This chapter contains sections titled: A Philosophical Gaze into the Writings of the Zodiac Killer Who is the Zodiac Killer? Peek‐A‐Boo: You Are Doomed! This is the Zodiac Speaking Conclusion.

The events surrounding the ‘Arab Spring’ have attracted an enormous amount of attention by the international press as well as on social media platforms, especially in its initial phase in early 2011. This article investigates how violent and forceful actions during the ‘Arab Revolutions’ were conceptualised linguistically by incorporating notions of Cognitive Semantics in a critical comparative study of press reports and Twitter posts. Focus is placed specifically on combining Talmy’s theory of Force Dynamics with methods of (...) Critical Discourse Studies in order to investigate diverging forms of schematisation of forceful interactions among protest participants. The most frequently recurring opposing force-dynamic patterns identified are defying a hindrance, prevailing stability and causation of action as well as inaction. Notable differences may be observed between mass media and social media in regard to the representation of dynamic power relations between police and protesters. (shrink)

Fundamentación: la educación integral del estudiante de Medicina incluye el desarrollo de las habilidades comunicativas y lingüísticas en idioma Inglés, que le posibiliten mantenerse informado y comunicarse en medios anglófonos. La prensa escrita es un medio de información que permite que los estudiantes reflexionen, valoren, interpreten y se comuniquen. Objetivo: Contribuir al desarrollo de las habilidades lingüísticas y comunicativas con la prensa escrita en clases de inglés. Método: Se realizó un estudio pre-experimental que consistió en elaborar ejercicios a partir de (...) la utilización de artículos de la prensa escrita relacionados con medicina y salud pública, como medios de enseñanza. El estudio se realizó con 40 estudiantes del quinto año de Medicina y 15 profesionales matriculados en un curso de posgrado de la Facultad de Ciencias Médicas de Mayabeque. Resultados: La información sobre aspectos de medicina y salud pública publicados en la prensa y los hábitos de lectura de la prensa de los estudiantes del quinto año era baja antes de la intervención y después de la puesta en práctica de la experiencia mejoró significativamente. Los resultados de los cuatro cortes evaluativos muestran la eficacia de la experiencia, por cuanto el desarrollo de las habilidades se comportó de manera ascendente. Conclusiones: Este sistema de trabajo facilitó la motivación de las clases, se desarrollaron habilidades lingüísticas y comunicativas y sirvió de base para fomentar el trabajo educativo, aumentó el vocabulario general y técnico de los estudiantes. Foundation: the medical students’ integral education includes the development of linguistic and communicative abilities in the English language, in such a way, they have the possibility to be informed and communicate properly in English-speaking contexts. The printing press is a means of information which allows them to reflect, valuate interpretate and communicate properly. Objective: to contribute to the development of linguistic and communicative abilities with the printing press in the English lessons Method: it was carried out a pre-experimental study which consisted in the elaboration of exercises related to the content of medical articles taken from the printing press. The study was carried out with 40 5th year medical students and 15 health professionals registered for a post graduated course of English in the Faculty of medicine from Mayabeque. Results: the information concerning medicine and public health published in the printing press and the 5th year medical students reading habits before putting into practice the didactic experience were low. Meanwhile, it improved considerably after its implementation. The results of the four evaluative breaks show the effectiveness of the didactic experience. The development of reading abilities was increased. Conclusions: this system of work facilitated motivation during the learning activities, linguistic and communicative abilities were developed considerably; it served as a base to promote educative work, and to increase the students general and technical vocabulary. (shrink)

Grief is, and has always been, technologically supported. From memorials and shrines to photos and saved voicemail messages, we engage with the dead through the technologies available to us. As our technologies evolve, so does how we grieve. In this paper, we consider the role chatbots might play in our grieving practices. Influenced by recent phenomenological work, we begin by thinking about the character of grief. Next, we consider work on developing “continuing bonds” with the dead. We argue (...) that for some, chatbots may play an important role in establishing these continuing bonds by helping us develop what we term “habits of intimacy”. We then turn to the “ick factor” some may feel about this prospect, focusing especially on ethical concerns raised by Patrick Stokes and Adam Buben about the risk of replacing our dead with chatbots. We argue that replacement worries are not as pressing as Stokes and Buben suggest. We resist these replacement worries by appealing to the “thin reciprocity”, as we refer to it, that such bots offer, as well as the fictionalist stance that we think users of the bots adopt when engaging with them. We conclude by briefly raising some additional concerns and highlighting future research questions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS The Inference That Makes Science. By ERNAN McMULLIN. The Aquinas Lecture, 1992. Milwaukee: Marquette University Press, 1992. Pp. iv +112. In this ambitious lecture Father Ernan McMullin recapitulates and refines a thesis that has guided his thought for the past forty years. In essence the thesis is this: precisely how science is made has eluded the best minds for centuries, and only in the work of (...) Charles Sanders Peirce, suitably emended by McMullin, has the puzzle finally been solved. " Retroduction " is the inference that makes science. Once this is understood, errors on what constitutes scientific method-those of Aristotle, Aquinas, Galileo, Newton, Bacon, Hume, et al.-can be rectified and one can see science for what it truly is: a complex process of theory appraisal that yields, not definitive truth, but well-established results to which assent can be given with at best "practical certainty," whatever that might be (pp. 91-96). Why McMullin should have chosen such a theme for an Aquinas Lecture is a question that defies reasonable answer. Surely one does not have to he so negative about the thought of Aristotle, Aquinas, and Galileo to advance one's ideas about science in the present day. What McMullin could easily have done, and he hints at this in the last two paragraphs of his lecture (pp. 97-98), is show how retroduction is itself simply a relaxed version of the demonstrative regress, the method actually endorsed by Aristotle, Aquinas, and Galileo. Such a retroductive version, fair enough, yields knowledge of a probable cause, the type of knowledge most typical of modern science. McMullin did not have to embark on the dangerous course of trying to prove that proof and certainty are forever beyond the grasp of science, or that never in the history of science has anyone established a definitive truth. That, in effect, is what McMullin has tried to do, and in the attempt to make the point he fumbles at almost every juncture throughout a very long lecture. To set the record straight more than a review is being re--·quested; perhaps a book, and even that might not suffice for those whose minds are made up. To understand the import of the lecture one must appreciate that it is hut a brief episode in a debate over demonstration in science that has been going on since McMullin first came to the University of Notre Dame in 1954. I myself have published many hooks and articles that engage the very point of his lecture and provide the contra evidence to 131 132 BOOK REVIEWS show elements of continuity in scientific method from Aristotle to the present. My last two volumes, in press at the same time as McMullin's Aquinas Lecture, answer in detail the aporiai he there raises.1 I need 1 Galileo's Logic of Discovery and Proof. The Backgrnund, Content, and Use of His Appropriated Treatises on Aristotle's Posterior Analytics. Boston Studies in the Philosophy of Science 137. Dordrecht-Boston-London: Kluwer Academic Publishers, 1992, xxiii + 323 pp.; Galileo's Logical Treatises. A Translation, with Notes and Commentary, of His Appropriated Questions on Aristotle's Posterior Analytics. Boston Studies in the Philosophy of Science 138. DordrechtBoston -London: Kluwer Academic Publishers, 1992, xix + 239 pp. only refer the interested reader to them for an extended and documented reply to his arguments. Some idea of the flavor of our debate, however, can be gained from the following. To support his thesis, McMullin has to maintain that Aristotle's proof that the moon is a sphere (from its having phases) and that Galileo's proofs that there are mountains on the moon, that Jupiter has satellites, and that Venus circles the sun (all based on telescopic observations) are not strictly demonstrative, that is, they do not yield true and certain conclusions. He declines to answer a query I have often tendered whether he personally is certain on the basis of pre-spacecraft evidence that the moon is a sphere, that there are mountains on it, that Jupiter has satellites, and so on. Instead he offers the categorical response "that planetary science is not an apodictic science, indeed that no natural science is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedAquinas on Being. By Anthony Kenny. Oxford: Clarendon Press, 2002. Pp. x + 212. Price not given.Before and after Avicenna: Proceedings of the First Conference of the Avicenna Study Group. Edited by David C. Reisman, with the assistance of Ahmed H. al Rahim. Leiden: Brill, 2003. Pp. xix + 302. Price not given.Beside Still Waters: Jews, Christians, and the Way of the Buddha. Edited by Harold (...) Kasimow, John P. Keenan, and Linda Klepinger Keenan. Boston: Wisdom Publications, 2003. Pp. 284. Paper $14.95.The Buddhist Unconscious: The ālaya-vijñāna in the Context of Indian Buddhist Thought. By William S. Waldron. London and New York: RoutledgeCurzon, 2003. Pp. xvi + 269. Price not given.Comparative Political Philosophy: Studies under the Upas Tree. Edited by Anthony J. Parel and Ronald C. Keith. Lanham, Maryland: Lexington Books, 2003. Pp. xxxviii + 260. Paper $26.95.The Confucian Quest for Order: The Origin and Formation of the Political Thought of Xun Zi. By Masayuki Sato. Leiden: Brill, 2003. Pp. xviii + 500. Price not given.Gathering the Meanings: The Compendium of Categories: The Arthaviniścaya Sūtra and Its Commentary Nibandhana. Translated from the Sanskrit by N. H. Samtani. Berkeley: Dharma Publishing, 2002. Pp. xxxiv + 390. Price not given.I Have Arrived, I Am Home: Celebrating Twenty Years of Plum Village Life. By Thich Nhat Hanh. Berkeley: Parallax Press, 2003. Pp. 253. Paper $25.00.Identity and the Moral Life. By Mrinal Miri. New Delhi: Oxford University Press, 2003. Pp. xvii + 132. Hardcover Rs 645.00.Indian Philosophers and Postmodern Thinkers: Dialogues on the Margins of Culture. By Carl Olson. New Delhi: Oxford University Press, 2002. Pp. xv + 331. Hardcover Rs 950.00.Islamic Humanism. By Lenn E. Goodman. New York: Oxford University Press, 2003. Pp. xiii + 273. Price not given.Letting Go: The Story of Zen Master Tōsui. Translated by Peter Haskel. Honolulu: University of Hawai'i Press, 2001. Pp. xv + 167. Hardcover $45.00. Paper $16.95.A Life Journey to the East: Sinological Studies in Memory of Giuliano Bertuccioli (1923-2001). Edited by Antonino Forte and Federico Masini. Kyoto: Scuola Italiana di Studi sull'Asia Orientale, 2002. Pp. xxxv + 280. Price not given.The Measure of Things: Humanism, Humility and Mystery. By David E. Cooper. Oxford: Clarendon Press, 2002. Pp. ix + 372. Price not given. [End Page 277]Mencius, Hume and the Foundations of Ethics. By Xiusheng Liu. Aldershot, Hampshire: Ashgate Publishing Limited, 2003. Pp. vii + 204. Price not given.Monks and Monarchs, Kinship and Kingship: Tanqian in Sui Buddhism and Politics. By Chen Jinhua. Kyoto: Scuola Italiana di Studi sull'Asia Orientale, 2002. Pp. xiii + 310. Price not given.Music in the Sky: The Life, Art, and Teachings of the 17th Gyalwa Karmapa Ogyen Trinley Dorje. By Michele Martin. Ithaca: Snow Lion Publications, 2003. Pp. 351. Paper $18.95, U.K. £12.95.New Confucianism: A Critical Examination. Edited by John Makeham. New York: Palgrave Macmillan, 2003. Pp. 262. Hardcover $55.00.On the Boundaries of Theological Tolerance in Islam: Abū Hāmid Al-Ghāzalī's Faysal al-Tafriqa Bayna al-Islām wa al-Zandaqa. By Sherman A. Jackson. Oxford: Oxford University Press, 2002. Pp. xiv + 156. Hardcover Rs 295.00.Pandita Ramabai's American Encounter: The Peoples of the United States (1889). By Pandita Ramabai and translated and edited by Meera Kosambi. Bloomington: Indiana University Press, 2003. Pp. xi + 284. Hardcover $59.95. Paper $29.95.Parmenides of Elea: A Verse Translation with Interpretative Essays and Commentary to the Text. By Martin J. Henn. Westport, Connecticut: Praeger, 2003. Pp. 147. Hardcover $59.95.Philosophes taoïstes, tome II: Huainan Zi, texte traduit, présenté et annoté sous la direction de Charles le Blanc et de Rémi Mathieu. Paris: Éditions Gallimard, 2003. Pp. lxxxiii + 1182. Hardcover €56,90.The Philosophy and Ethics of the Vīraśaiva Community. By Dan A. Chekki. Lewiston, New York: The Edwin Mellen Press, 2003. Pp. xxv + 287. Hardcover $119.95.Poems of Hanshan. Translated by Peter Hobson with introduction by T. H. Barrett. Walnut Creek, California: AltaMira Press, 2003. Pp. viii + 151. Hardcover $65.00. Paper $19.95.Psychoanalysis and Buddhism: An Unfolding Dialogue. Edited by Jeremy D. Safran. Boston... (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the (...) stores seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

Some recent trends of modern biology, which seem to have a most consequential influence to the further treatment of the problem of the origin and evolution of flowering plants, are shortly reviewed in this article.Several new discoveries and observations about pollinating insects revealed to some extent the mystery of the evolution of flower types. The deciphering of the definite signs and codes of communication among social insects and the interpretation of a well developed sign language of bees belong to the (...) most remarkable achievements of modern biology indeed. Besides its revolutionary impulse in the field of animal behavior these discoveries helped to solve several problems in the evolution of flowering plants.An attempt is made in this article to classify the existing main flower types according to their evolutionary tendency from primitive → simple → radiate → protected → zygomorphic flowers In this assortment of flower types is reflected the historical development of flowering plants since their early beginning in Cretaceous period till their domination in the recent world vegetation .In this evolution of flower types is mirrored further the progressive evolvement of numerous senses of the pollinating insects. The pollinators of the Middle Mesozoicum were surrounded by primitive flower types and could distinguish but some primitive colors like white, yellow and green.Two different methods of classification of flowering plants are used in this study. A typological assortment of flowers according to their ecological characteristics is co-ordinated with the taxonomic classification of phylogenetic groups . The evolution of angiosperms can be studied more successfully, if both the typological and taxonomic trends of this groups are analyzed.Quelques nouvelles découvertes et essais sur la dissémination du pollen par les insectes sont discutés du point de vue de l'évolution des types de fleur. L'activité sélective et la stabilité de ces insectes se trouvent être des facteurs les plus conséquents dans l'évolution des types de fleurs.Deux méthodes différentes de classification des plantes angiospermes sont employées dans cette étude. Un assortiment typologique de fleurs suivant leurs caractéristiques écologiques est coordiné avec la classification systématique des groupes phylogénétiques . L'évolution des angiospermes peut être étudiée avec plus de succès si les méthodes typologiques et systématiqes sont appliquées.Es werden in diesem Aufsatz einige neue Versuchsergebnisse über die wechselseitigen Beziehungen zwischen den pollenübertragenden Insekten und der Entwicklungsgeschichte der Blütentypen näher erörtert.Es sind unter diesen Umständen zwei verschiedene Arbeitsverfahren für die Klassifikation der Blütenpflanzen angewandt worden. Eine typologische Einteilung nach den ökologischen Merkmalen und eine systematische Schilderung nach den phylogenetischen Gruppen . Die Anwendung von diesen beiden Methoden gestattet uns eine bessere Übersicht über die Entwicklungsgeschichte der Blütenpflanzen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE USE OF SCRIPTURE AND THE RENEWAL OF MORAL THEOLOGY: THE CATECHISM AND VERITATIS SPLENDOR 1 SERVAIS PINCKAERS, 0.P. L'Universite de Fribourg Fribourg, Switzerland T.HE SECOND Vatican Council ratified the biblical reewal that had prepared it. It truly gave Scripture back o the Catholic people and recommended it as " the very soul of sacred theology." 2 The Council invited theologians to show the inner coherence of the mysteries (...) of salvation proposed by the Scriptures. They were exhorted to make use of the teaching of the Fathers and to engage in speculative reflection, with St. Thomas as a guide, in order to search for the solutions to human problems in a manner suitable to contemporary man. In particular, the Council affirmed : Special care should be given to the perfecting of moral theology. Its scientific presentation should draw more fully on the teaching of holy Scripture and should throw light upon the exalted vocation of the faithful in Christ and their obligation to bring forth fruit in charity for the life of the world.3 The document on the formation of future priests published on February 22, 1976 by the Congregation for Catholic Education 1 This paper was presented at the Theological Consultation of American Bishops at the Pontifical North American College in Rome, September 12, 1994. The English translation was prepared by Sister Mary Thomas Noble, O.P. 2Dei Verbum 24; English translation by Liam Walsh,O.P., Vatican Council II, ed. Austin Flannery, O.P., revised edition, (Collegeville, Minn.: The Liturgical Press, 1992), 764. See 0Ptatam totius 16. s Optatam totius 16; English translation by B. Hayes, S.M., S. Fagan, S.M., and Austin Flannery, O.P., Vatican Council II, 720. 1 2 SERVAIS PINCKAERS, O.P. makes the directives in this conciliar text beautifully explicit and helps us to perceive its main lines. Notably, it states : In the past, moral theology exhibited at times a certain narrowness of vision and some lacunas. This was due in large part to a kind of legalism, to an individualistic orientation, and to a separation from the sources of Revelation. To counter all this,... it is necessary to clarify the method by which moral theology ought to be developed in close contact with Holy Scripture (n. 96). The Catechism of the Catholic Church and the encyclical V eritatis Splendor have each in its own way effected the reestablishment of the bonds between Scripture and moral theology. I propose to touch upon the principal points of this scriptural renewal in the teaching of moral theology. In order to get an idea of the novelty of these recent developments, a comparison will help. We shall look at the presentation of Catholic moral teaching given in the manuals which have served as textbooks in seminaries and which have oriented preaching and moral catechesis over the last four centuries, following the Council of Trent. These manuals developed and transmitted a certain systematization of moral theology based on categories which have become classic. Even those who criticize the manuals, proportionalists and consequentialists, for example, still use these categories. The moral theory of the manuals constitutes a common cultural base, one whose concepts and categories (for the most part connected with certain currents in modern philosophy such as Kantian ethics) have exercised a determining role in the relationship between the teaching of Christian ethics and Scripture. In our effort to delineate the principal elements of scriptural renewal proposed to us by the Catechism and the Encyclical, we shall examine six points: firstly, the use of Scripture; next, the great moral texts it offers us, the Decalogue, the Sermon on the Mount, apostolic catechesis, and the treatment of cases of conscience ; finally, we shall respond to the difficulty created by new ethical problems and by recent cultural changes. CATECHISM AND VERITATIS SPLENDOR 3 I. SCRIPTURAL QUOTATIONS We need only run through the moral section of the Catechism to see that Biblical citations are there far more numerous than in the manuals of former times. These citations appear even in the section titles, such as " Life in Christ" and " Life in the Spirit," taken from Saint Paul in order to describe the moral life. The table of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:140 BOOK REVIEWS The Church: The Universal Sacrament of Salvation. By JoHANN AUER. Translated from the German by Michael Waldstein. Washington, D.C.: The Catholic University of America Press, 1993. Pp. 541. $24.95 (paper). The Church, Community of Salvation: An Ecumenical Ecclesiology. By GEORGE H. TAVARD. Collegeville, Minnesota: The Liturgical Press, 1992. Pp. 264. $18.95 (paper). These two works represent two recent and very different attempts by contemporary (...) Catholic ecclesiologists to present a comprehensive or systematic theology of the church. I shall deal with the specifics of each work separately. Johann Auer (1910-1989) was professor of dogmatics and the history of dogma at the University of Bonn when in 1983 he first published his Die Kirche: Das allgemeine Heilssakrament. This present work is an English translation of that German text which was Volume VIII in a comprehensive, nine-part, dogmatic survey, with volumes addressing the traditional dogmatic themes: God, Creation, Christ, Grace, Eucharist, Sacraments, Church and Eschatology. Joseph Ratzinger was co-editor with Auer of the original series. And while Auer authored the first eight volumes, Ratzinger authored the final volume on eschatology. We have seen this kind of dogmatic survey in English before in the comparable six-volume work of Michael Schmaus called Dogma (1968). As with Schmaus's work, this dogmatic survey is intended as a series of textbooks for theology students and thus its method is to survey each dogmatic theme focusing upon three elements, the biblical foundation for the theme, the historical development of this theme, and finally its systematic inner coherence or integral rational development. In this volume, Auer accomplishes all three tasks in exemplary fashion and with a depth of treatment Schmaus never aimed at approaching. Auer's The Church is divided into eighteen chapters organized into four thematic sections bearing the titles, " Pathways towards the Proper Understanding of the Church," " Pathways towards a Theological Concept of the Church taken from Biblical Images," "Manifestations of the Church's Being, Life and Activity in the Light of its Sacramental Structure," and "The Church's Tasks and Its Ways to Self-Realization in the World." Under these titles are treated all the traditional themes expected of a comprehensive ecclesiology: the origin and authority of the church, its mission and ministries, biblical images, organizational BOOK REVIEWS 141 models and dogmatic marks of the church, ecumenism, the place of the Blessed Virgin Mary among the People of God, relations between church and state. Auer's consideration of each of these themes is marked by his thorough knowledge of the sources and his skillful handling of these materials. Even so, Auer's work is hardly beyond criticism. For example, arguably the heart of the book is the author's 213-page treatment of the history and theology of the ministries which comprises Part III, "Manifestations of the Church's Being, Life and Activity...." I want to call this section masterful because of the vastness of the enterprise (the development of the ministries over almost two thousand years) and the wealth of careful distinctions Auer brings to his treatment of so much material. To choose among the riches here one might single out Auer's treatment of the two principles of democracy and hierarchy and the numerous collegial forms for participative governance and administration that have been created or once existed in the church and have been revived since Vatican II (pp. 157-173). This is a stimulating but balanced discussion, blending historical material with more immediate and urgent concerns. But there are also some serious weaknesses in the larger section. For example, while extended attention is given to the offices of bishop and pope (almost a hundred pages on the papal office alone), comparatively little attention is given to the role of presbyters (four pages) and the laity. As for the latter, though Auer considers "The Question of the Secular Office of the Laity," he never addresses the question of the religious office of the laity, that is, their ministry in the church and not just to the world. He broaches this theme in his section on " Vocations or Charisms, Ministries and Offices or Commissionings " (pp. 179-194), but all too quickly he concludes this section... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Place of Imagination: Wendell Berry and the Poetics of Community, Affection, and Identity by Joseph R. WiebeJacob Alan CookThe Place of Imagination: Wendell Berry and the Poetics of Community, Affection, and Identity Joseph R. Wiebe waco, tx: baylor university press, 2017. 272 pp. $49.95The Place of Imagination is an artful narration of Wendell Berry's poetics focused distinctively on his works of fiction. Moralists concerned about issues (...) of land use or racialization could commend or criticize "what" they assume Berry's stories (re)present—nostalgia or some abstract, principial program. But Joseph Wiebe ventures a thesis about "how" Berry's imaginary Port William community discloses the nature of good, real-world community. Understanding how Berry's poetics reflect his real-world moral imagination clarifies what we may learn from his fiction. So, in part 1, Wiebe traces Berry's journey of local adaptation, through which he developed a moral imagination and discovered the agonizing details of his entanglement in his place's history and his neighbors' problems.Berry's poetics starts with imagination opening itself to the genius of a place and the other (friend and foe alike) as a living soul. Such imagination engages our sympathy to see others as complex subjects without controlling their stories, objectifying them to realize some idealist worldview. In sympathy, we [End Page 203] perceive the other as a neighbor and develop affection for them in their difference. This affection is no mere sentiment but a Humean moral sentiment that motivates behavior and, when properly nurtured, makes moral reasoning subservient to itself. Affection "disrupts habits of pity" that reduce others to mental objects and inspires a kenotic movement toward concrete neighbors (37). Problems felt at the societal level are habituated in local communities. While idealist solutions may satisfy the white, Western mind's impulse for complete knowledge, their resources prove incompetent before these problems as such. We must affectionately open ourselves to others who disrupt our mental worlds and draw us into real-world habits that change underlying communal dynamics. Relinquishing control of our storied identities (or idealist worldviews) to the others in our place, we might truly locate ourselves in those problems—and start undoing them.In part 2, Wiebe offers glimpses of "what" Berry's poetics teach us about a placed life together through select members of a quaint Kentucky farming community: Jack Beechum, Jayber Crow, and Hannah Coulter. His imaginative attentiveness to each character exemplifies the art of discovering the virtues of place-based identity. The way through Port William offers no shortcuts. Its imaginary community does not merely stand in for some universal idea of community. Neither potential solution nor nostalgic phantasm, Port William is the setting for parables that reveal something true about good community. "If there is something to imitate, it is the underlying processes that generate the particulars of Berry's narratives rather than the characters that furnish them" (152). In Port William, one can practice relinquishing control and patiently "imagining" the contours of a place; in the real world, one can deploy that imagination to develop fidelity to their place.Wiebe aptly follows Berry's method, yielding control over Berry's biography and work by taking a third-person narrator's perspective. He focuses on what Berry's life and writing reveal parabolically to the patient reader. The book beckons readers to hold Berry and his stories as a mirror—to engage in introspection and self-interrogation—that we might learn something about sympathy and affection needed for engaging our places non-imperialistically. Wiebe's adept style may appear to some as a flaw; the narrator gives no academic cues (e.g., "I will argue") for rapidly consuming principial content. There are only Berry's life and work and the reader, hopefully changed. The Place of Imagination will be of greatest interest to those who already have some affection for that "artful crank from Kentucky" (10). Beyond the agrarian crowd and its auditors, this book holds appeal for a range of explorations, from the fecundity of poetics in ethics to the disruptiveness of Christian imagination vis-à-vis whiteness. [End Page 204]Jacob Alan CookFriends UniversityCopyright © 2018 Society... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 24.1 (2004) 278-283 [Access article in PDF] The Voice of God on Mount Sinai. Rabbinic Commentaries on Exodus 20:1 In Light of Sufi and Zen-Buddhist Texts. By Reinhard Neudecker. Rome: Pontificio Istituto Biblico, 2002. 157 pp. Reinhard Neudecker's study of the central event of the first five books of the Bible, namely the revelation of God on Mount Sinai to Moses and the Israelites, is an important (...) contribution to interfaith studies that should be of interest to both the scholar and layperson alike. The clarity of purpose and treatment makes this study very accessible; each chapter is thoughtfully structured, with rich footnotes that provide documentation, further explanation, and information. The appendixes contain the relevant rabbinic texts in the original Hebrew; indices of terms, subjects, and Bible citations; as well as a helpful list of consulted works.The stated purpose of the study is to shed light on enigmatic rabbinical interpretations of Exodus 20:1, the verse that introduces the TenWords (commandments) [End Page 278] that form the basis of the complete Torah by taking into consideration analogous passages from the Sufi and Zen Buddhist traditions. In explaining his methodology, the author makes three important distinctions. First, Neudecker is "not dealing with Judaism, Islam and Zen Buddhism as such, but with the views and experiences of some rabbinic Jews, some Sufi Muslims and some Zen Buddhists" (p. x). Second, the chosen texts are offered for their spiritual and mystical insight, not for their historical context or content, because "the mystic has learned to convert the great events recorded by tradition into symbols which express the ongoing inner revelation to which he has been exposed" (p. 6). Because spiritual and mystical writers generally refrain from explaining deep experiences openly (especially because of the impossibility of putting them into words), the author refrains from adding his own interpretations and instead invites the reader to a meditative encounter with the texts. Third, the author does not intend to offer simple parallels or to readily claim correspondences between the rabbinic, Sufi, and Zen texts, but leaves it up to the reader to judge what the "different traditions may have in common and to what degree and where one tradition may go a step further than the others (p. 11, n. 30). His main purpose, as stated above, is to understand the rabbinic comments better by using the method of "intercultural reading" in drawing upon Sufi and Zen Buddhist texts.After the introductory chapter, which offers the methodological considerations and basic information about the Rabbinic sources and Buddhist terminology, the author presents Exod. 20:1 in its rabbinic translation: "And God spoke all these words to say." This short verse has become the stumbling block for the rabbinic interpreter, just as much as a Zen koan becomes a stumbling block for the Zen student or an obscure verse in the Koran for the Sufi. What these stumbling blocks have in common is that they open up a new way of nondiscursive understanding of the text that leads to profound insights and a deep spiritual experience.Chapters 4-9 of the book are devoted to unraveling the mysteries of these insights. The reader is drawn into an engaging process that opens up layer upon layer of meaning, comparable to the peeling of an onion. A short exposition of the themes of each chapter as introduction to the texts proves very helpful for orientation in this process. Chapter 4 addresses the question of how the people at Sinai heard the Ten Words. The rabbis differ on whether the people heard all of the commandments or only the first two of them, but the important point of comparison is the enigmatic statement that God pronounced all the Ten Words, including the entire Torah, "in one single sound, as the (human) mouth cannot speak and the (human) ear cannot hear" (p. 35). This statement implies that God's revelation exceeds the limits of human speaking and hearing, and that God communicates in... (shrink)

What do our studies of Gandhi tell us about the current crisis of health and politics in the US? The crisis intersects growing realization of the disproportionate impact of the pandemic on poor communities of color with general resistance to policing tactics and policies that are widely considered exercises of systemic racism. One significant response to this situation has been the “defund the police” movement, pressing for systemic institutional change in policing. However, for us, defund is not so (...) much about weakening the state sector. Instead, it is about strengthening community participation in planning decisions about how public funds might be reallocated, not to pay for more tactical gear for cops but more social workers, community investments, and so on. (shrink)

Science appeared in modern Greece in the first decades after its establishment as a sovereign state in 1828. The University of Athens, the Royal Observatory, the Botanical Garden, and the Natural History Museum were quickly established as spaces of scientific activity. Greek scientists were enthusiastic participants in the emerging Greek public sphere, often not only as science experts, but also as poets, intellectuals and political personae. In a space whose cultural, intellectual and historical boundaries were still being negotiated, the choice (...) of language was not a given but a pressing, sensitive national desideratum. This article examines how Greek scientists used languages to communicate with their peers and with their publics, how they handled terminology and nomenclature, and how the issues surrounding the Greek language in particular affected their practice as scientists. The article aims to show that, in nineteenth-century Greece, languages were not passive, neutral vehicles of communication, but rather integral components of the practice of science. (shrink)

On July 27th, 2013, Sammy Yatim was shot and killed by Toronto Police Services’ Constable James Forcillo during a verbal confrontation on a streetcar as Yatim brandished a switchblade knife. Forcillo was charged, initially with second degree murder, and later attempted murder—a decision that confused media commentators as attempted murder is a lesser-and-included offense to second degree murder in Canadian law. In January 2016, Forcillo was found not guilty of second degree murder and guilty of attempted murder. Video (...) evidence, recovered from the streetcar’s onboard security cameras, was described by the presiding judge, Justice Edward Then, as proving beyond a reasonable doubt that Forcillo’s testimony was unreliable, especially in light of other evidence. This paper examines the use of video evidence to arrive at a ‘compromise verdict’ and the paradox of being convicted of attempting to murder someone who was killed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Task of Criticism: Essays on Philosophy, History, and Community, and: The Active Life: Miller's Metaphysics of DemocracyShannon KincaidJoseph P. Fell, Vincent Colapietro, and Michael J. McGandy, editors The Task of Criticism: Essays on Philosophy, History, and CommunityNew York: W. W. Norton, 2005. 366 pp.Michael J. McGandy The Active Life: Miller's Metaphysics of Democracy Albany: State University of New York Press, 2005. 231 pp.I must admit that (...) my first encounter with the philosophy of John William Miller was not a pretty one. I first read of him in these pages a decade or so ago, and even though I was thinking a lot about pragmatism and democratic theory, and shared many of his interests, I didn't much like his philosophy. While I liked his style, the vocabulary seemed awkward. His finite idealism confused me. I had problems with his ontology, and his tendency towards historicism seemed odd. I even wrote an essay critical of The Midworld (New York: W. W. Norton, 1982), though I never made an aggressive effort to publish it. [End Page 289]This is a good thing, because I would have regretted publishing that essay. I say this because both Michael J. McGandy's The Active Life: Miller's Metaphysics of Democracy, and the new edited collection of Miller's writings entitled The Task of Criticism, do an excellent job of revealing the contemporary significance of Miller's work. Collectively, they have convinced this skeptic that the midworld and its ontology of functioning objects are an important contribution to contemporary American philosophy.The Task of Criticism faces several challenges. First, George P. Brockway supervised the publication of five volumes of Miller's collected works, and Fell himself edited a 1990 volume on Miller's philosophy (The Philosophy of John William Miller, Lewisburg: Bucknell University Press), followed by Stephen Tyman's Decrying the Ideal (Carbondale: Southern Illinois University Press, 1993). Colapietro published Fateful Shapes of Human Freedom: John William Miller and the Crises of Modernity (Nashville: Vanderbilt University Press) in 2003. Do we really need another volume? Second, Miller's brand of idealism is not very fashionable these days. Is there any hope that pragmatic idealism can inform contemporary social theory, and make a contribution to the very real and concrete problems faced by modern democratic institutions?I believe that the answer to both of these questions is "yes." Recognizing the importance of previous volumes devoted to Miller's philosophy, the editors present The Task of Criticism as the first comprehensive introduction to Miller's philosophy, and it attempts to cut a middle ground between a complete collection of essays and a "best of" anthology. The editors want to provide a framework for understanding Miller's philosophy, and in this attempt they succeed admirably.Why? Because the editors have provided a structure for Miller's thought that was lacking in earlier collections, and by focusing on the issues of philosophical method, historiography, and community, they have provided a framework for understanding Miller's philosophy. In so doing, they have also firmly established the continuing relevance of Miller's work. The recent revival of pragmatic idealism (as evidenced by a recent surge in publications on idealists like Royce and Hocking) is an important development in contemporary American philosophy, and I think Miller deserves a significant role in this movement.One of the things I like about this collection is its presentation as a work of three generations of Miller's students, all indebted to the work of Brockway, and all dedicated to the task of demonstrating the fundamental importance of Miller's work. The text itself not only includes a variety of Miller's writing on a wide range of topics, but also a very effective introduction to Miller's philosophy, short introductory passages for each essay, and a comprehensive index, as well as a bibliography of works by and about Miller. This is, in short, the first textbook of Miller's philosophy, and it does a fine job of capturing the breadth and depth of his philosophy.The scope of Miller's philosophical interests is made even more remarkable by the fact that Miller himself showed little interest... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:John the Theologian and His Paschal Gospel: A Prologue to Theology by John BehrMatthew Z. ValeJohn the Theologian and His Paschal Gospel: A Prologue to Theology by John Behr (Oxford: Oxford University Press, 2019), xv + 388 pp.Father Behr's book defies summary. Its ambitions span several fields—patristics, contemporary biblical scholarship, speculative systematics, phenomenology—and Behr has controversial proposals in each. The book is not (expressly) a work of (...) systematic theology, but its speculative élan and its ambition to give a normative account of Christian theology's beating heart is unmistakable. If a vice of the book is vagueness on questions of burning Christological, protological, and eschatological interest, among its virtues is the verve and vividness with which it provokes such questions to begin with. Behr has written, not a book on John, but a Johannine manifesto on theology. [End Page 989]The book is a "symposium" in three parts, each inviting a different kind of reader of John's gospel. The first is predominantly "historical" (the early Fathers of the Johannine school, reconstructed by modern scholarship), the second predominantly "exegetical" (contemporary biblical studies), and the third "philosophical," with a single guest in Michel Henry. The book's heart is an argument about what "incarnation" means. When it comes to the Incarnation, we labor, Behr says, under what Quentin Skinner calls a "mythology of doctrine," the hermeneutical fallacy of projecting onto a tradition's classical writers positions and whole doctrinal categories developed only later (6–8). The mythology of doctrine Behr opposes is, in fact, a mythological notion of the Incarnation as "an episode in the biography of the Word" (a phrase from Rowan Williams), the episode when a "pre-incarnate Word" is born as Jesus (3, and throughout). To break the ice on this mythology, part 1 reconstructs an original milieu for John's Gospel—a school of John the Evangelist, centered upon an original Pascha celebration—in which "becoming flesh," "Word," and "human being" mean something other than the dogmatic meanings we project back onto them. This Johannine school is not the Johannine "community" posited by historical-critical studies, but the school of John's "hearers" that J. B. Lightfoot traced from Polycarp of Smyrna, Ignatius of Antioch, Papias of Hierapolis, and Melito of Sardis down to Irenaeus (30–31). Behr's reconstruction makes the following proposals. Our evangelist is John the Elder, the beloved disciple, not the Synoptics' son of Zebedee. This John was plausibly an eyewitness to the crucifixion—alone among the evangelists. He authored both the Gospel and the Apocalypse bearing his name, according to near unanimous second-century tradition (76). The Apocalypse was possibly written before the Gospel, perhaps before the Temple's destruction. John the Elder originated the yearly Pascha celebration, and it remained peculiar to his school until the second half of the second century. This feast originally celebrated the crucifixion, burial, resurrection, ascension, and Pentecost as the single event of the Passion, just as in John's Gospel Jesus's ascension (12:32), glorification (13:31–2), and "handing down the Spirit" (19:30) are identified with the crucifixion. Only later was the Passion's simple white light refracted into the liturgical cycle's rainbow of distinct feasts (91–92, 243).This reconstruction is explicitly speculative. Its purpose is to enliven our imaginations about what the evangelist's vision may possibly be. If the mythological picture of the Incarnation is easily recognized as false, our theological traditions still have not entirely exorcised it from their standard narration. Behr proposes a Johannine narration untroubled by this [End Page 990] mythology. The Incarnation is not a novelty occurring for God at some moment. No previously fleshless divine agent undergoes change to become flesh at some time. The Incarnation must instead be understood "apocalyptically," as the eternal mystery of Jesus Christ being revealed for us in time (256-57). The Incarnation is Jesus's eternal identity as the Word being revealed and wrought in time and pro nobis by the Passion (24, 29, 257, 130). John's Gospel should be read, in John Ashton's words, as "an apocalypse—in reverse, upside down, inside out" (4, 99... (shrink)

continent. 1.3 (2011): 149-155. The world is teeming. Anything can happen. John Cage, “Silence” 1 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, nomos ). In their book on life sciences, Medawar and Medawar state, “Organs and tissues…are composed of cells which…have a high measure of autonomy.”2 Autonomy also has ethical and political valences. De Grazia writes, “In Kant's enormously influential moral philosophy, autonomy (...) , or freedom from the causal determinism of nature, became prominent in justifying the human use of animals.”3 One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the…rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.”4 Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy . What about the rest of reality, however? Should it be thought of, if it's even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws ( Entzug ). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paperweight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand).5 Yet Heidegger is unable to draw a meaningful distinction between what happens to a paperweight when it slips from the book I'm copying from and what happens to the paperweight when it presses on the still resilient pages of the thick paperback itself. Further still and related to this point, even when I am using the paperweight as part of some general task, I am not using the entirety of the paperweight as such. My project itself selects a thin slice of paperweight-being for the purposes of holding down a book. Even when it is zuhanden the paperweight is withdrawn. Graham Harman is the architect of this way of thinking.6 Harman discovered a gigantic coral reef of withdrawn entities beneath the Heideggerian submarine of Da-sein, which itself is operating at an ontological depth way below the choppy surface of philosophy, beset by the winds of epistemology, and infested with the sharks of materialism, idealism, empiricism and most of the other isms that have defined what is and what isn't for the last several hundred years. At a moment when the term ontology was left alone like a piece of well chewed old chewing gum that no one wants to have anything to do with, object-oriented ontology (OOO) has put it back on the table. The coral reef isn't going anywhere and once you have discovered it, you can't un-discover it. And it seems to be teeming with strange facts. The first fact is that the entities in the reef—we call them “objects” somewhat provocatively—constitute all there is: from doughnuts to dogfish to the Dog Star to Dobermans to Snoop Dogg. People, plastic clothes pegs, piranhas and particles are all objects. And they are all pretty much the same, at this depth. There is not much of a distinction between life and non-life (as there isn't in contemporary life science). And there is not much of a distinction between intelligence and non-intelligence (as there is in contemporary artificial intelligence theory). A lot of these distinctions are made by humans, for humans (anthropocentrism). And the concept autonomy has come into play in policing such distinctions. In this essay I shall to try to liberate autonomy for the sake of nonhumans. I shall do so by parsing carefully the title, which is taken from Hakim Bey's work The Temporary Autonomous Zone .8 First we shall explore the term autonomous . Then we shall explore what the full meaning of zone is. Finally, we shall investigate what temporary means. Each of these terms is of great value. An object withdraws from access. This means that its very own parts can't access it. Since an object's parts can't fully express the object, the object is not reducible to its parts. OOO is anti-reductionist. But OOO is also anti-holist. An object can't be reduced to its “whole” either, “reduced upwards” as it were. The whole is not greater than the sum of its parts. So we have a strange irreductionist situation in which an object is reducible neither to its parts nor to its whole. A coral reef is made of coral, fish, seaweed, plankton and so on. But one of these things on its own doesn't embody part of a reef. Yet the reef just is an assemblage of these particular parts. You can't find a coral reef in a parking lot. In this way, the vibrant realness of a reef is kept safe both from its parts and from its whole. Moreover, the reef is safe from being mistaken for a parking lot. Objects can't be reduced to tiny Lego bricks such as atoms that can be reused in other things. Nor can be reduced upwards into instantiations of a global process. A coral reef is an expression of the biosphere or of evolution, yes; but so is this sentence, and we ought to be able to distinguish between coral reefs and sentences in English. The preceding facts go under the heading of undermining . Any attempt to undermine an object—in thought, or with a gun, or with heat, or with the ravages of time or global warming—will not get at the withdrawn essence of the object. By essence is meant something very different from essentialism . This is because essentialism depends upon some aspect of an object that OOO holds to be a mere appearance of that object, an appearance-for some object. This reduction to appearance holds even if that object for which the appearance occurs is the object itself! Even a coral reef can't grasp its essential coral reefness. In essentialism, a superficial appearance is taken for the essence of a thing, or of things in general. In thinking essentialism we may be able to discern another way of avoiding OOO. This is what Harman has christened overmining .? The overminer decides that some things are more real than others: say for example human perception. Then the overminer decides that other things are only granted realness status by somehow coming into the purview of the more real entity. When I measure a photon, when I see a coral reef, it becomes what it is. But when I measure a photon, I never measure the actual photon. Indeed, since at the quantum scale to measure means “to hit with a photon or an electron beam” (or whatever), measurement, perception ( aisthesis ), and doing become the same. What I “see” are deflections, tracks in a diffusion cloud chamber or interference patterns. Far from underwriting a world of pure illusion where the mind is king, quantum theory is one of the very first truly rigorous realisms, thinking its objects as irreducibly resistant to full comprehension, by anything.9 So far we have made objects safe from being swallowed up by larger objects and broken down into smaller objects—undermining. And so far we have made objects safe from being mere projections or reflections of some supervenient entity—overmining. That's quite a degree of autonomy. Everything in the coral reef, from the fish to a single coral lifeform to a tiny plankton, is autonomous. But so is the coral reef itself. So are the heads of the coral, a community of tiny polyps. So is each individual head. Each object is like one of Leibniz's monads, in that each one contains a potentially infinite regress of other objects; and around each object, there is a potentially infinite progress of objects, as numerous multiverse theories are now also arguing. But the infinity, the uncountability, is more radical than Leibniz, since there is nothing stopping a group of objects from being an object, just as a coral reef is something like a society of corals. Each object is “a little world made cunningly” (John Donne).10 We are indeed approaching something like the political valance of autonomy . The existence of an object is irreducibly a matter of coexistence. Objects contain other objects, and are contained “in” other objects. Let us, however, explore further the ramifications of the autonomy of objects. We will see that this mereological approach (based on the study of parts) only gets at part of the astonishing autonomy of things. Yet there are some more things to be said about mereology before we move on. Consider the fact that since objects can't be undermined or overmined, it means that there is strictly no bottom object . There is no object to which all other objects can be reduced, so that we can say everything we want to say about them, hypothetically at least, based on the behavior of the bottom object. The idea that we could is roughly E.O Wilson's theory of consilience .11 Likewise, there is no object from which all things can be produced, no top object . Objects are not emanations from some primordial One or from a prime mover. There might be a god, or gods. Suppose there were. In an OOO universe even a god would not know the essential ins and outs of a piece of coral. Unlike even some forms of atheism, the existence of god (or nonexistence) doesn't matter very much for OOO. If you really want to be an atheist, you might consider giving OOO a spin. If there is no top object and no bottom object, neither is there a middle object . That is, there is no such thing as a space, or time, “in” which objects float. There is no environment distinct from objects. There is no Nature (I capitalize the word to reinforce a sense of its deceptive artificiality). There is no world, if by world we mean a kind of “rope” that connects things together.12 All such connections must be emergent properties of objects themselves. And this of course is well in line with post-Einsteinian physics, in which spacetime just is the product of objects, and which may even be an emergent property of a certain scale of object larger than 10?¹?cm).13 Objects don't sit in a box of space or time. It's the other way around: space and time emanate from objects. How does this happen? OOO tries to produce an explanation from objects themselves. Indeed, the ideal situation would be to rely on just one single object. Otherwise we are stuck with a reality in which objects require other entities to function, which would result in some kind of undermining or overmining. We shall see that we have all the fuel we need “inside” one object to have time and space, and even causality. We shall discover that rather than being some kind of machinery or operating system that underlies objects, causality itself is a phenomenon that floats ontologically “in front of” them. In so doing, we will move from the notion of autonomy and begin approaching a full exploration of the notion of zone , which was promised at the outset of this essay. Since an object is withdrawn, even “from itself,” it is a self-contradictory being. It is itself and not-itself, or in a slightly more expanded version, there is a rift between essence and appearance within an object (as well as “between” them). This rift can't be the same as the clichéd split between substance and accidents , which is the default ontology. On this view, things are like somewhat boring cupcakes with somewhat less boring sugar sprinkles on them of different colors and shapes. But on the OOO view, what is called substance is just another limited slice of an object, a way of apprehending something that is ontologically fathoms deeper. What is called substance and what is called accidence are just on the side of what this essay calls appearance. The rift (Greek, chorismos ) between essence and appearance means that an object presents us with something like what in logic is known as the Liar: some version of the sentence “This sentence is false.” The sentence is true, which means that it is a lie, which means that it is false. Or the sentence is false, which means that it is telling the truth, which means that it is true. Now logic since Aristotle has tried desperately to quarantine such beasts in small backwaters and side streets so that they don't act too provocatively.14 But if OOO holds, then at least one very significant thing in the universe is both itself and not-itself: the object. An object is p ? ¬p. To cope with this fact, we shall need some kind of paraconsistent or even fully dialetheic logic, one that is not allergic to dialetheias (double-truthed things). Yet if we accept that objects are dialetheic, p ? ¬p, we can derive all kinds of things easily from objects. Consider the fact of motion. If objects only occupy one location “in” space at any “one” time, then Zeno's paradoxes will apply to trying to think how an object moves. Yet motion seems like a basic, simple fact of our world. Either everything is just an illusion and nothing really moves at all (Parmenides). Or objects are here and not-here “at the same time.”15 This latter possibility provides the basic setup for all the motion we could wish for. Objects are not “in” time and space. Rather, they “time” (a verb) and “space.” They produce time and space. It would be better to think these verbs as intransitive rather than transitive, in the manner of dance or revolt . They emanate from objects, yet they are not the object. “How can we know the dancer from the dance?” (Yeats).16 The point being, that for there to be a question, there must be a distinction—or there must not be (p ? ¬p).17 It becomes impossible to tell: “What constitutes pretense is that, in the end, you don't know whether it's pretense or not.”18 In this notion of the emergence of time and space from an object we can begin to understand the term zone . Zone can mean belt , something that winds around something else. We talk of temperate zones and war zones. A zone is a place where a certain action is taking place: the zone winds around, it radiates heat, bullets fly, armies are defeated. To speak of an autonomous zone is to speak of a place that a certain political act has carved out of some other entity. Cynically, Tibet is called TAR, the Tibetan Autonomous Region, for this very reason. In this phrase, Region tries to emulate zone : it sounds as if the place has its own rules, but of course, it is very much under the control of China. What action is taking place? “[N]ot something that just is what it is, here and now, without mystery, but something like a quest…a tone on its way calling forth echoes and responses…water seeking its liquidity in the sunlight rippling across the cypresses in the back of the garden.”19 If as suggested earlier there is no functional difference between substance and accidence; if there is no difference between perceiving and doing; if there is no real difference between sentience and non-sentience—then causality itself is a strange, ultimately nonlocal aesthetic phenomenon. A phenomenon, moreover, that emanates from objects themselves, wavering in front of them like the astonishingly beautiful real illusion conjured in this quotation of Alphonso Lingis. Lingis's sentence does what it says, casting a compelling, mysterious spell, the spell of causality, like a demonic force field. A real illusion: if we knew it was an illusion, if it were just an illusion, it would cease to waver. It would not be an illusion at all. We would be in the real of noncontradiction. Since it is like an illusion, we can never be sure: “What constitutes pretense…” A zone is what Lingis calls a level . A zone is not entirely a matter of “free will”: this concept has already beaten down most objects into abject submission. Objects are far more threateningly autonomous, and sensually autonomous, than the Kantian version of autonomy cited in the first paragraph of this essay. A zone is not studiously decided upon by an earnest committee before it goes into action. One of its predominant features is that it is already happening . We find ourselves in it, all of a sudden, in the late afternoon as the shadows lengthen around a city square, giving rise to an uncanny sensation of having been here before. Objects emit zones. Wherever I find myself a zone is already happening, an autonomous zone. It is the nonautonomous zones that are impositions on what is already the case. Or rather, these zones are autonomous zones that exclude and police. They are brittle. Every object is autonomous, but some objects try to maintain themselves through rigidity and brittleness, like (and such as) a police state. Paradoxically, the more rigidly one tries to exclude contradiction, the more virulent become the dialetheias that are possible. I can get around “This sentence is false” by imagining that there are metalanguages that explain what counts as a sentence. Then I can decide that this isn't a real sentence. This is basically Alfred Tarski's strategy, since he invented the notion of metalanguage specifically to cope with dialetheias.20 For example we might claim that sentences such as “This sentence is false” are neither true nor false. But then you can imagine a strengthened version of the Liar such as: “This sentence is not true”; or “This sentence is neither true nor false.” And we can go on adding to the strengthened Liar if the counter-attack tries to build immunity by specifying some fourth thing that a sentence can be besides true, false, and neither true nor false: “This sentence is false, or neither true nor false, or the fourth thing.” And so on.21 It seems as if language becomes more brittle the more it tries to police the Liars of this world. Why? I believe that this increasing brittleness is a symptom of a deep fact about reality. What is this deep fact? Simply that there are objects, that these objects are withdrawn, and that they are walking contradictions. This means indeed that (as Lacan put it) “there is no metalanguage,” since a metalanguage would function as a “middle object” that gave coherency and evenness to the others.22 Since there is no metalanguage, there is no rising above the disturbing illusory play of causality. This may even have political implications: no global critique is therefore possible, and attempts to smooth out or totalize are doomed to fail. To think the zone is to think the notion of temporary , which we shall now begin to discuss in greater detail. The zone is not in time: rather it “times.” But because a zone is an emanation of an object, it is based on a wavering fragility, since objects are p ? ¬p. When an object is born, that means that it has broken free of some other object. An object can be born because it and other objects are fragile. If not, no movement would be possible. Objects contain the seeds of their own destruction, a dialetheic sentence that says something like “This sentence cannot be proved.” Kurt Gödel argues that every true system of propositions contains at least one sentence that the system cannot prove. In order to be true, the system must have a minimum incoherence. To be real, it has to be fragile. Imagine a record player. Now imagine a record called I Cannot Be Played on This Record Player . When you play it on this record player, it produces sympathetic vibrations that cause the record player to shudder apart. No matter how many defense mechanisms you build in, there will always be the possibility of at least one record that destroys the record player.23 That is what being physical is. An object is inherently fragile because it is both itself and not-itself. When the rift between appearance and essence collapses, that is called destruction, ending, death. When an object breaks, several new objects are born. An opera singer sings a loud note in tune with the resonant frequency of a wine glass. (See the movie included below.) The singing is a zone, an autonomous level of intensity, opening a rift between appearance and essence. The glass ripples—for a moment it is nakedly a glass and a not-glass—almost as if it were having an orgasm, a little death. It is caught in the rift of the singing. Then its structure can't handle the coherence of the sound waves, and it breaks. It is incoherence and inconsistency that is the mark of existence, not consistency and noncontradiction. When things break or die, they become coherent. Essence disappears into appearance. I become the memories of friends. A glass becomes a dancing wave. Instantly, there are glass fragments, new temporary autonomous zones. The fragments have broken free from the glass. They are no longer its parts, but emanate their own time and space, becoming perhaps accidental weapons as they bury themselves in my flesh. Thus Hakim Bey's instructions on creating temporary autonomous zones oscillate disturbingly between performance art and politics, circus clowning and revolution. To play with the aesthetic is to play with causality, to rip from the sensual ether emanating from things new regions, new zones. Anarchist politics is the creation of fresh objects in a reality without a top or a bottom object, or for that matter a middle object: Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beard. … There is no becoming, no revolution, no struggle, no path; already you're the monarch of your own skin—your inviolable freedom waits to be completed only by the love of other monarchs: a politics of dream, urgent as the blueness of sky.24 Bey imagines that this is because chaos is a primordial “undifferentiated oneness-of-being.” A Parmenides or a Spinoza or a Laruelle would read this a certain way. Individual objects, or decisions to talk about this rather than that, are just maggot-like things crawling around on the surface of the giant cheese of oneness.25 Yet he also describes chaos as “Primordial uncarved block, sole worshipful monster, inert & spontaneous, more ultraviolet than any mythology.” This image is of an inconsistent object, not of an undifferentiated field. An object, indeed, that can be distinguished from other things. If not, then the first part of The Temporary Autonomous Zone , subtitled “The Broadsheets of Ontological Anarchism,” is a kind of onto-theology. Onto-theology proclaims that some things are more real than others. Bey, however, is writing poetically, and thus ambiguously. We are at liberty to read “undifferentiated oneness-of-being” as something like the irreducibility of a thing to its parts and so forth (undermining and overmining). This certainly seems closer to the language in the following paragraph: “There is no becoming … already you're the monarch of your own skin.”26 On this view, there is no difference between art and politics: “When ugliness, poor design & stupid waste are forced upon you, turn Luddite, throw your shoe in the works, retaliate.” Since Romanticism this has been the war cry of the vanguard artist.27 To say to is to fall prey to the tired axioms of the avant-garde, and we think we know how the game goes. But OOO is not simply a way to advocate “new and improved” versions of this shock-the-bourgeoisie boredom. Bey's text is certainly full enough of that. Rather, since causality as such is aesthetic, and since nonhumans are not that different from humans, the new approach would be to form aesthetic–causal alliances with nonhumans. These alliances would have to resist becoming brittle, whether that brittleness is right wing (authoritarianism) or left wing (the endless maze of critique). No “ism,” especially not the ultimate forms, nihilism and cynicism, is in any sense effective at this point. All forms of brittleness are based on the mistaken assumption that there is a metalanguage and that therefore “Anything you can do, I can do meta.” I will not be listing any approaches here, as Bey does. Such lists and manifestos belong to the vanguardism that no longer works. Why? Not because of some marvelous revolution in human consciousness, but because nonhumans have so successfully impinged upon human social, psychic and aesthetic space. It is the time after the end of the world. That happened in 1945, when a thin layer of radioactive materials was deposited in Earth's crust. Geology now calls it this era the Anthropocene . Ironically, this period, named after humans, is the moment at which even the most thick headed of us make decisive contact with nonhumans, from mercury in our blood to manta rays to magnesium. Richard Dawkins, Pat Robertson and Lady Gaga all have to deal with global warming and mass extinction, somehow. We now live in an Age of Asymmetry marked by a skewed, spiraling relationship between vast knowledge and vast nonhuman things—both become vaster and vaster because of one another and for the same reasons.28 This means that coming up with the perfect attitude or the perfect aesthetic prescription just won't work any more. Even the most hardened anthropocentrist now has to pay through the nose for basic food supplies, and has to use more sunscreen. Whether he knows it or acknowledges it, he is already acting with regard towards nonhumans. There is nothing special to think, no special critique that will get rid of the stains of coexistence. The problem won't fit into the well-established modern boxes, which is why the “mystical,” “spiritual” quality of Bey's prose is welcome. Of course, when I put it this way, you may immediately close off and decide that I am talking about perfect attitudes after all, or something outside of politics, or other ways that the radical left marshals to police its thinking of the nonhuman. Because that is what is really at stake in all this: the nonhuman in its coexistence with the human—bosons, gods, clouds, spirits, lifeforms, experiences, the sunlight rippling across the cypresses. Bey begins to get at this in a Latour litany in the second part of The Temporary Autonomous Zone , “The Assassins”: Pomegranate, mulberry, persimmon, the erotic melancholy of cypresses, membrane-pink shirazi roses, braziers of meccan aloes & benzoin, stiff shafts of ottoman tulips, carpets spread like make-believe gardens on actual lawns—a pavilion set with a mosaic of calligrammes—a willow, a stream with watercress—a fountain crystalled underneath with geometry— the metaphysical scandal of bathing odalisques, of wet brown cupbearers hide-&-seeking in the foliage—“water, greenery, beautiful faces.”29 This will be conveniently dismissed as orientalism. If we're never allowed to escape the crumbling prison of modernity for fear of imperialism there is truly no hope. In a similar way, the fear of anthropocentrism and anthropomorphism is very often staged from a place that just is anthropocentrism .30 Critique turns into ressentiment . An object radiates a zone that is aesthetic and therefore causal. Because objects “time” they are temporary. Not because they exist “in” time that eventually gets the better of them. Their very existence implies the possibility of their non-existence. Since objects are not consistent, they can cease to exist. But nothing, no one, will ever be able to insert a blade between appearance and existence, even thought there is a rift there. Now that's what I call autonomy. NOTES 1. John Cage, Silence: Lectures and Writings (Middletown, CT: Wesleyan University Press, 1973), 96. 2. P. B. Medawar and J. S. Medawar, The Life Science: Current Ideas in Biology (London: Wildwood House, 1977), 8. 3. David DeGrazia, Animal Rights: A Very Short Introduction (Oxford: Oxford University Press, 2002), 5. 4. Antony Colynet, A True History of the Civil Warres in France (London, 1591), 480. 5. Martin Heidegger, Being and Time , tr. Joan Stambaugh (Albany, N.Y: State University of New York Press, 1996) 62–71. 6. Graham Harman, Tool-Being: Heidegger and the Metaphysics of Objects (Peru, IL: Open Court, 2002). 7. Hakim Bey, The Temporary Autonomous Zone (Brooklyn: Autonomedia, 1991). 8. Graham Harman, The Quadruple Object (Ripley: Zero Books, 2011), 7–18. 9. This is not the place to get into an argument about quantum theory, but I have argued that quanta also do not endorse a world that I can't speak about because it is only real when measured. This world is that of the reigning Standard Model proposed by Niels Bohr and challenged by De Broglie and Bohm (and now the cosmologist Valentini, among others). See Timothy Morton, “Here Comes Everything: The Promise of Object-Oriented Ontology,” Qui Parle 19.2 (Spring–Summer, 2011), 163–190. 10. John Donne, Holy Sonnets 15, in The Major Works: Including Songs and Sonnets and Sermons , ed. John Carey (Oxford: Oxford University Press, 2009). 11. Edward O. Wilson, Consilience: The Unity of Knowledge (New York: Knopf, 1998). 12. Martin Heidegger, What Is a Thing? (Washington: Regnery, 1968), 243. 13. Albert Einstein, Relativity: The Special and the General Theory (London: Penguin, 2006); Petr Horava, “Quantum Gravity at a Lifshitz Point,” arXiv:0901.3775v2 [hep-th]. 14. Graham Priest, In Contradiction (Oxford University Press, 2006), passim: the most notable recent quarantine officers have been Tarski, Russell, and Frege. 15. Priest, In Contradiction , 172–181. 16. William Butler Yeats, “Among School Children,” Collected Poems , ed. Richard J. Finneran (New York: Scribner, 1996). 17. Paul de Man, “Semiology and Rhetoric,” Diacritics 3.3 (Autumn, 1973), 27–33 (30). 18. Jacques Lacan, Le seminaire, Livre III: Les psychoses (Paris: Editions de Seuil, 1981), 48. See Slavoj Zizek, The Parallax View (Cambridge, Mass.: MIT Press, 2006), 206. 19. Alphonso Lingis, The Imperative (Bloomington: Indiana University Press, 1998), 29. 20. Priest, In Contradiction , 9–27. 21. See Graham Priest and Francesco Berto, “ Dialetheism ,” The Stanford Encyclopedia of Philosophy (Summer 2010 Edition), ed. Edward N. Zalta. 22. Jacques Lacan, Écrits: A Selection , tr. Alan Sheridan (London: Tavistock, 1977), 311. 23. The analogy can be found at length in Douglas Hofstadter, “Contracrostipunctus,” Gödel, Escher, Bach: An Eternal Golden Braid (New York: Basic Books, 1999), 75–81. 24. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 25. This is closest to the language of François Laruelle in Philosophies of Difference: A Critical Introduction to Non-Philosophy (New York: Continuum, 2011) 179. 26. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 27. Peter Bürger, Theory of the Avant Garde (Minneapolis: University of Minnesota Press, 1984). 28. For further discussion see Timothy Morton, “From Modernity to the Anthropocene: Ecology and Art in the Age of Asymmetry,” The International Social Science Journal 209 (forthcoming). 29. Bey, “ The Assassins ,” Temporary Autonomous Zone . 30. Timothy Morton, The Ecological Thought (Cambridge, Mass.: Harvard University Press, 2010), 75–76. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hope for Common Ground: Mediating the Personal and the Political in a Divided Church by Julie Hanlon RubioBrian StiltnerHope for Common Ground: Mediating the Personal and the Political in a Divided Church Julie Hanlon Rubio washington, dc: georgetown university press, 2016. 264 pp. $89.95 / $29.95Julie Hanlon Rubio wrote Hope for Common Ground to address divisions over ethical and political issues within the Catholic Church. Rubio writes (...) in a spirit of hope, affirming that it is possible for Catholics to find common ground by drawing on resources within their tradition and within themselves. She proposes that "the potential for seeing and developing common ground is particularly strong if we focus on what can be done in the 'local' sphere—that is, in the space between" the personal and the political (xvii). Localized focus is recommended by the Catholic principle of subsidiarity, which means working on social problems from the bottom up through the small- and medium-sized [End Page 195] groups that matter greatly for people's well-being, such as families, churches, and neighborhoods.Rubio's project is vital because civic spaces have become so fraught. Although this book was published early in 2016, these words are even more apt in 2017: "In both popular and academic Catholic circles, politics has become a very uncomfortable space. … Catholics are more divided than at any point in their history, and in this they mirror society rather than providing an alternative to it" (xiv–xv). If Catholic Christians, claiming a common life and common Lord, are as divided as society itself, they testify poorly to their values. By contrast, if they redirect some of their energies from the personal and the political to the local, then "instead of fighting each other, Catholics can participate more, agree on more, and, consequently, build up more" (229).Part 1 of the book draws on Church tradition and ethics texts to articulate a vision of what it means to be a faithful citizen. Divisions within the Catholic community are shaped in part by interpretations of Church teaching that discourage Catholics from thinking they should cooperate with others who think differently. In recent years, the American bishops have pushed Catholic citizens to consider some political issues, such as abortion and gay marriage, as more important than others. Rubio aims to right such imbalances by showing that Catholic teaching supports pluralism, appreciates the pragmatic side of politics, and holds a nuanced account of how people can act conscientiously in an imperfect world. She offers "a social ethic for ordinary Christians" (58), equally focused on faithfulness and effectiveness.The payoff in part 2 of the book is excellent. Rubio enters the culture-war debates over the family, poverty, abortion, and end-of-life care; elsewhere she briefly but insightfully examines white privilege, sweatshop clothing, and police violence. In each of these cases, Rubio describes the current divide, provides background analysis that cuts through misconceptions and slanted data, and suggests ways that Catholics can find common ground and build up the common good in church and society. Here is one small example of the kind of applications she makes: "A Catholic Charities center in my city included a conversation on advance directives in the agenda for a weekly meeting of mothers in a poor neighborhood. Though the instruction was quite simple, it gave the women a chance to talk about their faith, experiences, fears, and hopes in relation to death and dying. … These women are now better equipped than many for the tough conversations that are surely ahead" (218).Rubio practices what she preaches, exhibiting a conversational tone and capacious vision throughout. While focused on Catholic sources and issues, Hope for Common Ground is by no means narrow. Not only other Christians but also all [End Page 196] people have to face the social issues discussed here, and it matters to all citizens how religious communities are addressing them. Therefore, this book is a great launching point for honest conversations in college courses, while scholars in the field will do well to engage with Rubio's theory of local action. The book deserves a wide readership within and outside Catholic circles.Brian StiltnerSacred... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Review Wayne C. Booth. For the Love ofIt: Amateuring and Its Rivals (Chicago: University of Chicago Press, 1999). For the Love ofIt is a delightful exposition on life-long music making written with love by amateur cellist Wayne Booth (professor emeritus ofEnglish, University ofChicago). Employing a combination of journal entries, memories, and romantic prose on the topic oftaking up the cello at age thirty-one, he writes insightfully (...) on the challenges and triumphs inherent in amateur pursuits (musical, or otherwise). Written from a classical music perspective, he analyzes the reasons for amateuring, all the while extolling his community offellow amateurs, pro-amateurs, and teachers who make the journey worthwhile. He imparts many valuable insights from which music educators can benefit. I will summarize Booth's main points, highlighting these insights, and conclude with a brief criticism of the book from theperspective ofone who has worked with adult amateurs for more than fifteen jears. Boothplayfullypresentshis text in the form ofa symphony. In the "Overture," he encourages people to pursue actively an amateur love and desires growth in the ranks of amateurs. Just as Christopher Small encouraged a mental shift from to musictothemoreactive gerund formmusicking in his book of that title,1 Booth promotes a shift from the noun amateurto the gerund amateuring. He defines amateuringas doing something for the sheer love of it, adding the caveat: "Amateurs don't just dabble, like serious professionals, they work at learningto do it better^11). This idea of constant improvement is reiteratedthroughout the book with detailedrecounting ofBooth's forty-six years of cello studies, especially his pursuit of excellent thumb position. Why one should study to this degree when full success (that is, professional performance) is out of reach? Booth suggests the following rewards: joyful friendship, spiritual ecstasy, and gratitude for life's mysterious unearned gifts (5, 6). Indeed, throughout the book Booth finds himself "getting better all the time," often "playing better than ever"(58, 112, 123, 137, 140). His feelings ofimprovement and the accompanying self-satisfaction are ajoy to see and reinforce the idea that theserewards make true amateuring worth it. In"First Movement: The Courtship,"music educators find a staunch supporter in Booth and gain insight into the importance of childhood music activities as seen through amateureyes. As Booth wiselystates,"No one inmidlifeis likelyto take up any instrument, let alone the cello, without having fallenin lovewithmusic longbefore"(21). Clearlyfrom a musical family, he describes beautiful childhood memories including dancing with his mother at age five; making up songs; taking piano and clarinet lessons; singing three-part solfège exercises in sixth grade; and hearing his first live orchestra concert, the Philadelphia Orchestra conducted by Leopold Stokowski (22-8). These types ofactivities lay an important foundation for the pursuit of music by adults as "amateuring in our early years can lead to a lifetime ofamateuring" (22). Booth is a champion ofmusic education in the schools. Concerned with music program cuts and the prevalence of personal stereos that keep young people from "getting music into their bones, not just their ears," he encourages the funding of music lessons rather than computer games (22). After describing how he was "seducedbythe cello," he concludesthis section with a discussion of how other pleasures rival for the amateur's attention, suggesting that leisure activities often take the form of passive pastimes, not the active work oftrue amateuring. LikeVemon HowardmLearningByAllMeans, Boothgrapples with the concept of work versus play. 2 If amateurs are to spend their leisure hours working diligently at getting better, the work must be©Philosophy ofMusic Education ReviewlO, no. 2 (Fall 2002): 140-143. Book Review 141 experienced as play-something they love to do. While professional musicians are paid to play, often playing for the love ofit fades as themoney blossoms. He maintains the distinction between amateurs and professionals lies not with being paid or unpaid, but with playing for love or solely for money. "My heroes... are the professionals Icallpro-amateurs-thosewillingtojoinamateurs, pursuingthe love together," statesBooth (59, 60). I believe music educators are foremost among these heroes. In "Second Movement: The Marriage," many insights into the teachingofaging amateurs are provided. First, he observes that while his level of cello playing rises with age... (shrink)

The boundaries of the field of communications have been unclear from the beginnings. Somewhere between the liberal arts/humanities and the social sciences, communications exists in a contested space where advocates of different methods and positions have attempted to define the field and police intruders and trespassers. Despite several decades of attempts to define and institutionalize the field of communications, there seems to be no general agreement concerning its subject-matter, method, or institutional home. In different universities, communications is sometimes (...) placed in humanities departments, sometimes in the social sciences, and generally in schools of communications. But the boundaries of the various departments within schools of communications are drawn differently, with the study of mass-mediated communications and culture{0} sometimes housed in Departments of Communication, Radio/Television/Film, Speech Communication, Theater Arts, or Journalism departments. Many of these departments combine study of mass-mediated communication and culture with courses in production, thus further bifurcating the field between academic study and professional training, between theory and practice. (shrink)

Background This paper describes the design, implementation, and process outcomes from three public deliberations held in three tribal communities. Although increasingly used around the globe to address collective challenges, our study is among the first to adapt public deliberation for use with exclusively Indigenous populations. In question was how to design deliberations for tribal communities and whether this adapted model would achieve key deliberative goals and be well received.Methods We adapted democratic deliberation, an approach to stakeholder engagement, for use (...) with three tribal communities to respect tribal values and customs. Public deliberation convenes people from diverse backgrounds in reasoned reflection and dialogue in search of collective solutions. The deliberation planning process and design were informed by frameworks of enclave deliberation and community-based participatory research, which share key egalitarian values. The deliberations were collaboratively designed with tribal leadership and extensive partner input and involvement in the deliberations. Each deliberation posed different, locally relevant questions about genomic research, but used the same deliberation structure and measures to gauge the quality and experience of deliberation.Results A total of 52 individuals participated in the deliberations across all three sites. Deliberants were balanced in gender, spanned decades in age, and were diverse in educational attainment and exposure to health research. Overall, the deliberations were positively evaluated. Participant perceptions and external observer datasets depict three deliberations that offered intensive conversation experiences in which participants learned from one another, reported feeling respected and connected to one another, and endorsed this intensive form of engagement.Conclusion The adapted deliberations achieved key deliberative goals and were generally well received. Limitations of the study are described. (shrink)

The rise of Canadian national identity in the 1960s contributed to a flourishing small press movement across the country. One of the most impressive, long-standing and influential presses of this era was Coach House Press, located near the University of Toronto. Book design, creative forms of editing, collaborative and community-oriented work all became a focus of idealism in the Coach House context, as its founders borrowed from earlier international models, but relied, too, on the Canadian moment to devise (...) new ways to disseminate and create literary culture. More recently, a similar idealistic model in publishing and press work has appeared in Nova Scotia at Kentville’s Gaspereau Press. Gaspereau’s founders, like those at Coach House, have searched for an alternative plan and method- through an in-house dedication to the craft of design and bookmaking- that is unlike that applied by mainstream publishers. One could argue that the two outfits represent a counter-tradition in Canadian cultural life, a dedication to artisanal work, as well as to forms of collaborative editing and design. With the publishing and bookselling industry under great pressure in Canada from shifts in technology and government support, counter-traditional models like Gaspereau Press present the possibility of unique forms of cultural output and marketing. Behind such efforts we recognize philosophies and notions of cultural community that run counter to major trends. This paper examines the history of both presses, specific publications, and the impact of such work on the broader Canadian literary scene. (shrink)

continent. 2.3 (2012): 218–223 Vijay Prashad. Arab Spring, Libyan Winter . Oakland: AK Press. 2012. 271pp, pbk. $14.95 ISBN-13: 978-1849351126. Nearly a decade ago, I sat in a class entitled, quite simply, “Corporations,” taught by Vijay Prashad at Trinity College. Over the course of the semester, I was amazed at the extent of Prashad’s knowledge, and the complexity and erudition of his style. He has since authored a number of classic books that have gained recognition throughout the world. The (...) Darker Nations , a peoples’ history of the Third World, sent defibrillating shockwaves through an academic world that had almost forgotten the epic scope and historic dignity of the non-aligned movement and post-colonial struggles. In his recent, award-winning work, Arab Spring, Libyan Winter , Prashad delves into his capacious knowledge of the Third World to excavate the discourses and narratives surrounding the upheavals of 2011. “Revolutions have no specific timetable,” states Prashad in the opening line of this exciting and provocative look at contemporary events. Instantly, an atmosphere of suspense emerges. The reader is alerted to the problem of history. Does the making of history then involve a suspension of historical time, or is it a continuous narrative structure into which events must eventually be integrated? Arab Spring, Libyan Winter shows that the answer to the question, “How is history made?” lies just as easily in the asking. The first half of the book works through the events that transpired to bring about the explosive popular uprisings of Arab Spring: Tunisia and Egypt, Yemen and Bahrain. But the events are not put together in a cohesive, chronological fashion. Using an uncommonly gripping style more akin to the folk-story motif of the djeli than to traditionally Orientalist academia, Prashad suspends a given situation, points out its components, and traces back the characters and genealogies that define each link before resuming a narrative. Every moment is an end to itself, and an origin of something different. Thus, the making of history becomes the suspension of its own progress, it’s catastrophic 'stability,' in a process of differentiation through inclusion. Empirically, one might suggest that history is a condition of time, and by extension, of the subject, but history is also an eminent producer of the Subject and her concept of time through memory and narrative. Hence, history is often overdetermined by a dominant narrative of the sovereign. The apparently chaotic composition of Prashad’s historicity is, then, an interstitial morphology of resistance. It illustrates that the time to act for the revolutionary lies in the gaps within the dominant historical realities. It points out the sorties of signifiers constituting nothing in the obliterated ruins of history. Through such illuminations, Arab Spring, Libyan Winter breaks through “the surface of history” to elaborate revolution’s snapping synapses, exploding interruptions and breaches, connecting flows. Messianic Politics It is tempting to think, 'History is either singular, or it is diffuse. It is either one coherent factual narrative, or it is comprised of the aletheia of the multitude.' Yet the reader finds Prashad examining the structure of history on multiple levels. For Prashad, world history is shaped by geographically defined political movements, such as communism or national liberation, with historical agents like the working class for the former and the nationalist militant for the latter. Religion, however, is another matter: “Religion has an unshakable eschatology which a post-utopian secular politics lacks.” Within the telos of religion, there appears on the horizon the image of Benjamin’s thoughts on messianic time—time as “a small fissure in the continuous catastrophe,” a break with history, may contain an ultimate redemption of the human beyond the political power struggle. Succoring the split between geo-political and utopian-religious (messianic) time in the context of Arab Spring, Prashad indicates that the base of “the deep desire and commitment to some form of democracy” is forged by the affinity between eschatological Islamist politics with the People. To think about the Subject of messianic time in the context of the lack of a “coherent timetable” for emancipatory politics, it is perhaps best to return to the modern tradition of Martin Luther King, Jr., whose prefigurative blending of liberation theology and emancipatory politics became most important during his works of 1963, the climactic year of “The Letter from a Birmingham Jail,” the March on Washington, and the bombing of the 16th Street Baptist Church. In “The Letter,” King states the point bluntly: Frankly, I have yet to engage in a direct-action campaign that was “well timed” in view of those who have not suffered unduly from the disease of segregation. For years now I have heard the word “wait!” It rings in the ear of every Negro with piercing familiarity. This “Wait” has almost always meant ‘Never.” We must come to see, with one of our distinguished jurists, that “justice too long delayed is justice denied.” The timing of rebellious action must not be a part of history. It must change history. The kairos appears spontaneous and untimely in its convulsive, shocking presence, yet it is, deeper still, a path, a longue durée , forged through diligent and rigorous praxis. King put a finer point on the path of historic liberation in his declaration in his 1963 speech at Western Michigan University: “[T]ime is neutral.... Somewhere along the way we must see that time will never solve the problem alone but that we must help time. Somewhere we must see that human progress never rolls in on the wheels on inevitability. It comes through the tireless efforts and the persistent work of dedicated individuals who are willing to be co-workers with God. Without this hard work, time itself becomes an ally of the insurgent and primitive forces of irrational emotionalism and social stagnation. We must always help time and realize that the time is always right to do right.” Time, then, exists in “the neutral,” while action must turn to the kairos , not only of taking time, but taking the right time. By turning our relation to time into kairos , we move time from its context within history to a duration between histories—the longue dure?e of Messianic time. The implementation of neutrality in this context suggests a broad space of time to extend through the valley of positive and negative. In Roland Barthes’s lectures from 1978, the neutral takes place in this minimal distance of non-conflict that exists outside of two extremes. It is, in the words of Maurice Blanchot, “the non-general, the non-generic, as well as the non-specific.” For Blanchot, the neutrality of time permeates life as death, impassive and beyond control; such is the neutrality of messianic time, which permeates the charge of history, changing the "I" into the "one." The neutrality of time therefore implicates history in a case against extremism, showing that the work of the radical is not to tend to any particular side, but to have the time to navigate through the terrible terrain of history by altering its course, its patterns and rhythms of movement, connection, sociality. Hence, one does not simply “make history,” one alters the course of history in accordance to “the right time.” The historical path toward emerging power is transmitted as a gesture to the outside of history, against history; a gesture as simple as reaching out. Thus a counterhistory, to use Foucault’s term, is brought forward as the guide of time past a point of no return, a Rubicon, the point where the normal path of history falls to the past. The subject, who must be the only true agent of history, facilitates time through helpfulness, and both the Subject and her history become decentered in relation to one another. Yet history negates the neutrality of time. As Barthes discloses, although the neutral is the “thought and practice of the nonconflictual, it is nevertheless bound to assertion, to conflict, in order to make itself heard.” Engaged with history, time is charged with a destiny, and becomes an opposition. As Prashad insists, “For Arab lands, the events of early 2011 were not the inauguration of a new history, but the continuation of an unfinished struggle that is a hundred years old.” The emergence of the Subject during Arab Spring did not conceive of a new history, but changed the path of history toward a different destiny. “Historical grievances combined with inflationary pressures now met with the subjective sense that victory might be at hand—this was not simply a protest to scream into the wind, but a protest to actually remove autocrats from their positions of authority. The facts of resistance had given way to the expectation of revolutionary change.” The negativity of this charge toward “revolutionary destiny” rendered control, as a positive force, seriously lacking. The lack of control lies in the problem that the Subject is not totally detemporalized or timeless, but untimely in her presence. The Subject is untimely, because her work is visionary, and it is only through such visionary work that the Rubicon can be crossed. Still, the crossing of this border is haunted by anxiety over an impending disaster that lays in wait. It is only through the form of what Benjamin calls divine violence, captivated not with the justice of the means, but the ends—the transformation of history—that a revelation of history’s traumatic foundations can be liberated, and patterns and rhythms of time developed throughout obscured traditions awakened. In this situation, the Subject appears to be outside of right, but setting the state to rights. Because her position is correct, in-so-far as the rebelling subject rebels due to a lack of recognition, her representation appears outside of the norm, which is mistaken as right. Therefore, such visionary work must be carried out through obscured traditions, underground, away from the surveillance of empire. Explaining his method from the start along the lines of Marx’s metaphor of the mole, Prashad insists, “It is the burrowing that is essential, not simply the emergence onto the surface of history.” Arab Spring, Libyan Winter is a book on uncharted networks of time, spread out over the 252 pages like an elaborate spider’s web of passages intertwining with and overwhelming the machinery of the state. Although untimely, Arab Spring was not a flash in the pan, or a Facebook or Twitter revolution. Prashad notes that the government’s suspension of these tools led to further radicalism by furthering communications through face-to-face encounters. In existential terms, Arab Spring might be thought of as a revolution of Being over techne , an uprising of the unchartable, infinite potential of the Other. The name of this Other is found in Chance. The faith of the revolution lies in the proper decentering of the subject, its giving to the Other of time, for only with respect to time does history actually appear on the horizon of the subject, rather than as an imposition. This time of historical agency appears as a moment when anything can happen—a revolutionary truth event where everything comes into question while being realized in its Otherness as a community of the people begins anew in the streets amidst discourse, friendship, reconfigurations of hegemony, and a becoming of a constituent power. Throwing a wrench into the gears of the “cobwebbed tradition” of Orientalism, the decentering of history in Arab Spring, Libyan Winter is a defining quality of its impassioned revolutionary cry. But perhaps the most paradigmatic points of the book emerge from the unexpected voices. To make the connection between the particular manifestations of revolutionary demands to the general historic terms of revolution, Prashad quotes an anonymous young Egyptian in Tahrir Square, who reminds us, “[T]he French Revolution took a very long time so the people could eventually get their rights.” Far from timelessness, the historicization of Arab Spring must exist precisely within the most uncanny appearance of time, as something that does not appear to come from the natural state of time as we know it, but in arriving has completely transformed the way that we understand time. Strange Monsters Revolution is never as simple as a revolt from below against a rusting structure of elites trying to remain in power. As with the French Revolution, Arab Spring consisted of complex familial ties, outside interests, and religious factions fighting alongside, often in awkward juxtaposition to, liberals, working class parties, farmers, and students. It is perhaps because of this historically difficult and incongruous composition that the Arabic word for revolution is thawra , referring to the image of the bull, or thawr , which has religious significance as a pagan deity for the Ancient Semitic tribes and Cartheginians. If Daniel Guérin was correct in saying, “Anarchism and Marxism drink from the same spring,” then it is quite a different oasis that drove the thirsty beast of revolution through what Prashad calls, “the Libyan labyrinth.” Recalling Bataille’s Acéphale, the intestinal labyrinth gains significance as the mode of metabolism and rumination in which, “(the Acephale) has lost himself, loses me with him, and in which I discover myself as him, in other words, as a monster.” Unraveling the discourse of the revolution, the flows of power and hegemony—from Qaddafi’s nationalist coup in 1969 to the wars with Chad from 1978 to 1987, the neoliberal reforms of the 1990s to, finally, the War on Terror—we find that the metabolic process of Libyan Winter ends in the production of oil. In a process of what Prashad calls “involution,” Qaddafi’s bellicose policies, along with his attempts to nationalize Islam together with oil, mutated the source of his power, turning his house against itself. Already a divided nation, with its two major cities on opposite geographic sides of the country, Libya became split between two opposed political powers—liberal reformists and staunch nationalists—as Qaddafi’s political disengagement manifested through what can only be described in psychoanalytic terms as a recursive passage a l’act (mysteriously calling Wikipedia “Kleenex,” declaring that opponents drank hallucinogens with their instant coffee, and so on). Prashad declares, “The mercurial style that Qaddafi adopted was not about his personality alone, but also a leader’s natural response to a system that relied upon power brokers whose own loyalty… did not have any ideological commitment to the system.” As in the case of other nations during Arab Spring, the true expression of revolt was an outward exposition of what had inwardly been happening in microcosmic societies throughout the realm—from indigenous tribes to political parties, for a century, the people, partly motivated by (and in resistance to) economic impositions of development, had been changing the traditional social compositions and participating in what Ruth Wilson Gilmore calls, “the relative autonomy of the movement from the leaders.” It was this empowerment of political reconfigurations taking place under the context of new democratic assemblages that shocked the elites and evoked such a powerful response. Unlike Qaddafi’s awkward policy choices and rants, real acts of power from the West were clear and decisive. Prashad sets the stages of war and diplomacy, far removed from the deserts, mountains, and cities that forged the backdrop of popular politics. Taking place under the now-classic architecture of the “four pillars” of US interests—oil, the War on Terror, Israel, and the circumvention of Iranian hegemony—we find elites rubbing elbows in “Heliopolist cocktail parties and hushed conferences in Kasr al-Ittihadiya” as well as the Concorde-Lafayette hotel in Paris, which provides the setting for a meeting of anti-Qaddafi figures consolidating their power. These scenes are buttressed with the careful portraiture of key historical actors. As Prashad brings the stage of history to life, we find the diplomats and liberals like Frank Wisner, whose career has brought him from Enron in the late 1990s to the Obama Administration, under the aegis of which he was meeting with Mubarak about military support during Arab Spring. We spy the provocateurs, for instance, gauche cavalier , Bernard Henri-Levy, who telephones Sarkozy from Benghazi about the need for more NATO air strikes. We follow the rebel military establishment as it suffers mysterious deaths and even more mysterious assents (like that of apparent CIA cohort, Khalifa Hifter). In each of these intriguing characters, we find different representations of the security state biopolitique: an oil-injected reification that drives Arab Spring from the resentment of rising food prices to the brink of implosion in Libyan Winter. Reminiscent of the scenes of Cold War soirées represented in old Bond films, the aristocratic fight for oil against democracy that was Libyan Winter presents a harsh truth that the new global crisis is simply the continuation of the old history: the global exploitation of capitalism waged against the imagination of the people. As Benjamin laments, “The labyrinth is the right path for the person who always arrives early enough at his destination. This destination is the marketplace.” Yet, “(t)he labyrinth is the habitat of… a humanity (a class) which does not want to know where its destiny is taking it.” Thus, the labyrinth leads, like the desert, only further into itself. As Blanchot explains, “The desert is even less certain than the world; it is never anything but the approach to the desert.” Only the visionary can take time out of the involution toward oblivion. It is here, in this approach to and escape from history, that we find ourselves within Benjamin’s Golgotha, Blanchot’s desert: A space of indeterminate uncertainty where we become familiar only with our own exile. Blanchot writes, “For the moderated and moderate man, the room, the desert, and the world are strictly determined places. For the man of the desert and the labyrinth, devoted to the error of a journey necessarily a little longer than his life, the same space will be truly infinite, even if he knows that it is not, all the more so since he knows it.” The desert, as allegory, provides an eschatology, a mortality in the destiny of Arab Spring. But any allegory of nature might lead to a labyrinthine eschatology (for example, in Bachelard, the forest presents "a limitless world"); the prescience of the untimely is always an uncanny acceptance of the infinite within the finite—the outside of what is understood. Transgenerational and occupied with the image of the future, the untimely makes otherness its home as it proceeds toward liberation. In the work of helping time navigate this dangerous passage of history, Prashad illustrates that the more violent break with history may have occurred in the peaceable struggles of Tahrir Square, and not in the military clashes of Qaddafi with his former Generals who defected to the CIA and NATO countries. It might be possible to suggest, then, that in the case of Tunisia and Egypt, the historical subject of the people was drawn together in a Dionysian dance of different rhythms in the marvelous realm of the ancients, while we fear that the case of Libya suggests an Apollonian future where time, itself, may lay dying under the machinic hand of history. The properly Nietzschean inversion would follow: time is dead, for history has killed it. Yet, if time is dead, struck down in Golgotha, exposed in the desert, mauled by the thawra , it is only in the present sense that it is rendered impossible outside of the context into which the untimely has thrown us. Thus, if history becomes an art of revolution, life as being-towards-death (death as the provocation of the neutrality of time) becomes what Benjamin calls “the allegory of resurrection” through the glorious ruins of history. Prashad ends his work with a rousing finale: “The time of the impossible has presented itself. In Egypt, where the appetite for the possibilities of the future are greatest, the people continue to assert themselves into Tahrir Square and other places, pushing to reinvigorate a Revolution that must not die… For them the slogan is simple: Down with the Present. Long live the Future. May it be so.&rdquo. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Great World House: Martin Luther King Jr. and Global Ethics by Hak Joon Lee, and: Democracy in Twenty-First Century America: Race, Class, Religion, and Region by Ronald B. NealReggie L. WilliamsThe Great World House: Martin Luther King Jr. and Global Ethics HAK JOON LEE Cleveland, OH: Pilgrim Press, 2011. 256 pp. $25.00Democracy in Twenty-First Century America: Race, Class, Religion, and Region RONALD B. NEAL Macon, GA: (...) Mercer University Press, 2012. 138 pp. $30.00On Christmas Eve 1967, Martin Luther King Jr. asked the members of a congregation to recognize that they are—every day—interacting with many different nations all around the world as they maneuver throughout their normal daily routines. Hak Joon Lee’s The Great World House: Martin Luther King Jr. and Global Ethics examines the implications of this daily global interaction as the need for a broader ethical perspective in a shrinking world. The need begins with the realization that we do indeed inhabit a shrinking world in which our local behavior has a broader global impact. Once we recognize the moral implications of our local interaction, it becomes clear that we must learn how to live together in a broader community.But how do we speak the language of a global morality? What does a global morality look like? Lee argues that King’s metaphor of a great world house provides a structure on which to frame the content of a healthy global morality in a shrinking world. The metaphor indicates a collective understanding of all humanity as a global community (ix). The notion of a single world house moves people groups beyond rival communities with well-defined in-group and out-group barriers into what Lee describes as a global civil society where we are all seen as members of a collective in-group (13). The concept of a collective in-group helps illustrate what Lee understands to be King’s argument for a global morality; “King’s idea of a great world house redefines what the boundaries and membership of a moral community are: the great world house constitutes a single inclusive ethical community for humanity because it identifies the world as a single unified community” (53). [End Page 234]But as laudable as King’s great world house metaphor is, we are still burdened with the task of imagining a universal moral language in practice. Efforts toward the formation of universal truths have historically been death-dealing for people groups caught on the wrong side of the color line. A one-size-fits-all morality has been a procrustean bed for people who have been racialized and subordinated to white European males. Yet Lee interprets King’s method of universal engagement to begin with convictions shared at home within the particularity of his African American Christian worldview before it moves outward toward a shared vision of a global civil society. The movement from particular to universal for a public morality is unlike the historically harmful practice of universal morality. King’s universal method includes attention to four components: vision, norms, virtues, and political practices. These four components belong to what Lee depicts as a careful and intricate dialectic between what is local and what is universal in a political dialogue that seeks the end of a global civil society with shared conceptions of community and human rights.Ironically, with regard to the conversation about human rights, Lee claims that King’s formative African American interpretation of human rights was primarily informed by the Enlightenment and then blended with an African American experience: “Mostly appropriated from Christianity and the Western Enlightenment tradition, these norms [justice, freedom, and equality] obtained a new significance for African Americans in the context of the sizzling cauldron of slavery and segregation” (55). Yet one would be hard pressed to identify the presence of modern Enlightenment intellectuals within the formative theological worldview of the African American Christianity that Lee identifies. Of necessity, African American Christianity, the Christian worldview that birthed Martin Luther King Jr., was formed to deflect the white Christian worldview that was shaped by the intersection of race, religion, and empire in modernity. The Enlightenment fueled modernity’s... (shrink)

This paper draws from critical data studies and related fields to investigate police officer-involved homicide data for Los Angeles County. We frame police officer-involved homicide data as a rhetorical tool that can reify certain assumptions about the world and extend regimes of power. We highlight the possibility that this type of sensitive civic data can be investigated and employed within local communities through creative practice. Community involvement with data can create a countervailing force to powerful dominant narratives (...) and supplement activist projects that hold local officials accountable for their actions. Our analysis examines four Los Angeles County police officer-involved homicide data sets. First, we provide accounts of the semantics, granularity, scale and transparency of this local data. Then, we describe a “counter data action,” an event that invited members of the community to identify the limits and challenges present in police officer-involved homicide data and to propose new methods for deriving meaning from these indicators and statistics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE IMPACT OF VER/TATIS SPLENDOR ON CATHOLIC EDUCATION AT THE UNIVERSITY AND SECONDARY LEVELS* CARDINAL PIO LAGHI Prefect of the Sacred Congregationfor Catholic Education INTRODUCTION T HE TOPIC which has been proposed to me, "The Impact of Veritatis Splendor on Catholic Education at the University and Secondary Levels,'' requires a note of clarification with regard to the word impact. When this Encyclical Letter of Pope John Paul II (...) appeared, it was received with much comment, both positive and negative, on the part of the press and the other media. This is one aspect of the topic proposed : to trace in a synthetic way a picture of the reactions which the document stirred. Such would certainly be an interesting study, but I would perhaps be led to traverse much terrain before arriving at the nucleus of what I feel is my duty to say to you. I shall limit myself, therefore, to commenting on two positive reactions appearing in Italian newspapers immediately after the publication of the Encyclical. The first was in the well-known Roman newspaper, Il Tempo, under the title, "An Act of Consistency in an Epoch of Doubt." It states: "If lighthouses had been moved every month, the sailors in the night would have seen the ships of history dashed against the rocks; and no voyager would have reached his homeland again if the North Star, within the Zodiac, had to obey vacillating positions of fashions and ideologies.... The papal document stirs discussions.... Nevertheless it is very much of current interest. While many ships finish on the rocks because they have * This paper was originally presented at the Forum on Catholic University Education at Duquesne University in Pittsburgh, 3 November 1995. 1 2 CARDINAL PIO LAGHI sailed following fireflies instead of lighthouses and while the ruling classes have shipwrecked for having chosen compasses that lie, there is abroad a need to see the permanence of certain values recognized in the midst of all that changes, the necessity of an ethical nucleus linked to principles of the human person, honesty, freedom and responsibility." This is a positive reaction, then, which welcomes the Encyclical as a text which says things that have to be said, giving basic directions for a journey, and stating the things no one dares to speak but of which everyone knows the necessity in daily living. This is also the substance of another comment on the Encyclical that I think it would be useful to cite. Carlo Bo, a university professor and a well-known figure in Italian intellectual life, writes: "Modern culture no longer has objective criteria for distinguishing good from evil,'' and he adds, "John Paul II has fought against Communism in defense of freedom; now he criticizes Western culture, which makes of freedom an absolute value.... The exaltation of freedom leads to ethical relativism, against which the Pope raises his voice." Agreement and basic approval are transparent in these lines, but the title under which they appear is "A Call to Order." Immediately the image is evoked-negative to the sensitivities of our times-of a commander intent on imposing order on his soldiers. The heart of the problem perhaps, at least with regard to the teaching of moral theology in the Catholic context, is in the clear perception of the need for an unchanging point of reference, of a lighthouse for the voyage, and at the same time the fear of speaking of this need, of making it the subject of reflection, communication, and teaching. There is a kind of widespread fear which keeps us at a distance from the truth, from the permanent foundations of human acting, from the objective and the universal; a fear which is perhaps the principal cause on account of which so great a part of contemporary humanity risks dying of thirst while standing before a spring of cool water. In order not to appear authoritarian or negative, one keeps silent, does not speak, expresses oneself in a partial or even an erroneous way with regard to all that is most necessary for life. It would be difficult not to see in this a problem which is typically an educa- THE IMPACT OF VERITATIS SPLENDOR 3... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Opening a Mountain: Kōans of the Zen Masters, and: The Kōan: Texts and Contexts in Zen BuddhismEric Sean NelsonOpening a Mountain: Kōans of the Zen Masters. By Steven Heine. Oxford: Oxford University Press, 2002. 200 pp.The Kōan: Texts and Contexts in Zen Buddhism. Edited by Steven Heine and Dale S. Wright. Oxford: Oxford University Press, 2000. 322 pp.The Zen koan is mysterious to many and (...) its significance remains disputed by scholars. Is it a challenging therapeutic device, to be left behind like a raft after crossing the river, or a self-transparent statement of the liberated mind? Is it a logic-defying paradox or does it have its own performative rationality? Is it a spontaneous and often irreverent oral expression or a complex and staged literary form understandable within its context? Is it a narrative with multiple levels of meaning or something that potentially interrupts the work of meaning, narrative coherence, and conventional understanding?Although paradoxical and even shocking language occurs in other traditions, these two provocative volumes illustrate the uniqueness, significance, and interpretive difficulty of one of Zen's primary practices. Both works are valuable contributions to understanding the context, development, and meaning of the koan from its origins and growth in T'ang and Sung China to later Japanese developments.Steven Heine's Opening a Mountain: Kōans of the Zen Masters includes translations of sixty koan cases, selected traditional commentary, and his account of each case. This rich work gathers significant koans about Zen's encounter with its "other" from a variety of koan collections compiled in Sung China and Kamakura Japan.The volume is organized around the theme of "opening a mountain." Masters opened up mountains for Zen by confronting and converting local spirits, hermits, and other forces that would prevent or endanger its practice. It refers more broadly to the confrontation and contest between Zen masters and figures representing supernatural forces, indigenous and popular religiosity, and rival forms of practice such as that of the isolated hermit without vows and outside the Buddhist community.The koans are presented and discussed in five sections concerning: (1) supernatural mountain landscapes; (2) irregular rivals such as hermits, wizards, and dangerous women; (3) supernatural experiences in which bodhisattvas, demons, and magical animals are encountered in dreams and visions; (4) the use of symbols of authority and transmission such as the flywhisk; and (5) experiences of confession, repentance, self-mutilation, death, and the afterlife.Heine argues that emphasizing the ritual, symbolic, and cultural dimensions of the koan complements understanding it as using paradoxical language to free one from the reification of language through aporia and double-binds. He insightfully shows through his translations and discussions the often ignored mythological and religious dimension of many koans. Even when koans use mythic or supernatural elements ironically, it is still in reference to such a context of belief. Since the outcomes [End Page 284] of these confrontations between Zen iconoclasm and irregular practices and unconventional beings are often uncertain, the koan embodies these tensions between supernaturalism and iconoclasm, ritual and meditative clarity, devotion and enlightenment. Zen masters are not always unambiguously victorious in their confrontations and competition with popular religion in these stories of opening mountains and taming and converting spirits, shamans, hermits, unconventional and rival women (such as the "Zen grannies" and the nuns of cases 23-26), and other irregular practitioners and dangerous forces.Zen iconoclasm is best exemplified by Lin-chi (J.:Rinzai), known for his advice to kill the Buddha and the patriarchs, who forbade travel to Mount Wu-t'ai, where popular devotional Buddhists believed Mañjus´rī appeared (see cases 13-15). Lin-chi's Mañjus´rī cannot be seen on sacred mountains but is manifested in your own activity. However, even some koans involving Lin-chi focus on his ambiguous success in dealing with P'u-hua (cases 16, 57), an irregular practitioner attributed with magical powers. Despite such warnings, the bodhisattva of compassion's sacred mountain continued to appeal to ordinary Buddhists and even Zen practitioners. In these koans, Zen is not simply demythologizing. It is playing a dangerous game of ironic ambiguity and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:36 Feminist Studies 45, no. 1. © 2019 by Feminist Studies, Inc. Sonny Nordmarken Queering Gendering: Trans Epistemologies and the Disruption and Production of Gender Accomplishment Practices Those who are deemed “unreal” nevertheless lay hold of the real, a laying hold that happens in concert, and a vital instability is produced by that performative surprise. —Judith Butler, Gender Trouble Beginning in the 1960s, scholars began to theorize gender as (...) a contextually specific process rather than a universal category reflecting an essential pre-discursive sex. Two interrelated traditions developed: a discursive approach, which theorized gender as performative, and an interactionist approach, which investigated the interactional achievement of gender. For Judith Butler, “what we take to be an internal essence of gender is manufactured through a sustained set of acts, posited through the gendered stylization of the body.”1 Gender is therefore performative : it is a series of effects produced through the repetition and citation of stylized acts, which are named via and thus produced through discourse ; discourse also produces the defining limits of subjects.2 Candace West and Don Zimmerman theorized gender as a “routine, methodical, 1. Judith Butler, Gender Trouble, 10th anniversary ed. (New York: Routledge, 1999), xv. 2. Butler, Gender Trouble; Judith Butler, Bodies that Matter: On the Discursive Limits of Sex (New York: Routledge, 1993); Judith Butler, Undoing Gender (New York: Routledge, 2004). Sonny Nordmarken 37 and recurring accomplishment” produced in social interaction.3 They observed how, in the relational process of “doing gender,” social actors display gender, presenting an appearance to others, who attribute gender by interpreting this appearance. In this article, I investigate how actors interactionally challenge and construct discursive structures in order to contribute to scholarship that analyzes the role language plays in such interactions.4 Following Sandy Stone, who suggests that transsexuals are not a class, nor a third gender, but a genre, “a set of embodied texts,” who, through their interpretation, might potentially disrupt dichotomous sexuality and gender categories, I examine the spaces in which the discursive and the interactional merge to investigate how gender minorities, as simultaneous subjects, texts, social actors, and cultural workers, queer hegemonic gender practices.5 I argue that members of trans linguistic communities and gender nonconforming individuals queer the normative gender process in two ways: by productively linguistically communicating third-person gender pronouns and by disruptively inhibiting gender’s hegemonic attribution. Lal Zimman has made parallel observations, explaining linguistic gender self-determination practices as a new cultural phenomenon, focusing on terminology for types of gendered persons, grammatical gender forms (i.e., pronouns), and lexical items that relate to embodied sex.6 My analysis builds on Zimman’s observations using sociological, performance 3. Candace West and Don H. Zimmerman, “Doing Gender,” Gender & Society 1, no. 2 (1987): 126. 4. For example, see Mimi Schippers, “Recovering the Feminine Other: Masculinity, Femininity, and Gender Hegemony,” Theory and Society 36, no. 1 (2007): 85–102. 5. Sandy Stone, “The Empire Strikes Back: A Posttranssexual Manifesto,” in Body Guards: The Cultural Politics of Gender Ambiguity, ed. Julia Epstein and Kristina Straub (New York: Routledge, 1991), 296. The term “gender minorities ” encompasses individuals identifying with gender identity terms other than those they were assigned and individuals with gender nonconforming appearance. 6. See Lal Zimman, “Transgender Language Reform: Some Challenges and Strategies for Promoting Trans-affirming, Gender-Inclusive Language,” Journal of Language and Discrimination 1, no. 1 (2017): 84–105; Lal Zimman, “Trans People’s Linguistic Self-Determination and the Dialogic Nature of Identity,” in Representing Trans: Linguistic, Legal, and Everyday Perspectives, ed. Evan Hazenberg and Miriam Meyerhoff (Wellington, New Zealand: Victoria University Press, 2017). 38 Sonny Nordmarken studies and performativity frameworks to theorize these practices. By approximating new gender pronoun-attribution norms that bring a trans queer paradigm to life in interactions and by disregarding their perceptions of each other’s bodies, actors accomplish gender pronouns linguistically, override hegemonic gender attribution norms, and reorganize gender accountability. These practices institutionalize a new interpretive frame and accountability structure through which social actors create and recognize a variety of gender expressions, identities, and pronouns, reworking performativity to produce gender minorities as subjects. I argue that this gendering-queering is a form of disidentificatory gender accomplishment. In addition, I... (shrink)

The epistemology and phenomenology of contemporary society tend to be deepened, and the philosophical challenges never are minimal that we may be called to face with the kind of post-modern chaos from the rapidly changing phenomena of the global community. The ballast held on the identity of faculty members as a teacher and researcher now turns due so as to be recast with our intrinsic of routine performance. I considered their quality as bent on the intellectual strife on (...) the method and the kind of attitude, say, evaluation and consultation. In this paper, the authors have presented some thought and implications that triangulated the triad, i.e., research methodology, program evaluation and consulting illustration on the college research program rankings. The author is hoped that the discourse can help the academicians to share the attribute of different methods as well as the dimension of evaluation and consulting, perhaps essentially related with their work role in terms of teaching and researching. Keywords: Research Method, Qualitative Studies, Mixed Method, Program Evaluation, Theory and Philosophy, Program Rankings, Consulting, Journal Writing. (shrink)

Purpose This paper aims to examine the challenges facing fish farmers in the use of information and communication technology in information sharing on fish farming. Design/methodology/approach This study used both quantitative and qualitative methods. It involved 240 fish farmers who were randomly selected. Questionnaires, focus group discussions, observation and key informant’s interviews were used as methods of data collection. Both descriptive and inferential statistics were used to analyse quantitative data, while content analysis was used for qualitative data. Findings It was (...) found that the most frequently used ICTs by fish farmers in sharing agricultural information were mobile phones, radio and television. Also, the study revealed that major challenges facing fish farmers in sharing information include unfavourable radio or television broadcasting time, high cost of acquiring and maintenance of ICT facilities, lack of training on ICT, poor network connectivity and low level of literacy. Moreover, it was further found that there was negative significant relationship between challenges associated with the use and degree of ICT usage by fish farmers. Originality/value The study is original with the exception of areas where citations have been made. Besides, it provides awareness and understanding of the challenges facing fish farmers in ICT usage in information sharing on fish farming, and this will enable improvement of timely provision and access to relevant information and hence improved fish farming production. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Drawing on 10 sets of data gathered in the General Social Survey between 2000 and 2018, this study examined whether confidence in the press mediated political party affiliation as a determinant of attitudes toward the scientific community. The study observed full mediation effects in three of five instances in which Republicans occupied the White House, with partial or no mediation observed at other points. Overall findings showed that males, White respondents, and those who had completed more years of (...) school, as well as Democrats and those who indicated higher levels of confidence in the press, tended to report greater levels of confidence in the scientific community. The study discusses quantitative results in light of increased partisanship and derisive attacks on news media. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Mystery of Sacramentality:Christ, the Church, and the Seven SacramentsCharles JournetTranslated by Aaron D. Henderson, with Introduction and NoteOriginally: Charles Journet, "Le Mystère de la sacramentalité: Le Christ, l'Église, les sept sacrements," Nova et Vetera 49 (1974): 161–214.Translator's IntroductionThe thought of Charles Cardinal Journet, venerable founder of the present journal and unparalleled twentieth-century master of Thomistic ecclesiology, merits a wider reception and a more ardent love.1 Not a (...) few have recognized this of late, producing articles and books dedicated to explicating his teaching.2 Nevertheless, much remains to be done to ensure that English speakers have fuller access to Journet's corpus. For instance, only the first [End Page 611] volume of L'Église du Verbe incarné,3 his magnum opus, has been translated into English.4 It is with this in mind that we set out to translate the article below. And it is no meager article that is reproduced below (though such a work is foreign to Journet), but one of considerable substance and importance. After all, it is a wonderful (and wonderfully extensive) expression of his post-conciliar Christology, ecclesiology, and sacramental theology. Indeed, written in 1974, but one year before his death, this article represents the mature fruit of many years of contemplation and prayer.With respect to his ecclesiology, Journet was influenced by the Second Vatican Council, in which he participated after his elevation to the episcopacy and cardinalate. As an example of this influence, an influence evident in the article below, the conciliar documents speak in several places of the sacramentality of the Church.5 The Church is, in Christ, a sacrament, "a sign and instrument both of a very closely knit union with God and of the [End Page 612] unity of the whole human race."6 Describing the Church as a sacrament is part of the Council's effort to unfold for the Catholic faithful and for the whole world the Church's inner nature and universal mission. Following the teaching of the Council, therefore, Journet includes the Church herself, in her being and action, in "the mystery of sacramentality."7But the mystery of sacramentality includes more than the Church. Indeed, there is a respect in which the entire economy of salvation is sacramental. Furthermore, the Church is a sacrament (a sign and instrument) only in a derived sense, in a way wholly dependent on her divine Spouse and Head. It is for this reason that Journet refers to Christ as "the sacrament of the divine life in its source" and to the Church as "the sacrament of the divine life communicated." Both Christ and the Church, then, are sacraments, but not in precisely the same manner. As Journet puts it, "Now, to which of these two is the Second Vatican Council's definition, 'universal sacrament of salvation,' suited? To Christ and to his Church respectively, though proportionally (that is, analogically)."8Journet's systematic ordering (first Christ, then the Church, and finally the sacraments) is intelligible and consonant with others who suggest that, had St. Thomas written an ecclesiological treatise in the Summa theologiae, it would be situated between the questions on Christ (ST III, qq. 1–59) and the questions on the sacraments (ST III, qq. 60–90).9 Journet begins [End Page 613] his work, however, with a reality that he refuses to call a sacrament, namely, the Most Holy Trinity. The Trinitarian mystery stands at the heart of the Christian faith; it is the source of the mystery of sacramentality. We see the splendor of the entire economy of salvation, and of the New Law especially, in the mystery of the Trinitarian indwelling and missions of the Son and Spirit. The Word became flesh, became human, so that he might rescue our sin-ravaged world. Jesus is, in his sacred humanity, the sacrament of the Trinity, the sacrament of the divine life in its source, to employ again Journet's language.Journet describes the Word as seizing or taking hold of the depths of his sacred humanity in his being and in his action. The Gospels bear authoritative witness to this, but they... (shrink)

Previous studies argue that religious firms are more ethical and thus engage less in accrual earnings management. At odds with the ethical view, we use a sample of Chinese listed firms and show that firms in religious regions use more real earnings management. We postulate that besides ethics, religion also proxies for risk aversion, which motivates firms to substitute accrual earnings management with real earnings management. Consistent with this view, we show that the positive association between religiosity (...) and real earnings management is more pronounced for firms with lower litigation risk and for firms with less reputable auditors. In addition, we use a mediation model introduced by Baron and Kenny :1173–1182, 1986) to show that religiosity affects earnings management through the channel of risk aversion. We conclude that firms choose real earnings management over accrual-based earnings management because of risk aversion, rather than ethical reasons. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Excited DeliriumThe Self-Fulfilling Prophecy of Police BrutalityKathryn Petrozzo (bio)In their timely and pressing piece, Arjun Byju and Phoebe Friesen explore the contentious diagnosis of excited delirium; a syndrome characterized by erratic, aggressive, and “delusional” behavior (2023). Overwhelmingly, this term is used when individuals come in contact with police and/or first responders. Although much attention has been given to debating whether or not this is a “real” (...) diagnosis, the authors want to shift the focus to examining the work that excited delirium is doing in the world, as well as the underlying beliefs guiding it that are perpetuating substantial harm. Drawing significantly on the work of Ian Hacking (1998, 2006) and Sherene Razack (2015), Byju and Friesen explore what kinds of people are being made up by the label of “excited delirium” and the subsequent dehumanization that perpetuates violence towards those in this grouping.Despite the lack of an agreed upon definition, excited delirium tends to frequently group together young Black men and other marginalized people of color, who have a psychiatric history, and those who have taken or are suspected to have taken drugs (Byju & Friezen, 2023). As this is “observed” when individuals come into contact with law enforcement and/or first responders, those who are presumed to be suffering from excited delirium are typically met with physical restraints (chokeholds, hogties, etc.), forced injections of sedatives, and/or taser guns. The violent reactions are often justified not only by this “diagnosis,” but the employment of racial stereotypes; notably, the notion that Black bodies as being less susceptible to pain. As the authors aptly put it:This kind of symptom language helps make up the novel category of a person who suffers from excited delirium: a crazed and inhumane monster, a golem that must be met with unrelenting and superordinate force, who is fated, regardless of interventions, to die a spontaneous death. This paradox, that those with excited delirium are supposedly both too strong and too weak, is at the core of the illness narrative.(2023)It is evident that this label is reinforcing the combination of two harmful stereotypes: the notion that those suffering from severe mental illness occupy a space that is “less than fully human,” and racist stereotyping of Black bodies “superseding human strength.” This perpetuates total dehumanization of the individual, where it is then justified to invoke brutal tactics, as well as signal [End Page 357] to the greater community this is how individuals with mental illnesses and/or belonging to a particular racial group (chiefly, Black men), should be treated. This is despite the fact that those suffering from mental illnesses are significantly more likely to be victims of violent crimes, Black Americans are 3.2 times more likely to be murdered by police, and convergence of these factors (being Black and living with a mental illness) increases likelihood of such fatal interactions (Schwartz & Jahn 2020; Shadravan, Edwards, & Vinson 2021; Stuart, 2003).Although I am in wholehearted support of their account, I take issue with the authors’ conceptualization of excited delirium as non-falsifiable, as well as the notion that diseases, generally, are falsifiable. In an attempt to further criticize the utilization of excited delirium, Byju and Friesen call upon Karl Popper’s falsifiability criterion as a measure for what constitutes as scientific; arguing that excited delirium is not a legitimate scientific concept as it is impossible to falsify. First, I am not convinced that excited delirium is in principle non-falsifiable; as the way in which it’s conceptualized actually appears to be falsifiable. The authors point out that external factors, such as tasing and violent restraints, are clearly the causal explanation, which should in fact, lead one to reject the hypothesis of an excited delirium diagnosis. However, in practice, those who are seeking to exonerate the police/first responders responsible for these deaths, are not accepting this evidence leading them to reject the excited delirium diagnosis, but rather, are crafting an incorrect causal narrative. This is deeply problematic, but it does not necessarily render excited delirium as non-falsifiable. More broadly, I am concerned with the reliance on the falsifiability criterion, which has been widely criticized in the... (shrink)

The nascent church in Jerusalem represented in Acts 6 verses 1–3 was promptly challenged by the problem of inequity and lack of fair play among the various stakeholders and such disaffection reached a situation of murmur and open agitation. This challenge to the apostles was a threat to the consolidation of the already established Christian community in Jerusalem and its spread to the whole world. Something must be done to arrest the situation or the Church runs the risk of disintegration. (...) Having some moral lessons drawn from the pericope at the back of the mind, one notices that recently there has been a clamour by the different geopolitical groups in Nigeria to restructure the Nigerian political system. The clamour is based on the failed position of post-war federalism to give all parts of Nigeria’s pluralistic society a fair and equal representation which hitherto was meant to stop Nigeria from another civil war or the cry for cessation by one region or another. The church, as an impartial umpire in the art of politics, should, in the midst of the turmoil, serve as the conscience of the masses, pressing hard to the actualisation of the demands of the masses. The study, through historical-critical method of biblical scholarship with Form criticism, analysed that situation of agitation to inequality and gross misrepresentation in the book of Acts 6:1–3, pressing to offer vital lessons to Nigeria in her quest for political restructuring. It concluded by finding out that Nigeria’s pluralistic nature, when restructured, should be a catalyst for global vision attainment and sustainable development. (shrink)

There is an ongoing methodological debate in philosophy of science concerning the use of case studies as evidence for and/or against theories about science. In this paper, I aim to make a contribution to this debate by taking an empirical approach. I present the results of a systematic survey of the PhilSci-Archive, which suggest that a sizeable proportion of papers in philosophy of science contain appeals to case studies, as indicated by the occurrence of the indicator words “case study” and/or (...) “case studies.” These results are confirmed by data mined from the JSTOR database on research articles published in leading journals in the field: Philosophy of Science, the British Journal for the Philosophy of Science (BJPS), and the Journal for General Philosophy of Science (JGPS), as well as the Proceedings of the Biennial Meeting of the Philosophy of Science Association (PSA). The data also show upward trends in appeals to case studies in articles published in Philosophy of Science, the BJPS, and the JGPS. The empirical work I have done for this paper provides philosophers of science who are wary of the use of case studies as evidence for and/or against theories about science with a way to do philosophy of science that is informed by data rather than case studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Crises of Memory and the Second World WarPatrick HenryCrises of Memory and the Second World War, by Susan Rubin Suleiman; x & 286 pp. Cambridge: Harvard University Press, 2006. $29.95.This excellent study deals widely and deeply with the crises of memory and World War II but generally focuses on France, Vichy and the Holocaust. The author defines a crisis of memory as "a moment of choice (...) and sometimes of predicament or conflict, about remembrance of the past, whether by individuals or by groups" (p. 1). In the crises of memory she examines, "individual self-representation overlaps with... collective self-representation" in such a way that individual remembrance takes on collective significance. In nine rich chapters of textual analysis of mostly self-consciously literary texts, Suleiman deftly analyzes writers from the left and the right, two films of tremendous import, the nature of Holocaust memoirs, experimental writing and the concepts of trauma, amnesia, amnesty, testimony and forgiveness.In the first three chapters, Suleiman studies French memories of the Occupation, the collaborationist Vichy regime and the Resistance from 1945 to the present. These chapters depict the relations between history and memory and highlight the intriguing process of the evolution of public remembrance. Chapter one, "Choosing Our Past," surprises even the most careful reader of Jean-Paul Sartre's plays and novels, for it demonstrates brilliantly that, in several of his very early post-Vichy essays where he conveniently passes over in silence France's collaborationist past—even the major role played by Vichy police in the roundup and deportation of Jews—he helped create, along with de Gaulle and others, the myth of "Resistancialism," the founding myth of the post-Vichy [End Page 204] Period, the idea that all Frenchmen resisted the Nazis. In the words of Pierre Nora, Sartre and de Gaulle were "writing history from the point of view of the future" (p. 17).In chapter two, the author analyzes the 1997 "Aubrac Affair," exposing the problems that the Resistance heroes, Lucie and Raymond Aubrac, encountered when they were suddenly suspected of having betrayed Jean Moulin, whose 1964 enshrinement in the Pantheon is examined in chapter three within the context of the politics of national memory in France. Whereas Moulin's enshrinement marked the apex of the myth of "Resistancialism" in France, the "Aubrac Affair" comes fifty-four years after the betrayal of Jean Moulin and twenty-five years after the myth of "Resistancialism" began to fade. In treating the charges and countercharges in the "Aubrac Affair," which continues to fascinate because it illustrates "the problematic relation between public and private memory, and between history and fantasy in the construction of both an individual and a collective past" (p. 61), Suleiman highlights the problems of narrative verisimilitude and the narrative tendency toward heroic aggrandizement as well as its opposite, the desire to topple heroes.In chapter four, Suleiman studies Marcel Orphuls's Hotel Terminus: The Life and Times of Klaus Barbie, a four-hour documentary of great significance that remains relatively unknown when compared with his earlier film, The Sorrow and the Pity. Barbie was the infamous Nazi war criminal, known as "the Butcher of Lyon," who tortured and deported hundreds of Jews and tortured to death the great French Resistance hero, Jean Moulin. He was extradited from Bolivia to France in 1983 where he was tried for crimes against humanity in 1987. Orphuls's film exposes the conflicted memories and partisanships produced by WWII and the Holocaust in public and private spaces throughout Europe and the Americas. This chapter will undoubtedly convince others of the film's importance. It will certainly convince the reader of Suleiman's ability to read film. She explains in detail Orphuls's method of "dialectical montage" (already evident in The Sorrow and the Pity) whereby he cuts up individual interviews and juxtaposes them with parts of others that often qualify or simply contradict what has been stated. This is why his films are "interactive documentaries" that "force the viewer into uncomfortable subject positions in relation to the material" (p. 87). No voice-over or "voice of God" commentary comes to aid the viewer who is forced to evaluate critically... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Acts of Enjoyment: Rhetoric, Žižek, and the Return of the SubjectJames J. Brown Jr. and Joshua GunnActs of Enjoyment: Rhetoric, Žižek, and the Return of the Subject by Thomas Rickert. Pittsburgh: University of Pittsburgh Press, 2007. Pp. x + 252. $24.95, hardcover.Thomas Rickert had a falling-out with his brother, and this distresses him so much that his disrupted relation is described as “traumatic.” Rickert reports that (...) while listening to a portable CD player during a run on an unexpectedly warm winter day, a song by the now defunct jazz/rock band Morphine reminded him of a happy time at a pool hall with his brother (24). Mediated—or better, medicated—by music, the homological happiness of running in the sun and a positive past memory also resurfaced a painful relational rupture, the reason of which Rickert omits to underscore that mysterious, “little detail or object” of the Real that marks his singular finitude as a writing subject (216 n. 11). We’ll want to come back to this curiously deliberate omission, but for the present we note Rickert is not simply an undead author but a human being with relations and feelings. He is not just a gifted scholar or a bundle of reflections, but a nexus of body and movement and words and affect. If there is anything that Rickert’s study can be said to work through with brilliance, humor, and grace, it is the reality of complex personhood.Rickert’s brotherly confession comes in Chapter 1 as a way to introduce a psychoanalytic understanding of subjectivity, and more specifically, to help illustrate how trauma works itself out as an afterwardness or “belatedness” ( Nachträglichkeit ): traumatic events from the past are not reckoned with or worked-through until some coincidence or reminder, such as a similar [End Page 183] sensory experience, reintroduces the event in doubled re-presentation (18–27). This implies the “subject” (a paradigm person) is a kind of timedelay, a self-conscious temporal moving that becomes this way through re-presentation. The rhetorical subject is analogously a retrojected reckoning with events past (not all traumatic) that Rickert identifies as a scene of writing, a locus that has important implications for rhetorical studies in general and writing pedagogy in particular. Rickert’s logic is as follows: if we agree that the subject is a belated one in the psychoanalytic sense, then how we teach rhetoric needs to change. Rickert opens the book with the observation that his students are producing excellent cultural critiques but that such critiques do not lead the students to change their actions (1–7), perhaps evidence enough that something is not quite right in a classroom grounded by “cultural studies pedagogy” and ideology critique—or at the very least, proof that something has changed. The opening gambit is simply that a “postpedagogy” premised on an understanding of rhetorical subjectivity as belatedness is better than a status quo rooted in the rational subject of the Enlightenment.Mostly through a Žižek-filtered, Lacanian lens, Acts of Enjoyment then undertakes a retake of the rhetorical field, frequently scanning from the traumatic ontology of the rhetorical subject to that domain of knowledge that we hold dear, the subject of rhetoric. In Chapter 2, the (primal) scene thus shifts from the slo-mo subject to rhetorical studies, initially through a reassessment of Kinneavy’s “communications triangle,” but ultimately in response to the shock treatment of poststructuralism. The initial theoretical traumas introduced by Victor Vitanza, Diane Davis, Sharon Crowley, and others discussed in Chapter 1 are threaded into an account of “poststructural” redress in Chapter 2: as is true of all forms of trauma, the initial poststructural jolt delivered to the concept of subjectivity was deadened; poststructural theory was eventually used to “shore up rather than challenge Kinneavy’s triangle” (37). To truly work-through our traumatized subject in both senses, we need a second trauma: Lacanian psychoanalysis. Presumably, “poststructuralist thought” is to be opposed because it has no account of the subject (21–24); “Lacan,” after all, “is not a poststructuralist” (48). The remainder of the chapter is then used to deploy Lacan’s conceptual lexicon.Just as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Feminist Studies, Inc. 509 Mytheli Sreenivas Birth Control in the Shadow of Empire: The Trials of Annie Besant, 1877–1878 In March 1877, two London activists provoked a debate about poverty and overpopulation that reverberated across metropole and colony. These activists, Annie Besant and Charles Bradlaugh, republished a book by the American physician Charles Knowlton that outlined methods to prevent conception. TheFruitsofPhilosophy,which (...) Bradlaugh and Besant provocatively subtitled An Essay on the Population Question, had been in limited circulation in Britain since 1833, but the book’s legality was called into question when its previous publisher was charged with obscenity in early 1877.1 Determined to establish the legal right to publish information about contraception, on March 23rd, 1877, Bradlaugh and Besant delivered copies of The Fruits of Philosophy to the police department, the city solicitor, and local magistrates, and they announced their intent to sell the book from their premises at the Freethought Publishing Company on Stonecutter Street in East London. The following day, a crowd filled the narrow space outside the publishing house, and the two activists sold hundreds of copies of Knowlton’s book. When no arrests were made, Besant and Bradlaugh renotified the authorities that they were selling a supposedly obscene book and were informed in turn that papers were 1. S. Chandrasekhar, “A Dirty, Filthy Book”: The Writings of Charles Knowlton and Annie Besant on Reproductive Physiology and Birth Control and an Account of the Bradlaugh-Besant Trial (Berkeley: University of California Press, 1981), 26. 510 Mytheli Sreenivas being prepared for their arrest and prosecution. On the 7th of April, 1877, Besant and Bradlaugh were arrested and taken into custody.2 In their subsequent trial, the two activists linked birth control advocacy to a Malthusian worldview. They argued that the urban working classes and the rural poor in Britain labored under the burden of overpopulation. Humanitarian concern for impoverished people, and not intent to promote obscenity, drove them to disseminate information about birth control. Besant and Bradlaugh were eventually acquitted on a legal technicality, and Bradlaugh moved on to other issues. Besant, however, was dissatisfied with The Fruits of Philosophy because its methods were outdated by the science of the day. She was determined to write a more up-to-date guide explaining contraceptive methods and went on to found a Malthusian League to disseminate birth control information. These events—the trial and Besant’s further campaigns promoting contraception —mark a watershed moment in the history of birth control activism.3 They would shape how reproduction came to be understood not as a private matter, but as a particular sort of social problem, whose implications reverberated from London to the empire in India and back again. To outside observers, Bradlaugh and Besant may have seemed an unlikely pair to set these events into motion. Bradlaugh, at age forty-four, had a long history of association with radical causes. A celebrated atheist and antimonarchical republican, he helped to shape a tradition of mid-nineteenth-century English radicalism that developed in the wake of Chartist decline. As a member of the National Reform League in the 1860s, he had participated in public demonstrations to extend the franchise. His leadership of the National Secular Society made him a popular lecturer among Freethinkers on issues of political democracy, anticlericalism, and occasionally on neo-Malthusianism.4 2. Anne Taylor, Annie Besant: A Biography (Oxford: Oxford University Press, 1992), 110–12. 3. The term “birth control” was coined in a meeting of Margaret Sanger and her associates in 1914, and thus would not have been in use in the late nineteenth century. The term contraception was not unknown, but had only limited circulation in scientific discourses. Nevertheless, I use both “birth control” and “contraception” interchangeably to mean methods to prevent conception. See Peter C. Engelman, A History of the Birth Control Movement in America (Santa Barbara, CA: Praeger, 2011), xviii. 4. Taylor, Annie Besant, 80–81. Mytheli Sreenivas 511 In comparison to Bradlaugh’s prominence, Besant was relatively unknown. Her public career began after a separation from her husband, the Anglican vicar Frank Besant. Perhaps the couple were ill-suited to each other from... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Acts of Enjoyment: Rhetoric, Žižek, and the Return of the SubjectJames J. Brown Jr. and Joshua GunnActs of Enjoyment: Rhetoric, Žižek, and the Return of the Subject by Thomas Rickert. Pittsburgh: University of Pittsburgh Press, 2007. Pp. x + 252. $24.95, hardcover.Thomas Rickert had a falling-out with his brother, and this distresses him so much that his disrupted relation is described as “traumatic.” Rickert reports that (...) while listening to a portable CD player during a run on an unexpectedly warm winter day, a song by the now defunct jazz/rock band Morphine reminded him of a happy time at a pool hall with his brother (24). Mediated—or better, medicated—by music, the homological happiness of running in the sun and a positive past memory also resurfaced a painful relational rupture, the reason of which Rickert omits to underscore that mysterious, “little detail or object” of the Real that marks his singular finitude as a writing subject (216 n. 11). We’ll want to come back to this curiously deliberate omission, but for the present we note Rickert is not simply an undead author but a human being with relations and feelings. He is not just a gifted scholar or a bundle of reflections, but a nexus of body and movement and words and affect. If there is anything that Rickert’s study can be said to work through with brilliance, humor, and grace, it is the reality of complex personhood.Rickert’s brotherly confession comes in Chapter 1 as a way to introduce a psychoanalytic understanding of subjectivity, and more specifically, to help illustrate how trauma works itself out as an afterwardness or “belatedness” ( Nachträglichkeit ): traumatic events from the past are not reckoned with or worked-through until some coincidence or reminder, such as a similar [End Page 183] sensory experience, reintroduces the event in doubled re-presentation (18–27). This implies the “subject” (a paradigm person) is a kind of timedelay, a self-conscious temporal moving that becomes this way through re-presentation. The rhetorical subject is analogously a retrojected reckoning with events past (not all traumatic) that Rickert identifies as a scene of writing, a locus that has important implications for rhetorical studies in general and writing pedagogy in particular. Rickert’s logic is as follows: if we agree that the subject is a belated one in the psychoanalytic sense, then how we teach rhetoric needs to change. Rickert opens the book with the observation that his students are producing excellent cultural critiques but that such critiques do not lead the students to change their actions (1–7), perhaps evidence enough that something is not quite right in a classroom grounded by “cultural studies pedagogy” and ideology critique—or at the very least, proof that something has changed. The opening gambit is simply that a “postpedagogy” premised on an understanding of rhetorical subjectivity as belatedness is better than a status quo rooted in the rational subject of the Enlightenment.Mostly through a Žižek-filtered, Lacanian lens, Acts of Enjoyment then undertakes a retake of the rhetorical field, frequently scanning from the traumatic ontology of the rhetorical subject to that domain of knowledge that we hold dear, the subject of rhetoric. In Chapter 2, the (primal) scene thus shifts from the slo-mo subject to rhetorical studies, initially through a reassessment of Kinneavy’s “communications triangle,” but ultimately in response to the shock treatment of poststructuralism. The initial theoretical traumas introduced by Victor Vitanza, Diane Davis, Sharon Crowley, and others discussed in Chapter 1 are threaded into an account of “poststructural” redress in Chapter 2: as is true of all forms of trauma, the initial poststructural jolt delivered to the concept of subjectivity was deadened; poststructural theory was eventually used to “shore up rather than challenge Kinneavy’s triangle” (37). To truly work-through our traumatized subject in both senses, we need a second trauma: Lacanian psychoanalysis. Presumably, “poststructuralist thought” is to be opposed because it has no account of the subject (21–24); “Lacan,” after all, “is not a poststructuralist” (48). The remainder of the chapter is then used to deploy Lacan’s conceptual lexicon.Just as... (shrink)

In spite of these efforts in the 1920s and 1930s to initiate ongoing research on contraception, the subject of birth control remained a problem of concern primarily to the social activist rather than to the research scientist or practicing physician.80 In the 1930s, as has been shown, American scientists turned to the study of other aspects of reproductive physiology, while American physicians, anxious to eliminate the moral and medical dangers of contraception, only reluctantly accepted birth control as falling within their (...) professional domain.As a result, the problem of cheap, effective, and safe contraception was not solved by these earliest attempts. Consideration of the subject was initiated afresh by private philanthropy after World War II, sparked by a new wave of interest in population studies.81 Summarizing such efforts to support research in the reproductive sciences, a recent Ford Foundation study has noted: “To initiate and sustain serious research in the reproductive sciences has required for more than half a century concerted effort by interested individuals and private organizations, mainly from outside the mainstreams of the biomedical research community.”82The early laboratory research on chemical contraception described in this paper was but one important outcome of the concerted effort made by reformers in the 1920s to eliminate a variety of social problems thought to derive from excessive fertility. Scientific arguments and expertise were employed to advocate reform as well as to define the appropriate solution to such social problems. Scientists were recruited as advocates for the movement, but they were also employed as researchers in laboratory investigations sponsored by these same reformers.Sponsors of these early laboratory studies noted the difficulty of obtaining first-class investigators.83 The routine analyses necessary for such research, as well as the traditional scientific aversion to applied problems, provide only a partial explanation for this response. The real difficulty lay in recruiting investigators to a field that had previously been taboo. Once opened up — first as socially relevant, and finally as scientifically sound — there was much interest in this area, and the appeal to researchers of the scientific issues surrounding fertility and reproduction soon surpassed that of the reforming value of birth control.A survey of the kinds of experimental investigations sponsored by birth control advocates indicates the range of physiological problems explored by contraceptive research. The most definitive work was done on the efficacy and safety of spermicides, but the potential of other contraceptive methods was also examined. Investigators attempted to develop spermatoxins that would effectively immunize women against sperm, and they also tried to elucidate the mechanism of hormonal control of reproduction. In fact, speculations about the possible hormonal manipulation of fertility were expressed at the Seventh International Birth Control Conference held in Zurich in 1930.84In the 1920s, clinical studies were undertaken to assess the effectiveness of the various birth control methods. Laboratory investigators complemented this work by screening spermicides for safety and testing for their ability to kill sperm. There were a variety of birth control preparations on the market, but no one really knew whether these were effective or even safe.85 Although the physiology of other major organ systems was well advanced, the scientific study of reproductive physiology and contraceptive technology was clearly in its infancy in this period. Routine analyses simply could not be conducted, because the fundamental research establishing baselines had not yet been done. Scientists used this fact to redirect attention to basic research on reproduction.Laboratory research on contraception indicated important unexplored areas for physiological investigation. Social activists, who had encouraged prominent scientists to become interested in both the social value and the genetic implications of birth control, found these investigators revising the goals of their research. The biologists had formed their own network and had begun to seek out funding, reformulating the justification for sponsorship of further investigations. The eugenic motivations underlying these studies, which had initially made them theoretically attractive to biologists, were gradually eroded. Concern with “human evolution” ceded its place to interest in physiological mechanisms. Crew and others began to note that the use of biological theory to justify essentially political decisions had serious limitations. Biologists had become uncomfortable with those very arguments which had originally captured their interest. Recognition of the potential political abuse wrought by applying scientific principles to society was expressed by Crew just one year after the Zurich meeting. Referring to previous assessments of the role of sex in reproduction, he generalized: “In the past the biologist has justified feudalism, Manchester Liberalism, socialism and every other type of social organization and political programme by reference to selected biological phenomena.”86 By 1932 Crew had also begun to question the biological logic of regulated breeding, and had made it clear to his American sponsor that there was no simple correspondence between the practice of birth control and the genetic improvement of the human race.87Biologists further began to recognize, however, that although the hopeful genetic solution to human problems was probably an illusion, contraception still remained one tangible means to alleviate, human misery. Some laboratory scientists, like Crew, acknowledged the applicability of their own particular skills to this problem. For a few brief years, social needs and scientific goals were mutually supportive and closely intertwined. But as laboratory researchers gained interest in the study of reproduction and established their own priorities in this field, they temporarily withdrew from the arena of debate over birth control as an important mechanism for social reform.With the rise of Hitler, the genetic arguments for birth control rapidly lost their appeal. But by that time the scientific problem of how to achieve effective contraception had entered the professional consciousness. Both physicians and scientists began to be aware of birth control as a subject within their domain of expertise, although outside the principal focus of their research. Scientific discussion of birth control permanently altered from a question of justification to a problem of method: How could one achieve reliable and safe contraception? This had been Sanger's and Dickinson's goal from the beginning. Laboratory scientists had indeed been persuaded to undertake this work; this research had in turn affected biologists' perceptions of the whole field of reproductive physiology, encouraging further study of reproductive mechanisms. The promise of new knowledge provided for continued funding of this research, despite the caution by scientists that the social benefits would not be as immediate or as far-reaching as advocates and they themselves had first argued.The activities of birth control activists and their supporting agencies, and the financial backing of private contributors and foundations, notably the Rockefeller philanthropies, provided an important new stimulus to the development of research on the biology of reproduction in the late 1920s and early 1930s. Biologists were able to claim an enlarged realm of issues for scientific study through their activities as advocates and as investigators for the birth control movement. At the same time, they promised as-yet-undiscovered possibilities for regulating human reproduction once its physiology was understood. The knowledge and control that they promised lay in understanding the whole reproductive cycle — not merely in evaluating the toxic effects of presumptive spermicides.Chemical spermicides never summoned the interest of scientists as the contraceptive pill was to do, yet that research did reinforce the widespread perceptions of scientific research as essential to social reform. Spermicide investigations focused research efforts in reproductive biology by challenging traditional taboos, defining problems for further study, and providing laboratory investigators the opportunity to assert the social and scientific value of their own skills. Crew echoed this attitude as he observed in 1934:Man has turned from the adventurous conquest of his environment to the conquest of himself. To-day is the day of biological invention, eagerly used for the control of the undesirable and the unwanted. Sex and reproduction are no longer hedged around by myth and taboo; they are no longer accepted as mysteries that defy understanding. They are matters inviting examination and explanation; they are regarded as expressions of physico-chemical forces, the nature of which is to be displayed. It is accepted that when knowledge is sufficient, control will be absolute, and, though knowledge is not yet sufficient, readers... must be persuaded to the view that this will not always be so.88The synergism between reproductive biology and social needs has been temporary and sporadic, but recurring, since the 1920s. Scientific research programs have clearly been influenced by issues raised by public debate. Nevertheless, reproductive biologists have continued to assert their own professional goals. For the most part, they have rejected problems without inherent scientific interest and have spurned applied research except as it has had a direct bearing on current research themes. This attitude, apparent among American and British investigators in the 1930s, created the intellectual context for the invention and acceptance of the technically sophisticated oral contraceptive pill. It did not foster the production and improvement of the simple, safe, effective, and cheap vaginal contraceptive desired by early birth control advocates. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS Easter in Ordinary: Reflections on Human Experience and the Knowledge of God. By NICHOLAS LASH. Oharlottesville, Virginia: Uni· versity Press of Virginia, 1988. Pp. 313. $29.95 (hardbound). Nicholas Lash sets out "to construct an argument in favor of one way of construing or interpreting human experience as experience of the mystery of God " (p. 3), and to show that this awareness of God has nothing (...) to do with analyses of " religious experience " or of theism. Recent attention to religious experience, such as that of the philosopher Riohard Swinburne or of the research unit established by the zoologist Alister Hardy at Oxford, relies on a conception of that experience as individualistic rather than communal and as a matter of feeling or sensation in contrast to thought. Lash aMrihutes ·this view of religious experience to the legacy of William James, and contrasts it with that of Frederick Schleiermacher. According to Lash, James identifies the personal wi~h the individual, contrasts thought with feeling, and regards religious experience as private in contrast to public, or " naked " with respect to language, institutions, and other cultural forms. Schleiermacher avoids these errors by focusing not on discrete, datable experiences that one can identify as religious, hut on a moment that pervades all human experience, to the source or object of which the grammar of Christian doctrine gives the name "God." Lash acknowledges that Schleiermacher can he read in support of either of these two different ways of construing religious experience (pp. 112, 129), hut he does not realize that James can also he read in a way that blurs the dichotomy he sets up. Both James and Schleier· maoher provide uncommonly sophisticated accounts of the social character of the self and of the role of language and thought in shaping perception and feeling. In his Ethik, Schleiermacher locates the individual in social and cultural institutions, and elaborates the anthropology that informs his influential lectures on hermeneutics. Three of many notable contributions of James' Principles of Psychology are a chapter on the self that is the source of conceptions of the social self in American sociology and social psychology, a critique of classical empiricism showing that the distinction between sense impressions and ideas is an artifact of an erroneous psychological theory, and a famous chapter on the stream of thought in which he argues human experi505 506 BOOK REVIEWS enoe is not divided into ideas, sensations, and feelings, but is a continuous flow of consciousness. Toward the end of his career, he gave up the concept of consciousness as too closely associated with the mental in contrast to the physical, and spoke instead of the flux of experience. Lash accuses James of Cartesi1an dualism, and attributes to him the view that there is a "little person," a Cartesian self imprisoned in the body. He admi,ts that the Principles contains no such view, hut sug· gests that Jaines becomes mo't'e and more Cartesian as he develops, his radical empiricism. In fact, there is very little in James that could accurately be called Cartesian, and nothing ei,ther in the Principles or in the late Essays in Radical Empiricism that would condone any such picture of an homunculus inside the body. Contrary to Lash's view, the idea of "pure experience" in the latter work does not refer to experience that is independent of language, culture, or institutions, but is rather a reminder that such distinctions as that between objec· tive and subjective, feeling and thought, or perception and fantasy, are not girven in experience, but are products of our interpretations. Despite their social views of the self, both Sohleiermacher and James focus on the consciousness of the individual when they come to ex· amine religious experience or piety. James says.that he will stress the more extreme or devdoped reports of religious experience in order to examine the " ripe fruits " of,tJhe religious life. Both share a Protes· tant bias toward personal piety as the heart of religion, and regard ritual and institutional forms as the communal context for that piety, and an insufficient appreciation for the value of the routine and conventional. But this is not to be identified in either... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 221-223 [Access article in PDF] John J. Conley. The Suspicion of Virtue: Women Philosophers in Neoclassical France. Ithaca, NY: Cornell University Press, 2002. Pp. xi + 222. Cloth, $39.95. The rediscovery of forgotten women philosophers began in the 1970s and has yielded important results by broadening substantially the intellectual history of early modern Europe. In The Suspicion of Virtue: Women (...) Philosophers in Neoclassical France, John J. Conley expands even more the corpus of philosophical texts written by women to include five authors whose work has never been considered in this context. Five salonnières, traditionally considered the authors of light literature, are the subject of Conley's book. By expanding the "map of philosophy sites and genres" (159), Conley has looked beyond the university setting and beyond the female philosophers associated with the major male figures of [End Page 221] the period. He argues that the salon produced important female philosophers whose intellectual power was especially revealed in their highly original consideration and discussion of virtue and whose work provides an alternative to the philosophy produced by the canonical male authors of the seventeenth century.As he explores the moral philosophies of Sablé, Deshoulières, Sablière, Vallière, and Maintenon, Conley shows us how the salon promoted experimentation with alternative methods of philosophical analysis. Specifically, the salon produced philosophical arguments that were "characterized more by debate and by epigrammatic commentary than by the lecture and the treatise" (158). It promoted new methods of argument and focused thematically on moral issues.The works of the Jansenist Madame de Sablé rely on the maxime, the literary genre associated most closely with salon culture. In her Maximes, Sablé engages in moral psychology to offer a critique of aristocratic society. She writes about the pride and self-interest that defines this milieu, and she draws a clear distinction between a physical aristocracy (based on blood and rank) and a spiritual aristocracy of the virtuous. For this author, the essential trait of the individual is moral identity, not family or heritage.The poetry and philosophy of Madame Deshoulières is rooted in naturalism and inspired by the works of Lucretius and Gassendi. For her, virtue involves "an ecological reverence for the material world" (49). She addressed the vice and confusion that come from human misconceptions about nature. In particular, the human refusal to accept mortality reflects a broader refusal to accept the materialist nature of human beings. The belief in human superiority and immortality constitutes an attack on nature and explains human efforts to dominate nature. The belief in human immortality in turn raises issues of morality because it produces in humans hubris and the consequent mistreatment of the animal world and material environment. For Deshoulières virtue involves reverence for the material world.With Sablière the ethical person is the "redeemed saint, the sinner freed to a life of charity by the sovereign action of God and summoned to a particular set of moral duties in the midst of austere prayer" (94-95). Her maxims refer ultimately to spiritual abandonment to the will of God, and Sablière combines a deeply mystical piety, shaped by contact with Quietism, and the idea of the sovereignty of God, derived from Augustinian theology. The individual is dependent upon God's grace, and to live a moral life requires serious contemplation and communication with God and pyschological detachment from self, a relationship that springs from God's initiative.La Vallière also interprets virtue in an Augustinian vein, but her approach to virtue does not insist on abandonment of the world. She writes about knowing God through the experiences of repentance and conversion. Her Reflections on the Mercy of God is a dialogue with God on the part of repentent female voice. Her voice is definitely gendered, and she witnesses to God's mercy.Finally, Conley shows us in turn that the salonnières brought to their discussion of virtue an interest in etiquette and manners that derived from the distinctive experiences of women. Here the... (shrink)

The conventional community sports facility allocation methods have high minimum costs, and a new community sports facility allocation performance optimization method is designed based on a linear programming model in order to reduce the performance capital investment. The standardized community sports facility allocation performance objective function is established, and a pairwise model is built to divide the feasible and optimal solutions, and the feasible solutions and their constraints are found out. Establish a community sports facility configuration performance optimization model, (...) delineate the boundaries of the optimal solution by bifurcation, and set the feasible domain of the performance optimization model. The performance optimization algorithm is designed to improve the speed of community sports facility allocation performance optimization. In the experiment, the method is compared with data-driven method, digital management method, and evolutionary game algorithm, which requires less capital investment in spring, autumn, and winter than digital management method and evolutionary game algorithm, and the minimum capital investment in summer is less than the other three methods. From the above experimental data, it is clear that the performance optimization method has the smallest minimum capital investment and achieves the purpose of reducing the input cost. (shrink)