the previous moral-sense criticism of moral scepticism into a refutation of general epistemological scepticism" (504). By arguing that our... (shrink)

Jonathan Swift is best known as a satirist, a poet, and a polemicist, but he was also a historian and his historical vision played a prominent role in his thinking and in his writings. (Marshall 2015) This chapter explains how the experience of ‘loss’ affected Swift’s historical vision. Swift was a loser in many respects. Born Irish, Swift aspired to achieve professional success as a clergyman in the Church of England and as a politician in the service of the (...) Tory party. For the last four years of Queen Anne’s reign, Swift enjoyed privileged access to the machinations of Robert Harley’s ‘great’ ministry. Swift’s service to the crown was not rewarded with preferment but rather with exile back to Ireland. In his later life, Swift would reinvent himself as an Irish patriot and he would continue to work on revising his History of the Four Last Years of the Queen (written 1712-13; published 1758). (shrink)

This article attempts to investigate the potential resonances between Paul Ricoeur’s and Julia Kristeva’s theories of otherness as applied to the study of poetry by the Northern-Irish poet Sinéad Morrissey. In all of her five poetry books she explores various forms of otherness and attempts to sketch them in verse. She confronts alterity in many ways, approaching such subjects as the relationship with the body and children, encounters with foreigners, and coming to terms with what is foreign within us. (...) This article engages primarily with her experiences of China, which she recorded in the long poem “China” from her third collection, The State of Prisons. Firstly, this article tackles the question of the body, which is interpreted on the basis of Morrissey’s “post-mortem” poems. Their reading prepares the ground for further explorations of otherness, which Morrissey locates at the very heart of human subjectivity. In this way, she also manages to establish a poetic framework for an ethical consideration of otherness. By investigating the working of the human psyche, Morrissey seems to go along the lines of Kristeva and Ricoeur, who claim that otherness is inextricably linked with the formation of human subjectivity. Taking a cue from their philosophical enquiries, the article also attempts to establish where Kristeva’s and Ricoeur’s philosophies overlap. (shrink)

Resumen: En la historia de la recepción de Samuel Beckett en los países de habla no inglesa, la primera traducción de Comment c’est al castellano, realizada por José Emilio Pacheco en 1966, aparece como un hito aislado y deslumbrante. Esta traducción a partir del texto original en francés, hecha por el poeta mexicano cuando tenía 27 años, no tuvo una repercusión notable en su momento, a pesar de la audacia de la empresa y de la brillantez de la traducción. Sin (...) embargo, a raíz de la trayectoria de Pacheco como crítico, traductor y poeta de primera magnitud, se considera necesario hacer una evaluación en profundidad de este texto único. El objetivo de este artículo es el de analizar la versión de Pacheco del texto beckettiano por medio de un acercamiento al contexto histórico y a los elementos propios de su bagaje cultural que el poeta aporta a la elaboración de su traducción. Se trata, en definitiva, de explicar cómo se lee a Beckett en español por medio de Pacheco.: The first translation into Spanish of Samuel Beckett’s Comment c’est, by José Emilio Pacheco, Cómo es, stands out as a dazzling and unprecedented landmark in the history of the reception of the Irish author in non-English-speaking countries. In his translation the 27-year-old Mexican poet took the French original version as his main source but, despite its daring quality and the brilliance of the text rendered into Spanish, it had little impact in the cultural atmosphere of its day. In light of Pacheco’s standing in the world of letters as a first-rank critic, translator and poet, it is deemed necessary a reassessment of this unique text. The aim of this article is to analyze Pacheco’s translation of Samuel Beckett’s novel; for this purpose, the historical context and the personal elements that the poet incorporated from his personal background into his version of Comment c’est will be studied in detail. All in all, the final objective of this research is to explain how Beckett is read in Spanish through Pacheco’s version. (shrink)

This is a powerful and learned meditation on Christianity by a senior Irish theologian, and the main reason it should be noticed in a journal of philosophy is that James Mackey conceives theology as fundamentally philosophical in the way it reflects on and develops our ideas about the sources and nature of being and conduct as they have been articulated in myth, symbol and poetry, as well as more abstractly in metaphysics. On this view the philosophical aspect of theology (...) is displayed no less in the scrutiny and interpretation of that myth, symbol and poetry than in the more narrowly focussed field of natural theology as this has come to be practised by recent analytic philosophers—a field, indeed, which might well be thought, on the evidence of this book, to depend upon and be undermined by an uncritical reception of discredited readings of the imagery of the creation myth . It is appropriate—and something of a relief—that in his nuanced and compelling reflections on that myth Mackey's philosophical temper leads him to stress the importance of the creative imagination, particularly that of the poet, who is ‘the seer, the prophet, the visionary, who sees so deeply into the fabric of reality that the ways of the Creator with creation are revealed in the ensuing poetry, and with a power and a clarity seldom equalled in other forms’ . Indeed he opens his chapter on Creation by highlighting the importance of the metaphors and imagery which are to be his theme and by which myth is constituted and ‘reality’ mediated. He refers to them as ‘configurations through which reality first rewards the attentive, or more precisely the contemplative mind’ and remarks that at its outer limit ‘imagination … ends up by telling a cosmic story, resulting in nothing less than a cosmic myth’ . One important implication of this fertile approach is that it also requires engagement with a question about the nature of the relationship between myth and metaphysics: after all, some philosophers still incline to the view that metaphysics underwrites and validates what the poet ‘sees’. However, it provokes another question, which is at least as important, about the status of theism as itself perhaps ‘a cosmic myth’. What kind of ‘reality’ is revealed by the poet? Are ‘the ways of the Creator with his creation’ the reality whose nature is revealed by the poet? Or is it, rather, that ‘the ways of the Creator with his creation’ are part of a particular configuration of images by which the poets widen our perceptions and articulate their wonder at the world of creative forces in the form of story-telling, both mythopoeic and metaphysical. (shrink)

The paper analyzes the collection of the Northern Irish poet Frank Ormsby entitled A Northern Spring published in 1986. On the basis of selected poems, the author of this paper aims to examine the poet’s reflections about World War II, the lives of the soldiers, and the things that remain after a military combat, which are both physical and illusive. The poems included in the volume present the author’s reflections upon the senselessness of war and dying, short lives of (...) the soldiers, the awareness of their own meaninglessness in comparison to the broader picture, and the contradictory and desperate need to be remembered nevertheless. They also show what is left of the soldiers and the war, as well as how life goes on, with or without them. (shrink)

This book deals with Johannes Scottus Eriugena, an Irish scholar at the Court of Charles the Bald in France in the second half of the ninth century - to be clearly distinguished from John Duns Scotus (1264-1308), after whom `Scotist' philosophy is named. -/- Eriugena's main work, Periphyseon (de divisione naturae), is a remarkable attempt at a real intellectual synthesis between the Bible and Neoplatonist philosophy. It was not looked upon with great favour in the West except by the (...) mystics and, more recently, by German Idealist philosophers of the last century. Now, however, because of the growth of interest in Medieval Studies, there is an increasing curiosity about Eriugena and his work - but there has been no comprehensive book about him since that of M. Cappuyns in 1933. -/- Bringing together the results of the most recent research on Eriugena, this book discusses his background in Ireland and life in France, and of his career as teacher, controversialist, translator, and poet. It gives an extended and careful summary of the Periphyseon, and the first translation into English of the brief Homily on the Prologue to St.John's Gospel. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Dictionary of Eighteenth-Century British PhilosophersHeiner F. KlemmeJohn W. Yolton, John Valdimir Price, John Stephens, general editors. The Dictionary of Eighteenth-Century British Philosophers. Vols. 1, 2. Bristol: Thoemmes Press, 1999. Pp. xxiii + 1,013. Cloth, $550.00.Good dictionaries are like good maps of a city: they indicate the main and minor quarters, give you an impression of its internal developments, and they indicate to where its highways eventually lead. (...) In philosophy, comprehensive subject dictionaries have a long history, and they do seem to experience a revival these days. To be sure, the lives and works of the leading figures of the history of ideas are generally well explored and documented. We even know which French dishes Hume liked to cook or which types of wine Kant preferred. But the lives and works of lesser known philosophers and men of letters still seem to be more or less neglected. The Dictionary of Eighteenth-Century British Philosophers fills this gap for the period and the subject it covers. It comprises entries on almost six hundred persons as well as a number of entries on anonymous works. The work of close to a hundred scholars from several countries, it is unique in its attempt to bring together in two extensive volumes all minor and major British philosophers of the period between John Locke and Dugald Stewart. Since "British" is to be understood in a broad sense meaning authors who lived under British rule, it also includes Americans writing before 1776, Irish philosophers (like George Berkeley) and the French thinker Pierre Desmaizeaux, who lived and worked for a long period in Britain. Nor is the Dictionary restricted to philosophers in today's sense of the word, comprising entries on people who made in one way or the other a contribution to the history of ideas, even if their contributions are of marginal importance. Besides historians, poets, translators, mathematicians and physicists, dissenting ministers and physicians are well represented.In almost all cases, the selection makes sense. The boundaries between philosophy and, say, natural sciences were not as nicely drawn in the eighteenth century as they are today. But there are a few entries where one might wonder whether the subject's work had any specific philosophical importance or influence at all, as for example: Charles Burnet, author of a history of music; John Ellicott, who wrote on Electricity, and Thomas Innes, who published in 1729 a book on "Ancient Inhabitants on the Northern Parts of Britain or Scotland." One might also wonder if Gaelic scholar Beg Eolach Moidhach would appreciate being remembered today as a British philosopher.The length of the entries varies from several lines to up to seven pages. Generally, each entry gives the details of the life and work of the person covered, provides a bibliography of his or her main works, references to "other relevant works," and a section of "further reading." While the larger entries are naturally devoted to the better known figures, most of the authors dealt with in the minor sections cannot complain either. In many cases, information about the life and work of these minor authors is scarce and the entries are useful for this reason alone. But unfortunately, there are also cases in which essential references to "classical" biographical accounts are not listed in the bibliography, like Williams Smellie´s account of James Gregory or George Skene Keith´s biography of John Campbell.The entries on Lord Kames and George Turnbull lay, as far as their length is [End Page 282] concerned, somewhere in the middle between the shorter and longer contributions. They nevertheless are highly informative, densely argued, and are good reading. Knud Haakonssen sees in Kames "perhaps the most complete 'Enlightenment man' among the eighteenth-century Scottish thinkers´" because he covers like no other author "the whole spectrum of human knowledge and its applicability to his society" (503). The most philosophical work of Kames is his Essays on the Principles of Morality and Natural Religion (1751). According to Haakonssen, it is important because in it Kames "turns the previous moral-sense criticism of moral scepticism into a refutation of general epistemological scepticism" (504). By arguing that our... (shrink)

This introduces the special issue “Literature and Emotion.”.

Plant MADS‐box genes encode transcriptional regulators that are critical for a number of developmental processes. In the angiosperms (the flowering plants), these include the specification of floral organ identities, flowering time and fruit development. It appears that the MADS box gene family has undergone considerable gene duplication and sequence divergence within the angiosperms. Here I discuss the possibility that these events have allowed the recruitment of these genes to new developmental pathways in particular angiosperm lineages. Recent analyses of sequence changes, (...) expression patterns and, in a few cases, gene function are beginning to provide tantalizing evidence for deciphering when and how such genetic diversification has led to particular morphological innovations. In the future, comparative studies of large numbers of species will be required to assess the extent of such variation as well as to fully understand the mechanisms by which evolution of these developmental regulators has played a role in shaping new morphologies. BioEssays 25:637–646, 2003. © 2003 Wiley Periodicals, Inc. (shrink)

This paper argues that deep disagreements stem from conflicting worldviews. In particular, I examine how recent moves in engineering education contribute to deep disagreement by inculcating stu-dents into valuing the environment as a key stakeholder in engineering design. However, some graduates who value the environment meet resistance from employers who hold a more traditional engineering worldview, which regards the environment as an externality. Clashing worldviews can, as Robert Fogelin posited, render rational resolution to argument impossible. Disputants must consider the emotional (...) and rhetorical as means to move toward productive ground for argument. I offer two moves from classical rhet-oric–making an exordium and invoking friendliness–as means to shift the frame of an argument and there-by possibly navigate a deep disagreement. (shrink)

Dementia syndromes offer a unique opportunity to clarify some of the component processes of spontaneous expressions of memory proposed by the Barzykowski and Moulin model. By considering the model through the lens of memory disorders, I outline several important extensions to progress our understanding of these spontaneous cognitive phenomena.

Maize develops separate male and female flowers in different locations on a single plant. Male flowers develop at the tip of the shoot in the tassel, and female flowers develop on the ears, which terminate short branches. The development of male flowers in tassels and female flowers in ears is the result of selective abortion of pistils or stamens, respectively, in developing florets. Genetic analysis has shown that stamen abortion and pistil abortion are under the control of two different genetic (...) pathways. Local levels of the plant hormone gibberellic acid determine whether or not stamens are suppressed. Pistil abortion is under the regulation of the tassel seed genes, one of which has been shown to encode a short‐chain alcohol dehydrogenase. The tassel seed genes play a role in regulating the fate of inflorescence meristems as well as pistil primordium fate. (shrink)

Spirituality and Solidarity among De La Salle Schools in Region IV were evaluated and used as basis for development of a management program for enhancement of culture of faith in three schools. The study evaluated the extent of each indicators manifest among groups of respondents and how these can be nurtured in schools’ trilogy of functions and what management program may be developed. Descriptive method of research was used in the study, employing research triangulation as methods in gathering data. The (...) study revealed that the three Lasalian Schools were governed by the Gospel’s values, the charism of its founder and the traditions of the Religio, Mores, et Cultura and Crescit Gratia Virtuteque . The respondents had high level of spirituality and with moderate level of solidarity. The study concludes that the spirituality and solidarity may be nurtured through the implementation of the trilogy of functions. This involves the pursuance of instructional goals and preparation of an extensive research and extension agenda integrated with the principles of the Founder and inspired with gospel values. Thus, the proposed management program is conceptualized as a guide to the enhancement of the culture of faith which will serve as hallmarks for spirituality and solidarity development. Keywords - spirituality, solidarity, culture of faith, Religio, Mores, Cultura and Crescit Gratia Virtuteque. (shrink)

Culturally Responsive Teaching (CRT) weaves together rigor and relevance while it improves student achievement and engagement. The Philippine Department of Education implemented Indigenous People’s education to respond to the demands for culturally responsive teaching. Teacher education graduates are expected to articulate the rootedness of education in sociocultural contexts in creating a learning environment that recognizes respect, connectedness, choice, personal relevance, challenges, engagement, authenticity, and effectiveness. Practice teachers need relevant exposure and immersion to fully develop their competence in CRT. This scenario (...) necessitates attention to assessing the competence of 191 practice teachers in CRT, correlating their competence across dimensions, and verifying the role of gender and degree programs in competence development. This investigation provides evidence on the role of gender in competence development toward culturally responsive teaching. Such competence is vital in practice teachers, especially because they are exposed to learners with diverse backgrounds during their teaching internship. This evidence informs supervising instructors in molding practice teachers. (shrink)