Our manuscripts of Cicero contain dozens of Greek words that are presented in some passages in Greek letters, and in others are transliterated into Latin. In a recent paper I collected the evidence for this phenomenon in connection with common nouns and adjectives, surveyed scholarship to date and posited an interpretative framework which is assumed in this study also. Key components of this framework are the use of mixed alphabets in surviving ancient documents and an awareness of the frequency with (...) which modern editors change the alphabets in the manuscripts when dealing with Greek words—hence the importance of using the apparatus critici, not just the printed text, of our editions. The earlier paper was also strict in its exclusion of words in continuous passages, and even short phrases, of Greek, since that context excludes the option of transliteration for the author. The major contention of that earlier study was that a coherent pattern of use in the manuscripts can only really be a reflection of Cicero's own considered choice of alphabets: consistently inexplicable choice may indicate that Cicero himself was indifferent to which alphabet he used for single Greek words, or that our copyists paid no attention to this aspect of their exemplars, or both. (shrink)

Un seul coup de crayon sur une feuille de papier, et tout l'espace s'ébranle : c'est la force du premier trait sur la toile vierge, c'est l'alif à l'origine de l'alphabet, c'est l'écriture se déployant dans les méandres de l'encre. Projection en même temps qu'inscription de la lumière sur une surface, de préférence plane et claire, l'ombre est la trace du vivant sur terre. A peine l'a-t-on cernée d'un contour que l'absent qui s'y est réfugié reprend forme, retrouve son (...) identité, et que la mémoire se met à agir. Dessins, estampes, photographies sont des moyens de retenir - chacun à leur manière, et chacun à leur rythme - ces brèves manifestations de l'existant. Florian Rodari s'interroge dans ces pages sur la volontaire et contraignante limitation au couple noir/blanc, dualité splendide de l'encre et du papier en vue d'obtenir - hors tout recours à la couleur - des images capables de satisfaire pleinement le regard. Sont réunis dans cet ouvrage un certain nombre de ses essais consacrés à des artistes aussi divers que Rembrandt, Victor Hugo, Henri Michaux, Jacques Henri Lartigue, Balthasar Burkhard ou Georg Baselitz. (shrink)

In this article it is argued that the relation between the socalled Gutenberg galaxis of print culture and the Turing galaxis of digital media is not one of opposition and substitution, but rather one of co-evolution and integration. Or more precisely: that the Gutenberg galaxis on the one hand can be inscribed into the Turing galaxis, which on the other hand is textual in character since it is based on linear and serially processed representations manifested in a binary alphabet. (...) In continuation of this text and hypertext is described as notions of related but different sorts of complex systems and it is argued that both texts and hypertexts are best thought of as sequentially organised. The first part of the paper contains a description of the basic properties of computers and digital representation answering the question: what are the properties common to all kinds of use of computers – whether used for one purpose or another? The second part is concerned with the relationship between printed and electronic text. The third part addresses the idea of hypertext as systems which exploits modal shifts between node-mode and link-mode as a significant part of the semantics of the system. (shrink)

Conquering print-sound mappings is vital for developing fluent reading skills. In neuroimaging research, this ability can be indexed by activation differences between audiovisual congruent against incongruent conditions in brain areas such as the left superior temporal cortex. In line with it, individuals with dyslexia have difficulty in tasks requiring print-sound processing, accompanied by a reduced neural integration. However, existing evidence is almost restricted to alphabetic languages. Whether and how multisensory processing of print and sound is impaired in Chinese dyslexia remains (...) underexplored. In this study, we applied a passive audiovisual integration paradigm with functional magnetic resonance imaging to investigate the possible dysfunctions in processing character-sound and pinyin-sound associations in Chinese dyslexic children. Unexpectedly, the dyslexic group did not show reduced neural integration compared with typically developing readers in either character or pinyin experiment. However, the results revealed atypical correlations between neural integration and different reading abilities in dyslexia. Specifically, while the neural integration in the left inferior frontal cortex in processing character-sound pairs correlated with silent reading comprehension in both children with and without dyslexia, it was associated with morphological awareness in controls but with rapid naming in dyslexics. This result indicates Chinese dyslexic children may not use the same grapho-semantic processing strategy as their typical peers do. As for pinyin-sound processing, while a stronger neural integration in the direction of “congruent > incongruent” in the left occipito-temporal cortex and bilateral superior temporal cortices was associated with better oral reading fluency in the control group, an opposite pattern was found in dyslexia. This finding may reflect dyslexia's dysfunctional recruitment of the regions in grapho-phonological processing, which further impedes character learning. (shrink)

Citizenship education in established democracies is challenged by declining youth participation in democracy. Youth disenchantment and disengagement in democracy is primarily evident in formal political behaviour, especially through voting, declining membership of political parties, assisting at elections, contacting politicians, and the like. If citizenship education is to play a major role in addressing these concerns it will need to review the impact it is making on young people in schools. This paper reviews a major national project on youth participation in (...) democracy in Australia set in the context of a national citizenship education programme. The Youth Electoral Study found that citizenship education in Australian schools has at best been marginally successful and substantially more is required to raise levels of democratic engagement. The paper explores many opportunities available to education systems and schools to address these issues through reconceptualising aspects of the formal and the informal curriculum. (shrink)

States commonly employ education policy to build a strong sense of citizenship within young people and to create types of citizens appropriate to the country. In Singapore the government created a policy to build citizenship through both policy statements and social studies in the school curriculum. In the context of a tightly controlled state regulating schooling through a highly controlled educational system, the government expected teachers to obey these policy documents, political statements and the prescribed curriculum. What do teachers understand (...) about citizenship in this context? In schools do teachers demonstrate independence of thought on citizenship education or do they acquiesce to government policy? This article reports on a small group of social studies teachers' understandings of citizenship and explores the nature of these understandings in the context of government policy. The study showed an unexpected diversity of conceptualization amongst Singaporean teachers with their understandings of citizenship located in four themes, namely a sense of identity, rights and responsibilities, participation, and national history. This response was unintended by government and reflects an independence of citizenship education landscape in schools, despite the tight policy and bureaucratic controls over teachers by the Singapore state. (shrink)

This paper brings together a most fascinating and under-examined body of early New World writing that belong to a genre of writing I call “the torture narrative” with the insights of Marshall McLuhan in order to offer a way of thinking about body parts, especially hands, teeth, tongues, and eyeballs, and their extensions through technologies such as alphabets, manuscripts, books, and weapons. At its core are questions about the nature and effects of the changes wrought by the early-Gutenberg era—a period (...) characterized by vast scientific and technical discoveries, rising nationalisms, explorations, and conquests—in the New World. Rather than explore the ways an early New World print culture reflects or distorts discrete historical or ethnographic facts about colonial contact, I want to probe the ways the torture narrative speaks to the conditions of speaking and writing, and therefore to the discursive and textual production of the New World subject and New World space. My inquiry seeks to understand both the violence in, and the violence of, representation at founding historical moments, but its relevance far exceeds Renaissance or American studies. At stake in this discussion is an appreciation of a mode of intellectual inquiry that is attentive to the relationship between media technologies and the social worlds they reflect and transform. (shrink)

This article focuses on the pendulum-like change in the way people read and use text, which was triggered by the introduction of new reading and writing technologies in human history. The paper argues that textual features, which characterized the ancient pre-print writing culture, disappeared with the establishment of the modern-day print culture and has been “revived” in the digital post-modern era. This claim is based on the analysis of four cases which demonstrate this textual-pendulum swing: (1) The swing from concrete (...) iconic-graphic representation of letters and words in the ancient alphabet to abstract phonetic representation of text in modern eras, and from written abstract computer commands “back” to the concrete iconic representation in graphic user interfaces of the digital era; (2) The swing from scroll reading in the pre-print era to page or book reading in the print era and “back” to scroll reading in the digital era; (3) The swing from a low level of authorship in the pre-print era to a strong authorship perception in the print era, and “back” to a low degree of authorship in the digital era; (4) The swing from synchronic representation of text in both visual and audio formats during the pre-print era to a visual representation only in print, and “back” to a synchronic representation in many environments of the digital era. We suggest that the print culture, which is usually considered the natural and preferred textual environment, should be regarded as the exception. (shrink)

Electronic text can be defined on two different, though interconnected, levels. On the one hand, electronic text can be defined by taking the notion of “text” or “printed text” as the point of departure. On the other hand, electronic text can be defined by taking the digital format as the point of departure, where everything is represented in the binary alphabet. While the notion of text in most cases lends itself to being independent of medium and embodiment, it is (...) also often tacitly assumed that it is in fact modeled on the print medium, instead of, for instance, on hand-written text or speech. In late 20th century, the notion of “text” was subjected to increasing criticism, as can be seen in the question that has been raised in literary text theory about whether “there is a text in this class.” At the same time, the notion was expanded by including extralinguistic sign modalities (images, videos). A basic question, therefore, is whether electronic text should be included in the enlarged notion that text is a new digital sign modality added to the repertoire of modalities or whether it should be included as a sign modality that is both an independent modality and a container that can hold other modalities. In the first case, the notion of electronic text would be paradigmatically formed around the e-book, which was conceived as a digital copy of a printed book but is now a deliberately closed work. Even closed works in digital form will need some sort of interface and hypertextual navigation that together constitute a particular kind of paratext needed for accessing any sort of digital material. In the second case, the electronic text is defined by the representation of content and (some parts of the) processing rules as binary sequences manifested in the binary alphabet. This wider notion would include, for instance, all sorts of scanning results, whether of the outer cosmos or the interior of our bodies and of digital traces of other processes in-between (machine readings included). Since other alphabets, such as the genetic alphabet and all sorts of images may also be represented in the binary alphabet, such materials will also belong to the textual universe within this definition. A more intriguing implication is that born-digital materials may also include scripts and interactive features as intrinsic parts of the text. The two notions define the text on different levels: one is centered on the Latin, the other on the binary alphabet, and both definitions include hypertext, interactivity, and multimodality as constituent parameters. In the first case, hypertext is included as a navigational, paratextual device; whereas in the second case, hypertext is also incorporated in the narrative within an otherwise closed work or as a constituent element on the textual universe of the web, where it serves the ongoing production of (possibly scripted) connections and disconnections between blocks of textual content. Since the early decades of early 21st century still represent only the very early stages of the globally distributed universe of web texts, this is also a history of the gradual unfolding of the dimensions of these three constituencies—hypertext, interactivity, and multimodality. The result is a still-expanding repertoire of genres, including some that are emerging via path dependency; some via remediation; and some as new genres that are unique for networked digital media, including “social media texts” and a growing variety of narrative and discursive multiple-source systems. (shrink)

Printed attractively for ready reference, this compact dictionary surveys some 650 key terms and doctrines of dogmatic theology, alphabetically arranged in articles which range from a few succinct lines of lucid non-pedantic language to ten pages of historico-doctrinal synthesis. Père Bouyer draws upon his mature knowledge of Scripture and Church teaching in a personal exposition of topical relevance, limiting his speculative references usually to the Summa theologiae of St Thomas, illuminated by his grasp of the historical evolution of theology. In (...) our age of religious aggiornamento laymen and students alike will welcome this synthetic introduction to the high topics of theological discussion, which a final systematic table logically relates to the articles of the Apostles’ Creed. (shrink)

This out of print work offered researchers a comprehensive and easy to use bibliography of primary and secondary works by or about Collingwood. More than 1,200 citations were listed alphabetically by standard bibliographical categories in this volume, which contained a periodical index as well as author and subject indexes. In addition, each book entry included a "review alert" listing the names of reviewers. Author notes clarified the significance of a listed work when this was not apparent from the title, and (...) the number of pages was indicated for very long or very short monographs. This volume remains a standard reference work for Collingwood scholars and it is available in research libraries around the country. (shrink)

This article surveys some of the ways in which early modern scholars responded to what they perceived as an overabundance of books. In addition to owning more books and applying selective judgment as well as renewed diligence to their reading and note-taking, scholars devised shortcuts, sometimes based on medieval antecedents. These shortcuts included the use of the alphabetical index, whether printed or handmade, to read a book in parts, and the use of reference books, amanuenses, abbreviations, or the cutting and (...) pasting from printed or manuscript sources to save time and effort in note-taking. (shrink)

These two handsome tomes, printed in double columns and bound with German thoroughness, introduce an impressive survey of the basic themes of Christian theology, which will be completed in six volumes and published simultaneously in five other European languages. A set of systematic essays in alphabetical order, they are translated from the original texts of expert contributors for whom the Catholic tradition of theological thinking has been expanded by Vatican Council II beyond a juridically controlled scholasticism and whose broadly concordant (...) views do not exclude individual differences in articulating individual problems. The disciplined study today of the authentic sources of Christian truth is salted with an unsanctimonious awareness of the personal problems posed by life and thought in a changing world. The Editors’ General Preface confesses that present-day developments in theological investigation may be characterized as. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THIS MESSAGE IS FOR YOU. MAYBE. by Joseph Agassi There is a mood often enough conjured in science fiction literature to be familiar to every fan, the mood of seemingly intentional yet probably remdom contact between two individuals across immense space-time expanses. The hero of a complicated chase story has lost contact with the mother planet, has long ago leuided on a strange pleuiet, emd there, right now, just (...) walking across the plaza he sees a huge poster, with a piece of commercial advertisement or some similar message of purely local import printed on it. The poster is decorated with an arabesque which puzzles him, quickens his pulse, intrigues him, fascinates him — until it hits him insteinteuneously in full force: the arabesque is a message, written in his own native language, telling him how to reestablish contact. The story, as I say, has many veurietnts. And it has, it seems, a very widespread appeal. It is couched in terms of adventure stories, but its mood is not diat of adventure. The mood is more of die one associated with the idea of the eterned return, die idea of timelessness or of time standing still (and space vanishing), the idea the western philosophies usually associate with the ideas of Nicholas, the Renaissance mystic bishop ofCusa, though it is a recurrent idea in many cultures, of the identity of the vanishingly smedl and the infinitely large. Indeed, the meeting of the message and the recipient is symbolized by the meeting of the infinite line and the point of vanishing length. Whence this universality? I suppose it is a fact of biological nature. Think of the scent a living thing, be it a fish or em emtelope, leaves behind to contact a possible mate. It is a few complex molecules in a sea of molecules of astronomical numbers: just this room contains more molecules than you can imagine. And the animal follows a long tortuous path to find its mate. According to Willietm Craig and Konrad Lorenz, an animal does not have the slightest clue what it is after. Even while building a nest it has no complete 95 96Philosophy and Literature picture of its task. In each of its stages it goes after diverse kinds of things, yet it knows not which things, let alone their inborn rigidly fixed sequence. Yet the animal in charge of a tetsk, whether of finding a mate or of finding a twig for a nest, will be resdess — say Craig and Lorenz — and move about, and try to read the message in any piece of arabesque, until one day one piece of arabesque will med«: sense and enable its finder to complete die next step in the mysterious complex task and open up die search for the next message, the next step further along die unfolding series of preordained ordeals that life is strewn widi. Consider writing proper, like my writing this message for you right now. We do not know the background to literacy, much less its actual origins, except that these were far from unique: though many cultures eire illiterate or have acquired literacy from more evolved neighbors, mere eire many places on earth where literacy evolved independently. Yet even here we see a sequence: many independent ideographic scripts, some ofthem evolving into syllabic scripts and one or two of these evolving into an alphabet proper. How and why, we do not know. There is room for speculation, though. It is hard to imagine how the very first writer conceived of the very first message he wrote without consulting his recipient first. There are a few possible explemations here. First, that writer and recipient are one: writing was a form ofmemorizing, or ofconsigning matters to memory more stable than that of the human brain — the granite rock, for instance. The ancient Egyptian god of literacy was the god of memory. Primitive shepherds use knots in their rope and cuts on their sticks as aides memoire, as bookkeeping of sorts, and scholars consider these the origins of writings. This is evidenced by the runic writings of the Norse, whose letters are images of sticks with cuts on them. Yet runic writing is alphabetic and... (shrink)

The Bibliotheca Britannica is one of the most remarkable examples of bibliographical scholarship in the English Language. This scarce work of reference continues to be an invaluable resource for scholars and librarians who wish to identify early printed materials covering a wide range of disciplines. Routledge is pleased to make this important source of information more widely available. Published in 1824, it is estimated to include more than 200,000 books, pamphlets and periodicals printed from 1450 to the early nineteenth century. (...) The Bibliotheca is divided into four large-format volumes which are presented as a boxed set. The first and second volumes contain an alphabetical listing of over 40,000 authors and their biographical details. Full length titles of works, date and place of publication, and information on translations and subsequent editions are provided for each author. The entries covering the earliest printed texts contain details of British and foreign printers. Volumes three and four provide an encyclopedic index to volumes one and two. The works are listed within 30,000 subject areas, in chronological order of publication. Subjects, authors and titles are fully cross-referenced using an ingenious indexing system. Robert Watt devoted 25 years of his life to the Bibliotheca's compilation. He was born in 1774 and studied classical languages and philosophy at Glasgow University. Later he became a student of anatomy and theology at Edinburgh, and practised as a doctor. His interest in the history of medicine led him to begin compiling the Bibliography, which he extended to include works on law, history, language, philosophy, science, technology, travel and geography, and classical literature. (shrink)

The first edition of ELL (1993, Ron Asher, Editor) was hailed as "the field's standard reference work for a generation". Now the all-new second edition matches ELL's comprehensiveness and high quality, expanded for a new generation, while being the first encyclopedia to really exploit the multimedia potential of linguistics. * The most authoritative, up-to-date, comprehensive, and international reference source in its field * An entirely new work, with new editors, new authors, new topics and newly commissioned articles with a handful (...) of classic articles * The first Encyclopedia to exploit the multimedia potential of linguistics through the online edition * Ground-breaking and International in scope and approach * Alphabetically arranged with extensive cross-referencing * Available in print and online, priced separately. The online version will include updates as subjects develop ELL2 includes: * c. 7,500,000 words * c. 11,000 pages * c. 3,000 articles * c. 1,500 figures: 130 halftones and 150 colour * Supplementary audio, video and text files online * c. 3,500 glossary definitions * c. 39,000 references * Extensive list of commonly used abbreviations * List of languages of the world (including information on no. of speakers, language family, etc.) * Approximately 700 biographical entries (now includes contemporary linguists) * 200 language maps in print and online Also available online via ScienceDirect - featuring extensive browsing, searching, and internal cross-referencing between articles in the work, plus dynamic linking to journal articles and abstract databases, making navigation flexible and easy. For more information, pricing options and availability visit www.info.sciencedirect.com. The first Encyclopedia to exploit the multimedia potential of linguistics Ground-breaking in scope - wider than any predecessor An invaluable resource for researchers, academics, students and professionals in the fields of: linguistics, anthropology, education, psychology, language acquisition, language pathology, cognitive science, sociology, the law, the media, medicine & computer science. The most authoritative, up-to-date, comprehensive, and international reference source in its field. (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)

Corcoran, John. 2005. Meanings of word: type-occurrence-token. Bulletin of Symbolic Logic 11(2005) 117. -/- Once we are aware of the various senses of ‘word’, we realize that self-referential statements use ambiguous sentences. If a statement is made using the sentence ‘this is a pronoun’, is the speaker referring to an interpreted string, a string-type, a string-occurrence, a string-token, or what? The listeners can wonder “this what?”. -/- John Corcoran, Meanings of word: type-occurrence-token Philosophy, University at Buffalo, Buffalo, NY 14260-4150 E-mail: (...) [email protected] The four-letter written-English expression ‘word’, which plays important roles in applications and expositions of logic and philosophy of logic, is ambiguous (multisense, or polysemic) in that it has multiple normal meanings (senses, or definitions). Several of its meanings are vague (imprecise, or indefinite) in that they admit of borderline (marginal, or fringe) cases. This paper juxtaposes, distinguishes, and analyses several senses of ‘word’ focusing on a constellation of senses analogous to constellations of senses of other expression words such as ‘expression’, ‘symbol’, ‘character’, ‘letter’, ‘term’, ‘phrase’, ‘formula’, ‘sentence’, ‘derivation’, ‘paragraph’, and ‘discourse’. Consider, e.g., the word ‘letter’. In one sense there are exactly twenty-six letters (letter-types or ideal letters) in the English alphabet and there are exactly four letters in the word ‘letter’. In another sense, there are exactly six letters (letter-repetitions or letter-occurrences) in the word-type ‘letter’. In yet another sense, every new inscription (act of writing or printing) of ‘letter’ brings into existence six new letters (letter-tokens or ink-letters) and one new word that had not previously existed. The number of letter-occurrences (occurrences of a letter-type) in a given word-type is the same as the number of letter-tokens (tokens of a letter-type) in a single token of the given word. Many logicians fail to distinguish “token” from “occurrence” and a few actually confuse the two concepts. Epistemological and ontological problems concerning word-types, word-occurrences, and word-tokens are described in philosophically neutral terms. This paper presents a theoretical framework of concepts and principles concerning logicography, including use of English in logic. The framework is applied to analytical exposition and critical evaluation of classic passages in the works of philosophers and logicians including Boole, Peirce, Frege, Russell, Tarski, Church and Quine. This paper is intended as a philosophical sequel to Corcoran et al. “String Theory”, Journal of Symbolic Logic 39(1974) 625-637. https://www.academia.edu/s/cdfa6c854e?source=link -/- . (shrink)

The Philosophy of Modern Song: curious title, a curious book. If you bought it, as I did, because you are a devoted Dylan fan, hoping to find new Dylan songs inside, or at least new Dylan prose, you will be disappointed. In the photo of three musicians on the cover, none of them is Dylan. The one on the left is Little Richard. Who are the other two? Nowhere are we told their names, nor the names of the people in (...) any of the other photos, except for the sixty-six featured artists, though we will recognize many. The photo on the back cover might or might not be of the interior of Izzy Young's “Folklore Center,” reminiscent of Dylan's early days in Greenwich Village in the Sixties, when, together with my guitarist husband, I got to hear him perform after hours at the Gaslight and knew him well enough to say Hi when passing on the street.The basis for selecting the sixty-six songs anthologized and commented on is not immediately obvious. This is not a collection of Dylan's underappreciated favorites, though the taste represented is certainly eclectic and the choices are often surprising. The title does not help the reader who has not yet got her bearings... Philosophy? As if to justify his use of the word, Dylan eventually offers a lengthy comment on Albert Camus, but how relevant is that comment to these songs? And the word modern, too, means so many things—a sudden divergence from the past in the arts and literature; up-to-date and therefore good. These songs are not that kind of modern. If anything, the book looks backward, across the years of Dylan's long life to his musical awakening. Because we are almost the same age, I recognize the hodgepodge of styles and influences assembled here as belonging mostly to the early Fifties, when, like Bob, I was entering my teens by listening to, even dancing to, songs on the radio before I fell asleep at night. Enough about me! But no more apt basis for classifying these songs is suggested. They are not arranged alphabetically or chronologically.As for the anthologized songs, each one, once named, receives a commentary, and every commentary is called a chapter, and every chapter is divided into two parts, spelled out in letters as bold as a movie marquee. We are given the title of each song, the date of its release, and the name of the songwriter. The first part of each commentary consists of a paraphrase of “events” in the song, told almost exclusively in the second-person you rather than the more conventional I or the third-person he or she. Here is a passage from Dylan's paraphrase of “Blue Suede Shoes” by Carl Perkins: You get on well with most people, and you put up with a lot, and you hardly get caught off guard, but your shoes are something else. Minor things may annoy you, but you rise above them. Having your teeth kicked in, being pounded senseless, being dumped on and discredited, but you don't put any weight on that, none of it is as real to you as your shoes. They're priceless and beyond monetary worth.The paraphrase goes on for almost six pages, and to what end? The second half of each commentary, indicated by changes in the type, takes a few steps back to consider the sociological implications of the song in the context of its time. For instance, from the second half of the commentary on “Blue Suede Shoes”: “Shoes reveal character, station, and personality.” But Dylan does not use the opportunity to talk about his own character, station, personality. His associations with Carl Perkins and “Blue Suede Shoes” morph into an anecdote about a man called “Iron Felix, trusted consort to Lenin and Stalin.”A lengthy list of all required photo credits fills the two back pages but is printed in type so small it is almost illegible. If you want more information, and more importantly if you want to experience the songs discussed, your best bet is to search for the recordings on YouTube and to follow along, reading Dylan's commentary, one song at a time, while listening. Or, I hear rumors that we will need to purchase another book, the audio version of Philosophy of Modern Song, not yet released.Every song has its commentary, but nothing about this organization is stable, and as soon as the reader/listener thinks she has discovered a rationale for the order of the works selected, she is met with an exception. Basically, these seem to be songs about which Dylan has something anecdotal to say. More usefully, perhaps, they are organized around certain themes—those that have always preoccupied him: man's inhumanity to man, injustice, self-deception, the human situation. The anonymous author of the blurb on the jacket promises a master class in songwriting, but, if it exists at all, that lecture is exhausted in one or two observations, such as: “ ‘El Paso’ is built on five stanzas, each one two verses and a bridge and then returning to the next stanza.... ”It was almost fifty pages into the book that the sense of something missing overcame me. It was not only the words of the songs and the music that were missing; it was the author, the central intelligence that I love, the singer and songwriter whose name is credited on the cover but who never appears in the book, not even in a photograph. What I missed was Dylan. He had removed himself from his book's pages, except perhaps for a single instance: “You're an eighty-year old man, being wheeled around in a home for the elderly, and the nurses are getting on your nerves.... ”Has Bob Dylan grown weary of himself and all of his creations? The commentaries are not about Bob. In the whole book, the line quoted above may be the only exception. Does he refuse the “first person singular in the hopes of transcending ego”? Maybe; but we want to hear our master's voice. As for the philosophy of song? Besides the remarks on Camus, there is only one commentary in which Dylan explicitly states anything like a philosophy, and that is the one on “Willie the Wandering Gypsy and Me,” written and performed by Joe Shaver. The song has a philosophical point of view: “Keep moving, it's better, let the train keep on rolling.”. (shrink)

This article discusses and describes the contents of a large newly acquired addition to the Papers of Josiah Royce, Harvard University Archives. The material includes Royce unpublished manuscripts (1 box), incoming correspondence (4 boxes), logicalia (1 box), correspondence of Royce and Head families (5 boxes), family photographs (1 box), manuscripts of Katherine Royce (1 box), notebooks, diaries, etc. (1 box), Royce's published work (2 boxes), miscellanea (4 boxes). Appendix A lists Royce's correspondents alphabetically. Appendix B prints letters by Royce and (...) Peirce. (shrink)

The first edition of ELL (1993, Ron Asher, Editor) was hailed as "the field's standard reference work for a generation". Now the all-new second edition matches ELL's comprehensiveness and high quality, expanded for a new generation, while being the first encyclopedia to really exploit the multimedia potential of linguistics. * The most authoritative, up-to-date, comprehensive, and international reference source in its field * An entirely new work, with new editors, new authors, new topics and newly commissioned articles with a handful (...) of classic articles * The first Encyclopedia to exploit the multimedia potential of linguistics through the online edition * Ground-breaking and International in scope and approach * Alphabetically arranged with extensive cross-referencing * Available in print and online, priced separately. The online version will include updates as subjects develop ELL2 includes: * c. 7,500,000 words * c. 11,000 pages * c. 3,000 articles * c. 1,500 figures: 130 halftones and 150 colour * Supplementary audio, video and text files online * c. 3,500 glossary definitions * c. 39,000 references * Extensive list of commonly used abbreviations * List of languages of the world (including information on no. of speakers, language family, etc.) * Approximately 700 biographical entries (now includes contemporary linguists) * 200 language maps in print and online Also available online via ScienceDirect – featuring extensive browsing, searching, and internal cross-referencing between articles in the work, plus dynamic linking to journal articles and abstract databases, making navigation flexible and easy. For more information, pricing options and availability visit www.info.sciencedirect.com. The first Encyclopedia to exploit the multimedia potential of linguistics Ground-breaking in scope - wider than any predecessor An invaluable resource for researchers, academics, students and professionals in the fields of: linguistics, anthropology, education, psychology, language acquisition, language pathology, cognitive science, sociology, the law, the media, medicine & computer science. The most authoritative, up-to-date, comprehensive, and international reference source in its field. (shrink)

This narrative symposium brings to light the extreme difficulties faced by parents of children diagnosed with brain tumors. NIB editorial staff and narrative symposium editors, Gigi McMillan and Christy A. Rentmeester, developed a call for stories that was distributed on several list serves and posted on Narrative Inquiry in Bioethics’ website. The call asks parents to share their personal experience of diagnosis, treatment, long–term effects of treatment, social issues and the doctor–patient–parent dynamic that develops during this process. Thirteen stories are (...) found in the print version of the journal and an additional six supplemental stories are published online only through Project MUSE. One change readers may notice is that the story authors are not listed in alphabetical order. The symposium editors had a vision for this issue that included leading readers through the timeline of this topic: diagnosis–treatment–acute recovery–recurrence–treatment (again)– acute recovery (again)– long-term quality of life– (possibly) end of life. Stories are arranged to help lead the reader through this timeline. Gigi McMillan is a patient and research subject advocate, co-founder of We Can, Pediatric Brain Tumor Network, as well as, the mother of a child who suffered from a pediatric brain tumor. She also authored the introduction for this symposium. Christy Rentmeester is an Associate Professor of Health Policy and Ethics in the Creighton University School of Medicine. She served as a commentator for this issue. Other commentators for this issue are Michael Barraza, a clinical psychologist and board member of We Can, Pediatric Brain Tumor Network ; Lisa Stern, a pediatrician who has diagnosed six children with brain tumors in her 20 years of practice; and Katie Rose, a pediatric brain tumor patient who shares her special insights about this world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nursing Ethics:A Selected Bibliography, 1987 to PresentDoris Mueller Goldstein (bio)The ethics of nursing is emerging as a discipline distinct from bioethics or medical ethics. Although these areas have many concerns in common, nurses are demonstrating that their perspective can make a unique contribution to ethical debate.An especially dynamic area of discussion within nursing ethics is the philosophy of caring. The work on moral development by Harvard educator Carol Gilligan (...) in her book, In a Different Voice, is pivotal in this discussion (IV B, Cooper 1989). Jean Watson, a nurse at the University of Colorado Center for Human Caring, also has written extensively on the philosophy of caring. She states that "an ethic of caring has a distinct moral position: caring is attending and relating to a person in such a way that the person is protected from being reduced to the moral status of objects...." (I, Watson 1988).Even as the philosophy of caring becomes more predominant, however, nurses today are often drawn away from the caring role by forces prevalent in the modern hospital. First, modern technology can divert the nurse's attention away from the patient and toward the operation of complex equipment, and second, large hospitals are often managed as bureaucracies (I, Fitzpatrick 1988).A recent study examined the frequency and seriousness of ethical issues encountered in nursing practice (IV A, Berger 1991). A survey instrument that included 32 potential ethical issues was developed by the authors. Respondents were asked to identify what kinds of issues concerned them and with what frequency, and to indicate what resources were used to cope with these dilemmas. The study found that nurses were frequently faced with inadequate staffing, heroic measures for prolonging life, inappropriate resource allocation, situations where patients are being discussed inappropriately, and coping with irresponsible activity of colleagues.The variety of ethical dilemmas encountered on a daily basis by nurses and their expressed interest in developing a moral grounding for the profession of [End Page 177] nursing, along with increased attention to ethical issues in nursing education have led to an explosion in the literature on these topics. In the preparation of this bibliography over 1,000 citations were retrieved in computer searches of various databases: BIOETHICSLINE, MEDLINE and CATLINE (National Library of Medicine), CINAHL (Current Index to Nursing and Allied Health Literature), BOOKS IN PRINT PLUS, and ETHX (the online public access catalog for articles at the National Reference Center for Bioethics Literature). What is offered here is a small sampling of that literature. Books and special issues of periodicals are briefly annotated, but citations to articles are simply arranged by broad subject, and within that, alphabetically by author. The subcategories reflect the topics receiving the most discussion in current literature.This bibliography updates "The Ethics of Nursing: A Selected Bibliography," by Doris Mueller Goldstein, which covered the earlier literature and was published as an appendix to Ethical Decision Making in Nursing Administration (I, Silva 1990).I. BooksAustralian Nursing Federation. Ethics: Nursing Perspectives, vol. 2. North Fitzroy, Victoria: The Federation, 1989. 102 p. (Publisher's address: 373-375 St. Georges Road, postal code 3068.) The National Professional Development Committee of Australia fostered the publication of a second volume of papers on nursing ethics. Articles cover patients' rights, ethical theory in decisionmaking behaviors, the nurse and the DNR order, and whistleblowing. Several appendices represent difficult-to-obtain documents, such as the RANF (Royal Australian Nursing Federation) position statements on terminal care, AIDS and occupational health, professional practice problems, and conscientious objection.Bandman, Elsie L., and Bandman, Bertram. Nursing Ethics Through the Life Span. 2nd ed. Norwalk, CT: Appleton & Lange, 1990. 288 p. Following an extensive review of the moral foundations of decision making in nursing, the authors take the reader through a chronology of nursing ethics issues as they occur in the human life span, beginning with the procreative family period and concluding with the end of life. Each chapter contains discussion questions—an aid to educators using this as a textbook.Benjamin, Martin, and Curtis, Joy. Ethics in Nursing. 2nd ed. New York: Oxford University Press, 1986. 206 p. An overview of the nature of ethical inquiry and theory is followed by... (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the (...) foundation of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

In _The Metaphysics of Media_, award-winning media critic Peter K. Fallon tackles the complicated question of how a succession of dominant forms of media have supported—and even to some extent created—different conceptions of reality. To do so, he starts with the basics: a critical discussion of the very idea of objective reality and the various postmodern responses that have tended to dominate recent philosophical approaches to the subject. From there, he embarks on a survey of the evolution of communication through (...) four major eras: orality; literacy; print; and electricity. Within each era, Fallon argues, the dominant form of media supported particular ways of understanding the world, from the ascendance of reason that followed the development of alphabets to the obliteration of space and time that we associate with electronic communications. Fallon concludes with a hard look at the mass ignorance that prevails today despite the sea of information with which contemporary life is surrounded. A stirring, philosophically rich investigation, _The Metaphysics of Media_ offers not only a clear picture of where our society has been but also a road map to a more engaged, informed, and fully human future. (shrink)

These two handsome tomes, printed in double columns and bound with German thoroughness, introduce an impressive survey of the basic themes of Christian theology, which will be completed in six volumes and published simultaneously in five other European languages. A set of systematic essays in alphabetical order, they are translated from the original texts of expert contributors for whom the Catholic tradition of theological thinking has been expanded by Vatican Council II beyond a juridically controlled scholasticism and whose broadly concordant (...) views do not exclude individual differences in articulating individual problems. The disciplined study today of the authentic sources of Christian truth is salted with an unsanctimonious awareness of the personal problems posed by life and thought in a changing world. The Editors’ General Preface confesses that present-day developments in theological investigation may be characterized as. (shrink)

The emergence and development of the humanities were initially bound up with the spread of alphabetic writing, and subsequently with the development of printing; the original task of the nascent humanities disciplines was a thoroughly practical one: that of building up our knowledge about the characteristics of the new media with the aim of exploiting this knowledge in everyday life—for the sake of economic, educational, or political benefits. In particular, the beginnings of philosophy lead us back to the times (...) of the first emergence of alphabetic writing. There is no philosophy in a purely oral culture; Western philosophy is in the first instance, and remains down to the twentieth century, reflection on conceptual relations generated by written language. Today, the printed word is losing its position as the dominant vehicle of communication. Philosophy faces a new educational challenge: that of articulating the logic of multimedia information storage and exchange. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter Singer’s ChallengeEugene GoodheartThe politicizing of the Terri Shiavo case has made it difficult to think clearly and judiciously (as distinguished from judicially) about what it means to decide to end the life of a terminally ill or disabled person. Can we take seriously the rhetoric of the sanctity of human life from the mouths of exponents of the death penalty? And yet there are those who consistently and (...) in good faith hold euthanasia in whatever form morally anathema. Many of those who share this view have expressed disapproval of government intervention in the Shiavo case. They cannot be accused of having a political agenda. Over the years, philosopher Peter Singer has made the case for euthanasia most forcefully. This may be a good time to consider critically his arguments, free of the immediate tumult surrounding the Shiavo case. Such consideration may even help us in our understanding of the issues involved in that case.Singer has been variously characterized as "the most controversial," "the most influential" and "the most notorious" philosopher in the world. His books cover a wide range of ethical issues, from animal liberation to euthanasia (including infanticide), and from globalization to the workings of George W. Bush's mind. The controversy, influence and notoriety come from positions he has taken, with a candor that one rarely finds in the work of a respectable philosopher, on the most sensitive issues of life and death. Whether or not one is in agreement with his views (I am not, as will soon become evident), they are argued with a provocative clarity and consistency. A radical advocate of animal [End Page 238] rights, he wants to dissolve the species distinction between human beings and non-human animals. An advocate of euthanasia and infanticide, he substitutes the commandment that honors the sanctity of human life for one that sanctifies the quality of life. In both instances, human beings are being denied a privileged place in the world simply by virtue of being human.If, as Copernicus demonstrated, the universe is not earth-centered, and if, as Darwin has shown, human beings are not the separate creation of God, there can be no justification for providing human beings with a separate ethical system, often at the expense of non-human animals. Singer calls this speciesism and analogizes it to racism. In Rethinking Life and Death: The Collapse of Our Traditional Ethics (New York: St. Martin's Griffin, 1994), he argues against speciesism that in their susceptibility to pain and pleasure, in their capacity for consciousness and even in certain instances a rudimentary self-consciousness, animals deserve to be treated with the same consideration as human beings. He does not deny the superior capacities of human beings, but he views the differences between human and non-human animals as differences in degree and not kind. He provides the following memorable account of the gorilla Koko:She communicates in sign language, using a vocabulary of over 1000 words. She also understands spoken English and often carries on 'bilingual' conversation, responding in sign to questions asked in English. She is learning the letters of the alphabet, and can read some printed words, including her own name. She has achieved scores between 85 and 95 on the Stanford-Binet Intelligence Test.talk about what happens when one dies, but she becomes fidgety and uncomfortable when asked to discuss her own death or the death of her companions. She displays a wonderful gentleness with kittens and other small animals. She has even expressed empathy for others seen only in pictures.(p. 181)Why then should animals (Koko is unusual but not alone in these capacities) not be accorded the same ethical consideration as human beings? The differences between human and non-human animals in intelligence, linguistic and symbolic capacity, consciousness and self-consciousness may be a difference in degree, but of such an order of magnitude that quantity becomes quality. To say that non-human animals have 98% of DNA in common with human beings tells us nothing of the effective intellectual superiority of human beings. No matter. Singer provides a deeper reason for his anti-speciesism. "Whether or not dogs and pigs [animals... (shrink)

"Spinoza in English" is the first bibliography to bring together the entire 325-year record of books, monographs, dissertations, and articles in English on Benedict de Spinoza (1632-1677), including translations of his works into English. Well over 2100 citations are presented, bringing this record through early 1991. Arranged alphabetically by author or editor and internally cross-referenced for ease of use, this bibliography also cites its own sources where appropriate and, in many cases, provides guidance on how to obtain unpublished or out-of- (...) print titles. Additionally, it restores or corrects a good deal of earlier bibliographic detail, identifies dozens of publications hitherto overlooked, and, beginning with titles from the mid-1800's, presents the citations in a uniform style. (shrink)

The article is devoted to the Roman Kurkiewicz essays. He is a philosopher, but is also a wellknown newspaper, radio and television journalist. The publication Klapsy polskie contains selected essays printed in ‘Przekrój’. They are alphabetically arranged and concern many issues important for Poles at the time. Political, economic, sporting and cultural events are the starting point for general discussions on the human and the world. Kurkiewicz writes about difficult and controversial topics. The article describes selected examples of different kinds (...) of essay titles. The author refers to the literature, press and TV movies. Selected examples demonstrate the richness of the author’s ideas. (shrink)

The first edition of ELL (1993, Ron Asher, Editor) was hailed as "the field's standard reference work for a generation". Now the all-new second edition matches ELL's comprehensiveness and high quality, expanded for a new generation, while being the first encyclopedia to really exploit the multimedia potential of linguistics. * The most authoritative, up-to-date, comprehensive, and international reference source in its field * An entirely new work, with new editors, new authors, new topics and newly commissioned articles with a handful (...) of classic articles * The first Encyclopedia to exploit the multimedia potential of linguistics through the online edition * Ground-breaking and International in scope and approach * Alphabetically arranged with extensive cross-referencing * Available in print and online, priced separately. The online version will include updates as subjects develop ELL2 includes: * c. 7,500,000 words * c. 11,000 pages * c. 3,000 articles * c. 1,500 figures: 130 halftones and 150 colour * Supplementary audio, video and text files online * c. 3,500 glossary definitions * c. 39,000 references * Extensive list of commonly used abbreviations * List of languages of the world (including information on no. of speakers, language family, etc.) * Approximately 700 biographical entries (now includes contemporary linguists) * 200 language maps in print and online Also available online via ScienceDirect – featuring extensive browsing, searching, and internal cross-referencing between articles in the work, plus dynamic linking to journal articles and abstract databases, making navigation flexible and easy. For more information, pricing options and availability visit www.info.sciencedirect.com. The first Encyclopedia to exploit the multimedia potential of linguistics Ground-breaking in scope - wider than any predecessor An invaluable resource for researchers, academics, students and professionals in the fields of: linguistics, anthropology, education, psychology, language acquisition, language pathology, cognitive science, sociology, the law, the media, medicine & computer science. The most authoritative, up-to-date, comprehensive, and international reference source in its field. (shrink)

The translation of the Bible into Turkish as a whole was made in Istanbul in 1665-1666 by Wojciech Bobowski (Ali Ufki Bey), who was of Polish origin, spoke 17 different languages, later became a Muslim, served in the Ottoman palace for many years. Among the languages he could speak were mainly Latin, Greek, Hebrew, Polish, English, French, Italian, Arabic, Turkish. He is also known as Albert Bobowski and Albertus Bobovius in European sources. The translation was planned by a group of (...) Dutch Protestants, while Dutch ambassador Levinus Warner followed the work in Istanbul. The translation texts were checked and sent immediately to the Netherlands for printing, but could be printed in Paris in 1827 due to the adverse condition. In this edition, M. Jean Daniel Kieffer has revised some on Ali Ufki Bey's translation. This translation, with some changes and corrections in the Arabic alphabet (Ottoman) in 1878, 1885, 1886, 1901was printed in Latin alphabet in 1941.The style and language properties of the 1941 edition made it difficult to understand the Bible, so it was reprinted in 2001 with the more contemporary words under the name Kutsal Kitap (Yeni Çeviri).The background of the Turkish translations of the Bible, the contributions of the Bible Society (English and Foreign Bible Society) to these studies, the change of the words used in the translations, the translation of Wojciech Bobowski used as the source text and the follow-up of this translation process are important. Because the original text of the translations of the Bible in Turkish is based on the translation of Wojciech Bobowski. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Causes of WarBertrand RussellRussell’s authorship of this anonymously published entry in An Encylopaedia of Pacifism (London: Chatto & Windus, 1937), pp. 12–13, has only just come to light, thanks to the recent sale at auction of a letter to him from Aldous Huxley. If this determination had been made earlier, the text would have featured in Papers 21. In acknowledging receipt of “Causes of War” on 14 December 1936, (...) Huxley, the volume’s editor, also wondered whether Russell would like to examine his subject “at greater length—say in 1,000 words” (internet print, ra3 1,850). The original editorial plan, to which Russell must have adhered, allocated a single page to each topic, which ranged alphabetically from “Armaments, Private Manufacture of”, to “Women in Modern War, Position of”. But as Huxley explained, such compression was “impossible” for some subjects. Russell evidently declined the offer (no reply is extant), for his published contribution amounted to 300 words only. It nevertheless lucidly distils a complex and contested issue. In the spirit of the publishing enterprise Russell had joined, “Causes of War” is also somewhat didactic. Yet there is little hint of either the psychological predispositions towards war he also regarded as crucial, or the absolute pacifist doctrines he had recently embraced and elaborated in Which Way to Peace? (1936). The latter ground, however, was well covered elsewhere, in entries on “Force” and “Non-Violence”, most explicitly, but also in those disparaging armed revolution, for example, or the use of sanctions to enforce international law.The two cross references at the end of Russell’s entry are probably not authorial. The text presented below is the only known version, from the cheap softcover edition of the Encyclopaedia (priced 6d ) published by Chatto & Windus under the auspices of the Peace Pledge Union—the British pacifist group of which both Huxley and Russell were sponsors, along with, in all likelihood, other of the work’s anonymous contributors. [End Page 83]CAUSES OF WARThe main causes of war are of three kinds (1) the pursuit of wealth, (2) the pursuit of glory, (3) the advocacy of a creed. Usually all three are combined in varying proportions, as, for example in the Book of Joshua. The economic motive has various forms:a. Occupation of fruitful territory—e.g. Whites and Indians in United States.b. Plunder—e.g. Romans in Asia Minor; Cortez and Pisarro.c. Trade—e.g. English and Dutch in seventeenth century.d. Markets and fields for investment—most modern imperialist wars.e. Raw materials—e.g. Japan in China, France and Germany as regards Lorraine.The notion of glory is usually dynastic or governmental—for example, the ancient Assyrians and Persians, and eighteenth-century wars so far as the Continent of Europe is concerned. But it can be made popular by propaganda, and always has been made so since the French Revolution.Creed wars may be religious or political; usually they are both. They almost always also have economic motives. The early Mohammedans, for example, had economic motives (a) and (b); the Protestants wished to secure church lands and revenues; and so on. The English Civil War combined religious and political motives in equal measure. The Albigensian crusade was, on the part of the instigators, more economic than political. The French revolutionary wars, the American Civil War, and the various civil wars since 1815, involved important politico-economic issues, and were all, in a greater or less degree, creed wars.The main causes predisposing to modern war are: first, the competition between States for markets and raw materials; secondly, the competition between classes as regards the distribution of the national wealth. These two causes are intertwined, because different governments stand for different economic systems. (See Economic Reform and Pacifism; Education and Peace.) [End Page 84]Bertrand RussellIntroduced by andrew g. bone Russell Research Centre / McMaster U. [email protected] © 2023 Bertrand Russell Research Centre, McMaster University... (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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The origins of field guides and other plant identification manuals have been poorly understood until now because little attention has been paid to 18th century botanical identification guides. Identification manuals came to have the format we continue to use today when botanical instructors in post-Revolutionary France combined identification keys (step-wise analyses focusing on distinctions between plants) with the "natural method" (clustering of similar plants, allowing for identification by gestalt) and alphabetical indexes. Botanical works featuring multiple but linked techniques to enable (...) plant identification became very popular in France by the first decade of the 19th century. British botanists, however, continued to use Linnaeus's sexual system almost exclusively for another two decades. Their reluctance to use other methods or systems of classification Can be attributed to a culture suspicious of innovation, anti-French sentiment and the association of all things Linnaean with English national pride, fostered in particular by the President of the Linnean Society of London, Sir James Edward Smith. The British aversion to using multiple plant identification technologies in one text also helps explain why it took so long for English botanists to adopt the natural method, even after several Englishmen had tried to introduce it to their country. Historians of ornithology emphasize that the popularity of ornithological guides in the 19th and 20th centuries stems from their illustrations, illustrations made possible by printing technologies that improved illustration quality and reduced costs. Though illustrations are the most obvious features of late 19th century and 20th century guides, the organizational principles that make them functional as identification devices come from techniques developed in botanical works in the 18th century. (shrink)

Peerages and baronetages were successful commercial directories sold by a number of prominent London booksellers from the beginning of the 18th century. They provided an account of most titled families (peers as well as baronets). As serial publications, they were intended for a larger public in need of identification tools in a context of expanding urban sociability and of major recomposition within the elites. In these pocket books, there were no longer the elaborate tree diagrams that had ornamented most of (...) the visitation books of the College of Arms, and which still could be found among ancient family papers. This transition was required for technical, commercial, and also ideological reasons. The selling point for publishers was to provide an up-to-date account of the ‘modern’ families, which could be better achieved through alphabetical listings, biographical discourses, or tabular charts. However, this formal reconfiguration led to many criticisms. These family directories were accused of compromising the dignity of titled families. The idea of a lost Golden Age when ancient lineages had been exhibited on stone, wooden panels, or vellum regained some appeal among social commentators. After 1760, with the renewal of radicalism and the onset of the age of revolutions, tree thinking came to be rehabilitated, but was also reinvented to better defend and naturalise social hierarchies. In this context, trees were increasingly used as powerful national emblems and less as dynastic emblems. The changing fortunes of family trees in 18th-century British prints enable us to reflect on the ideological aspects of the visualisation of kinship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Crafting Marks Into MeaningsJoseph S. CatalanoIn his fascinating book about the Mayan Code, Michael D. Coe writes, “I challenge any native English speaker to avoid thinking of the word ‘twelve’ when looking at ‘12,’ or an Italian to avoid the utterance ‘dodici’ when going through the same performance.” 1 I accept the challenge, and claim that I have done just that. What shall the reply be—“I should not have (...) done so?” One suspects that linguists confuse theoretical problems about writing and reading with the experience itself.The nature of reading and writing is difficult to understand because on the one hand it seems to involve a complex of conventional marks, but on the other hand these marks seem capable of being understood independently of their relationship to speech or to things. One can claim, of course, that the competent reader works under an illusion: meaning comes to a script through spoken language, through a deep-structured language, through concepts, or through the way the neurons work in the brain. Without denying that the written word enters into many relations, I want to make a case that the history of writing shows that we have crafted marks into meanings and, therefore, that a text is meaningful on the level of the script itself.Before proceeding, I want both to clarify my use of the term “script,” and to give the basic outline of this essay. Studies on writing frequently distinguish among writing systems, scripts, and orthographies. Writing system is the most general of these terms. For example, the alphabet forms one writing system, and Chinese characters another. A script is a particular form of writing system; examples are the Roman alphabetic script and the Greek alphabetic script. An orthography is the way a particular language uses a script; for example, the way the English or [End Page 47] French languages use the Roman alphabetic script. In the concrete, however, there are only orthographies, and without wishing to challenge the traditional distinction, I will frequently interchange script and orthography.The first part of the essay is a discussion of my perspective on writing. My perspective is a substantive part of my case about writing, and I will clarify it at some length. Then I will examine some of the steps that led to our ability to read and write fluently. I will be recommending that in reading histories about writing, we view speech merely as a mediation through which written marks are crafted into meanings. My claim is that every artifact, indeed, every thing, needs to be correctly “read” in order to be used, and that the invention of an elegant system of writing lifts this readability from its specific materiality. For example, to use a fork properly one must be able to read this use in the fork. Language lifts this readability from the matter of the fork, the silver or stainless steel, and makes the readability itself an object.IRecall the last time you were engrossed while reading a novel. Most likely, you were not concerned with questions about the meaning of meaning or the difference between meaning and signification. But did your engaged reading and writing involve an inner speech and, if it did, how did you recognize homonyms, for example the difference between there and their? I suspect that only a small part of our vocabulary is acquired by vocalization. But more importantly, I want to question whether writing must be related to speech to be understood.Frank Smith has persistently questioned the belief that reading must involve vocalizations, and he has criticized the notion that the best way to proceed with reading instruction is by mapping speech onto print. In Understanding Reading, he writes: “Phonics is complicated.... We now know that if we really expect to give children a mastery of phonetics, that we are not talking about a dozen or so rules. We are talking about 166 rules, which will still not account for hundreds of the words they might expect to meet in their early reading.” 2In Reading, he notes: “How is it possible to recognize written words without sounding them out? The answer is that we recognize words in... (shrink)

"Change is not merely necessary to life--it is life." That's Alvin Toffler, characteristically stating the profound in a profoundly direct way. And yes, even when we see change coming--as we're about to graduate from school, take a new job, get married--it's still not so easy to accept. And when we don't see it coming--oof, we have an even harder time. Here to help us embrace change and defuse its unsettling power is Change Happens, a full-color illustrated gift book to consult, (...) to share, to give, and to keep on a night table. Curated by Kathryn and Ross Petras, the ultimate connoisseurs of quotes whose books and calendars have over 4.5 million copies in print, these words of wisdom inspire us to be open to change and remind us that nothing positive in life ever happens without it. Arranged alphabetically by subject--including Adapting, Curveballs, Faith, Letting Go, Regrets, Second Chances, Vulnerability--it's a book to turn to in moments of need, when offering advice to a friend or loved one, when urging a child to find the courage to take a step, when marking an important occasion. (shrink)

The origins of field guides and other plant identification manuals have been poorly understood until now because little attention has been paid to 18th century botanical identification guides. Identification manuals came to have the format we continue to use today when botanical instructors in post-Revolutionary France combined identification keys with the "natural method" and alphabetical indexes. Botanical works featuring multiple but linked techniques to enable plant identification became very popular in France by the first decade of the 19th century. British (...) botanists, however, continued to use Linnaeus's sexual system almost exclusively for another two decades. Their reluctance to use other methods or systems of classification Can be attributed to a culture suspicious of innovation, anti-French sentiment and the association of all things Linnaean with English national pride, fostered in particular by the President of the Linnean Society of London, Sir James Edward Smith. The British aversion to using multiple plant identification technologies in one text also helps explain why it took so long for English botanists to adopt the natural method, even after several Englishmen had tried to introduce it to their country. Historians of ornithology emphasize that the popularity of ornithological guides in the 19th and 20th centuries stems from their illustrations, illustrations made possible by printing technologies that improved illustration quality and reduced costs. Though illustrations are the most obvious features of late 19th century and 20th century guides, the organizational principles that make them functional as identification devices come from techniques developed in botanical works in the 18th century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Leonhart Fuchs on the Importance of PicturesSachiko KusukawaIf not for the attractive plant with overhanging flute-like flowers that was named after him, Leonhart Fuchs (1501–66) is best known today as one of the pioneers of accurate representations of plants in histories of scientific illustrations.1 The pictures in Fuchs’s Remarkable Commentaries on the History of Plants (1542) have been appreciated usually for their “naturalistic” features (i.e., pictures drawn from observing (...) a plant specimen), as well as for their tendency to discard individual blemishes and portray a universal or ideal “type” of a plant where several varieties of species could be incorporated into one bush, or where various stages of the same plant may be depicted in one figure.2 On the other hand no historian of botany who has examined the text these pictures accompanied has found that such qualities as observation from nature or a sense of “ideal type” contributed to Fuchs’s theoretical understanding of [End Page 403] plants: he lacked any sense of the family genera or Linnean classification, for he had simply adopted an alphabetical ordering.3Fuchs himself considered his pictures remarkable—as he was at pains to point out—and he believed his pictures were absolutely crucial for his commentary on plants. My immediate aim in this paper, therefore, is to offer an interpretation of Fuchs’s Remarkable Commentaries on the History of Plants which does not split the work into artistically positive and botanically negative elements. As I shall argue, the uniqueness and so the controversial nature of Fuchs’s enterprise lies in the kind of argument and procedure he believed to be valid for an academic study of plants. More generally, I hope to use this reassessment of Fuchs’s work to show how pictures could be as controversial as texts and how the uses of texts and pictures together form past acts which require historical explanation. Click for larger view View full resolutionFigure 1.The Artists. Leonhart Fuchs, De historia stirpium, 1542, verso of last folio page. Reproduced by permission of the Syndics of Cambridge University Library.In 1542 Fuchs published his Remarkable Commentaries on the History of Plants Belaboured with Great Expense and Vigilance with More than Five Hundred Live Images of Plants Attached. It begins with a picture of Fuchs, the author, at the age of forty-one and ends with that of the artists (fig. 1). Although the division of labor depicted here seems to have been a standard one for printing illustrated books in this period,4 it is unusual that we know their names. Albrecht Meyer did the drawings from life, Heinrich Füllmaurer transferred the drawings to woodblocks, and Veit Rudolf Speckle cut those woodblocks.5 Fuchs was proud of one of the artists in particular: “the woodcutter [sculptor] Veit Rudolf Speckle, by far the best in Strasbourg, excellently imitated the admirable industry of painters: he has so skilfully expressed the outlines of each picture by carving [sculpendo] that he seems to compete with the painter for glory and victory.”6 A comparison between the painter and the sculptor had been a favorite topic in the Renaissance genre of paragone—Leonardo da Vinci, Galileo, Castiglione, and Michaelangelo composed treatises on it—where the [End Page 404] relative merits of various mimetic arts were discussed.7 Fuchs’s comment on Speckle is more nuanced, however, than a polite competition between the arts over their mimetic skills: Fuchs announces that Speckle is worthy of praise in producing a picture—normally the domain of the painter (pictor)—with the specialized skill of carving of the cutter (sculptor). This is surely an appreciation of the particular skill involved in producing replicable pictures for printed books, just as Erasmus had, a generation earlier, acknowledged in Albrecht Dürer’s prowess at engraving the potential for reproducibility in a print culture.8 Indeed, of the artists involved in printing, it was the woodcutter who could expect to be paid most in this period—nearly fifteen times more than the artist who originally drew the pictures.9 Click for larger view View full resolutionFigure 2.Atriplex. Theodore Dorsten, Botanicon, 1540, fol. 35r. Reproduced... (shrink)

Concordance of the poetic works of Giorgos Seferis which presents all the principal “words” of the texts in an alphabetical list, stating how often each word occurs, giving a precise location and a relevant piece of text for each occurrence. We found ca. 9500 different Greek words in 39000 different occurrences, so our concordance has 50.000 lines of text. The technical procedure required four main steps: text entry and tagging, production of the concordance, correction of the contexts, formatting for print.

Throughout what is now the more than 50-year history of the computer many theories have been advanced regarding the contribution this machine would make to changes both in the structure of society and in ways of thinking. Like other theories regarding the future, these should also be taken with a pinch of salt. The history of the development of computer technology contains many predictions which have failed to come true and many applications that have not been foreseen. While we must (...) reserve judgment as to the question of the impact on the structure of society and human thought, there is no reason to wait for history when it comes to the question: what are the properties that could give the computer such far-reaching importance? The present book is intended as an answer to this question. The fact that this is a theoretical analysis is due to the nature of the subject. No other possibilities are available because such a description of the properties of the computer must be valid for any kind of application. An additional demand is that the description should be capable of providing an account of the properties which permit and limit these possible applications, just as it must make it possible to characterize a computer as distinct from a) other machines whether clocks, steam engines, thermostats, or mechanical and automatic calculating machines, b) other symbolic media whether printed, mechanical, or electronic and c) other symbolic languages whether ordinary languages, spoken or written or formal languages. This triple limitation, however, (with regard to other machines, symbolic media and symbolic languages) raises a theoretical question as it implies a meeting between concepts of mechanical-deterministic systems, which stem from mathematical physics, and concepts of symbolic systems which stem from the description of symbolic activities common to the humanities. The relationship between science and the humanities has traditionally been seen from a dualistic perspective, as a relationship between two clearly separate subject areas, each studied on its own set of premises and using its own methods. In the present case, however, this perspective cannot be maintained since there is both a common subject area and a new - and specific - kind of interaction between physical and symbolic processes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Concordance to Descartes’ “Meditationes de Prima Philosophia.” by Katsuzo Murakami, Meguru Sasaki, Tetsuichi NishimuraTuomo Aho and Mikko YrjönsuuriKatsuzo Murakami, Meguru Sasaki, and Tetsuichi Nishimura. Concordance to Descartes’ “Meditationes de Prima Philosophia.” Hildesheim: Olms-Weidmann, 1995. Pp. v + 355. Cloth, DM 198.00.This is a product from the Descartes database of Tokyo University scholars. It gives an account of the occurrences and contexts of words in the Meditationes (the main (...) text only), aiming at a complete survey of vocabulary. The work keeps strictly to the form of a lexical concordance; in addition to the word lists, there is only a brief instruction. (A bibliographical note about editions might be useful.) Technical realization is excellent. But concordances like this are big and expensive books; could they possibly be published more easily in electronic format?Most words of Descartes’s text are included in the main concordance. There they are listed following the alphabetic order of standard dictionaries, and in each entry the total amount of occurrences of the word is announced. Then every occurrence is quoted in its context (one line = approximately two in the Adam-Tannery standard edition). Quotes within each entry are arranged and their places identified by digits showing the page and line in AT edition.Some function words and most indeclinables are placed in an index which gives only the numbers and locations of their occurrences. In most cases this is certainly reasonable, but some choices are problematic. For example, why have the 638 + 36 occurrences of qui in its two senses (‘who’, ‘what’; ‘how’, ‘whereby’) been printed with full contexts, while the philosophically interesting adverb plane (‘plainly’, 55 times) is to be found merely in the index?Concordances are uncommon for modern philosophy, but they are familiar and valuable tools in work with ancient texts. Obviously they function in linguistic research, and even the present Descartes book has largely the same goal: to serve the study of neo-Latin language. Undoubtedly, a rigorous case study like this is important for such [End Page 135] investigations. (There remains, however, a difficulty, as the editors point out, because the AT text differs from original editions, mainly in matters of orthography and punctuation.) But also a completely nonlinguistic philosopher can benefit from this material. It is useful to see all occurrences of a word together and at once; many careless generalizations could be avoided by checking from a concordance.One can make amusing observations at random. Thus some terms have remarkably low frequencies (notitia, qualitas occur 4 times; materia 3 times; absolutus, principium 2 times; abstractus, definire, dispositio, species 1 time; intentio, possibile not at all). On the other hand, there is an overwhelming concentration on the semantic family round cogitare, cognoscere, comprehendere, concipere, percipere. Descartes has some idiosyncratic favorites, like advertere/animadvertere. One also notices his strong liking for words of seeing and light (15 arguments from lumen naturale!). It hardly is a surprise that his most cherished favorite is ego (492 times).Tuomo Aho and Mikko Yrjönsuuri University of HelsinkiCopyright © 1998 Journal of the History of Philosophy, Inc... (shrink)