The article explores the complex roles shame plays in the lives of people with one or more chronic conditions. This is achieved through a participatory research process in which people with chronic conditions were invited to share stories of shame on the public social media profiles of a peer-led patient community called ‘Chronic Influencers’. The crowdsourced material shows that 7 out of 10 experience shame in relation to their illness on a daily or weekly basis. Other findings are that shame (...) seems to stick to ‘energetic failures’ of the slow or tired body in various social situations; shame is predominantly produced or anticipated in the intimate sphere; and shame can be ‘rescripted’ as culturally produced and politically contestable – and thus counter the pressure to individualise health as a project of personal improvement and self-inspection – when it is shared through voluntary storytelling among peers on social media. (shrink)

This bold and brilliant book asks the ultimate question of the life sciences: How did the human mind acquire its incomparable power? In seeking the answer, Merlin Donald traces the evolution of human culture and cognition from primitive apes to the era of artificial intelligence, and presents an original theory of how the human mind evolved from its presymbolic form. In the emergence of modern human culture, Donald proposes, there were three radical transitions. During the first, our bipedal but still (...) apelike ancestors acquired "mimetic" skill—the ability to represent knowledge through voluntary motor acts—which made Homo erectus successful for over a million years. The second transition—to "mythic" culture —coincided with the development of spoken language. Speech allowed the large-brained Homo sapiens to evolve a complex preliterate culture that survives in many parts of the world today. In the third transition, when humans constructed elaborate symbolic systems ranging from cuneiforms, hieroglyphics, and ideograms to alphabetic languages and mathematics, human biological memory became an inadequate vehicle for storing and processing our collective knowledge. The modern mind is thus a hybrid structure built from vestiges of earlier biological stages as well as new external symbolic memory devices that have radically altered its organization. According to Donald, we are symbol-using creatures, more complex than any that went before us, and we may have not yet witnessed the final modular arrangement of the human mind. (shrink)

The article discusses the current topic of international interuniversity exchanges in the field of theater education. The subject of the study is the interaction of theater schools in Russia and China within the framework of the experimental Russian–Chinese theater and educational project of the Central Academy of Drama and the Russian State Institute of Performing Arts. The project has been implemented since 2015. According to the terms of the project, Russian and Chinese teachers of acting and special disciplines work together (...) in St. Petersburg and Beijing. Upon graduation, students receive diplomas from two universities recognized in both countries. The author, a direct participant of the project, analyzes the results of this experiment from the position of compliance with the principles and requirements of the dialogue of cultures.  The novelty of the research lies in the substantiation of the cultural value, the prospects of the modern version of the interaction of theater schools in Russia and China. The results of the study were the following conclusions: in the implementation of the Russian-Chinese theater and educational project, all the basic conditions are present and fulfilled, which make it possible to determine the events, events and their results that took place within the framework of the project as a full-fledged dialogue of cultures. Today, as never before, there are points of contact and mutual enrichment of the cultures of Russia and China. There are mutually significant cultural ties, dialogue and interaction of cultures. This variant of intercultural interaction is also productive from the point of view of innovation, creating a unique field of cross-cultural experiments. (shrink)

The extant workplace bullying literature has largely overlooked the potential role of culture. Drawing on cognitive consistency theory, culture’s influence on targets’ reactions toward subtle forms of bullying during its early stages is theorized. This theoretical analysis proposes that employees high in individualism and low in power distance are more likely to engage in resistance-based responses toward subtle acts of bullying than employees high in collectivism and power distance, respectively. Targets’ resistance-based responses, which are also influenced by learned helplessness deficits, (...) along with perpetrator revenge behaviors, influence whether bullying becomes prolonged. A number of testable propositions are offered based on the conceptual model presented. Theoretical and practical implications are discussed and avenues for future research are offered. (shrink)

This book proposes a theory of human cognitive evolution, drawing from paleontology, linguistics, anthropology, cognitive science, and especially neuropsychology. The properties of humankind's brain, culture, and cognition have coevolved in a tight iterative loop; the main event in human evolution has occurred at the cognitive level, however, mediating change at the anatomical and cultural levels. During the past two million years humans have passed through three major cognitive transitions, each of which has left the human mind with a new (...) way of representing reality and a new form of culture. Modern humans consequently have three systems of memory representation that were not available to our closest primate relatives: mimetic skill, language, and external symbols. These three systems are supported by new types of “hard” storage devices, two of which (mimetic and linguistic) are biological, one technological. Full symbolic literacy consists of a complex of skills for interacting with the external memory system. The independence of these three uniquely human ways of representing knowledge is suggested in the way the mind breaks down after brain injury and confirmed by various other lines of evidence. Each of the three systems is based on aninventivecapacity, and the products of those capacities – such as languages, symbols, gestures, social rituals, and images – continue to be invented and vetted in the social arena. Cognitive evolution is not yet complete: the externalization of memory has altered the actual memory architecture within which humans think. This is changing the role of biological memory and the way in which the human brain deploys its resources; it is also changing the form of modern culture. (shrink)

A journey from cultural memory through recall to transformation of historical grievances is elucidated with the aid of phenomenological thought. The context for this study is a conflict resolution project undertaken by the Center for the Study of Mind and Human Interaction of the University of Virginia. Russians and Estonians of Klooga participated in a group meeting aimed at resolving ethnonational conflict. This meeting is described, and the potential of phenomenology in an interdisciplinary approach to conflict resolution is explored.

This article examines the diversity of tactical interventions that transpired at the Whitney Museum of American Art in 2019, culminating in the resignation of the vice-chairman of its Board of Trustees. Instead of accepting the myth of museum neutrality, the activist campaign, spearheaded by the action-oriented movement Decolonize This Place, treated the Whitney as a site of ideological struggle, permeated by inner divisions and conflicting interests. Through their organizing efforts, activists prefigured a movement-based form of cultural production, mapped connections (...) between seemingly disparate struggles, and built decolonial solidarities. While the activists’ actions were essential to stage the antagonisms that had been dormant in the institution, a multiplicity of actors needed to step in during the process, creating multiple pressure points and taking sides in the division. To amplify the Whitney staffers’ attempt to hold the museum leadership accountable, they sought to bring political protest into the institution, challenging the very principle of counting who belongs to the community and who is excluded. (shrink)

Arbib offers a comprehensive, elegant formulation of brain/language evolution; with significant implications for social as well as biological sciences. Important psychological antecedents and later correlates are presupposed; their conceptual enrichment through protosign and protospeech is abbreviated in favor of practical communication. What culture and whether protosign and protospeech involve a protoculture are not considered. Arbib also avoids dealing with the question of evolution of mind, consciousness, and self.

The article discusses possible ways of overcoming the environmental crisis. It is based on Šmajs’ evolutionary ontological understanding of the environmental crisis of nature, which distinguishes between natural and cultural evolution and demonstrates the opposing relationships between them. It critically develops one of Šmajs’ proposals for initiating a biophilic transformation of culture by dealing with some of the consequences of the economic crisis (specifically unemployment).

Industry sustainability plays a vital role in shaping the environment for cultural and creative business development. However, considering the influence of the external environment and random factors on the technical efficiency of cultural and creative industries with the inherent defects of the traditional data envelopment analysis model; this manuscript analyzed the operating efficiency of 56 cultural and creative enterprises using the three-stage DEA model from 2012 to 2018. An analysis of the results shows that differences in efficiency (...) exist between stage one and stage three DEA. Furthermore, the environmental elements and statistical noise measured by the stochastic frontier analysis in stage two reveal positive and negative influences on the creative cultural enterprises at different stages. As a result, the overall efficiency of the listed cultural and creative industries was revealed to be low in China. Finally, this study suggested effective countermeasures and recommendations for better-operating efficiency systems for cultural and creative enterprises. (shrink)

Arbib offers a comprehensive, elegant formulation of brain/language evolution; with significant implications for social as well as biological sciences. Important psychological antecedents and later correlates are presupposed; their conceptual enrichment through protosign and protospeech is abbreviated in favor of practical communication. What culture “is” and whether protosign and protospeech involve a protoculture are not considered. Arbib also avoids dealing with the question of evolution of mind, consciousness, and self.

In Stages of Thought, Michael Barnes examines a pattern of cognitive development that has evolved over thousands of years--a pattern manifest in both science and religion. He describes how the major world cultures built upon our natural human language skills to add literacy, logic, and, now, a highly critical self-awareness. In tracing the histories of both scientific and religious thought, Barnes shows why we think the way that we do today. Although religious and scientific modes of thought are often portrayed (...) as contradictory-one is highly rational while the other appeals to tradition and faith-Barnes argues that they evolved together and are actually complementary. Using the developmental thought of Piaget, he argues that cultures develop like individuals in that both learn easier cognitive skills first and master the harder ones later. This is especially true, says Barnes, because the harder ones often require first the creation of cognitive technology like writing or formal logic as well as the creation of social institutions that teach and sustain those skills. Barnes goes on to delineate the successive stages of the co-evolution of religious and scientific thought in the West, from the preliterate cultures of antiquity up to the present time. Along the way, he covers topics such as the impact of literacy on human modes of thought; the development of formalized logic and philosophical reflections; the emergence of an explicitly rational science; the birth of formal theologies; and, more recently, the growth of modern empirical science. This groundbreaking book offers a thorough and persuasive argument in favor of the development of modes of thought across cultures. It will serve as an invaluable resource for historians of religion, philosophers and historians of science, and anyone interested in the relationship between religion and science. (shrink)

The ideas I suggest and will attempt to explore can be expressed and conceptualized in many ways. -/- Wittgenstein suggested that there are things that cannot be talked about. -/- I suggest that we most likely have ideas, attitudes, words, conceptions, notions, values, standards, opinions, etc when we approach any work of art or perceive anything as art or aesthetic. Just as we have notions, ideas etc concerning spirituality and spiritual phenomena. -/- But during the interaction with those things, when (...) having a direct experience or consciousness, an awareness of them we do not employ words, ideas or concepts. -/- Of course we can and most likely will reflect on those experiences and the things we have or had experiences of. At that stage we will use concepts in those contexts we will use notions and verbalize things - after the experiences, after the event. We will also, most likely, reflect on those phenomena and experiences. -/- I then continue to place this state or stage of pre- or non- or not yet conceptual/ity in the larger contexts of consciousness, anthropocentered socio-cultural practices and the universe or multiverse. (shrink)

The study examined the level of moral reasoning of first-year university students in Papua New Guinea; 583 students participated by answering one of the exercises or dilemmas formulated by Kohlberg. The analysis of data primarily focused on what the general level of moral reasoning of the students might be and whether there were differences in their levels of moral reasoning on the basis of gender, culture and religious affiliation. The study showed that around 50 per cent of both male and (...) female students came within the first level, but in the second stage of moral reasoning. Around 25 per cent of both genders came under the stage 4, that is, the law and order stage. A t-test comparison revealed no significant difference between the genders in their moral reasoning. The ‘faculty’ that the students belonged to is the only variable that indicated a statistically significant effect F = 2.159, p = 0.030, est η2 = 0.014923 on the level of moral reasoning. All other variables such as age, religion and the province that the students came from did not show a significant effect. Two new dimensions, ‘reference to God’ and the ‘need for negotiation’, in moral reasoning emerged from the study. (shrink)

This paper focuses on the ways in which national identities are staged in recent film and theatre productions in Estonia. We want to complement the prevalent approaches to nationality (Anderson 1983; Gellner 1983; Bhabha 1990), where the role of theatre and film as modellers of national identity are undervalued. National identity is a complex term that presupposes some clarification, which we gave by describing its dynamics today; its relation to ethnic identity, a thread between the lived and declared national identities, (...) and the relevance of culture-based national identity. Herein we consider the concept of staging to have two implications: (1) as an aesthetic term it incorporates an artistic process, comprising several devices and levels; (2) as a concept in cultural theory it describes cultural processes in which something is set on stage for public reflection. Accordingly, in our analysis we considered national identities in theatre and film stagings in both senses. The results of our analyses demonstrated that our hypothesis about emerging new national identities in Estonia was valid, though deconstructed and hybrid national identities are not exactly and absolutely new types of identities but rather strategies of creating space for new identities to develop. A deconstructed national identity refers to the state of high self-reflexivity in which the existing elements of national identity are re-examined, recontextualised and re-evaluated. Further, a hybrid national identity demonstrates the diversity and coexistence of the components of national identity. Both strategies of staging are characteristic of the transformation of national identities, confirming that a single homogenous staging of national identity seems to be replaced by bringing multiple new self-models on stage. (shrink)

This paper focuses on the ways in which national identities are staged in recent film and theatre productions in Estonia. We want to complement the prevalent approaches to nationality (Anderson 1983; Gellner 1983; Bhabha 1990), where the role of theatre and film as modellers of national identity are undervalued. National identity is a complex term that presupposes some clarification, which we gave by describing its dynamics today; its relation to ethnic identity, a thread between the lived and declared national identities, (...) and the relevance of culture-based national identity. Herein we consider the concept of staging to have two implications: (1) as an aesthetic term it incorporates an artistic process, comprising several devices and levels; (2) as a concept in cultural theory it describes cultural processes in which something is set on stage for public reflection. Accordingly, in our analysis we considered national identities in theatre and film stagings in both senses. The results of our analyses demonstrated that our hypothesis about emerging new national identities in Estonia was valid, though deconstructed and hybrid national identities are not exactly and absolutely new types of identities but rather strategies of creating space for new identities to develop. A deconstructed national identity refers to the state of high self-reflexivity in which the existing elements of national identity are re-examined, recontextualised and re-evaluated. Further, a hybrid national identity demonstrates the diversity and coexistence of the components of national identity. Both strategies of staging are characteristic of the transformation of national identities, confirming that a single homogenous staging of national identity seems to be replaced by bringing multiple new self-models on stage. (shrink)

(1998). Staging the self by performing the other: Global fantasies and the migration of the projective imagination 1. Cultural Values: Vol. 2, No. 2-3, pp. 288-304.

The article is devoted to the emergence and development of Yakut cinema. The object of the study is the Yakut cinema as a phenomenon of national culture. The first appearance of film installations in the Yakut region at the beginning of the XX century is considered. Attention is drawn to the process of mass cinematography in Soviet times. In parallel, the inclusion of Yakut people in the creative process of participating in the first filming at All-Union film studios in the (...) 1930s is traced. Attention is also drawn to the prominent role of the Yakutkino State Trust, which led the development of Yakut cinema. The author analyzes the reasons for the rapid development of Yakut cinema in the post-Soviet period, related to the appeal to the traditions of the Sakha people, the high level of development of theatrical art in Yakutia, artistic and aesthetic needs and spiritual demands of the audience. The article shows the role of "Sahafilm" in the history of Yakut cinema. The characteristic features of the formation of genres of journalistic cinema, the change of repertoire in the early years of Soviet cinematography and during the Great Patriotic War are revealed. The characteristic features of the post-war reconstruction of the technical equipment and training of personnel of the Yakut cinema are outlined. The genre diversity of films shot during this and subsequent times is shown, when, along with documentaries, feature films also begin to be shot. The development of Yakut cinema is traced against the background of all-Union and all-Russian processes. The formation and development of the main institutions of Yakut cinematography, the growth of the skill of its figures are examined through famous films created by them. For the first time, three stages of the development of Yakut cinema have been identified - from the very beginning to the present day: from "silent cinema" to the birth of the national film industry. (shrink)

(1998). Staging the self by performing the other: Global fantasies and the migration of the projective imagination 1. Cultural Values: Vol. 2, No. 2-3, pp. 288-304.

This paper proposes a conversation between Charlotte Salomon and Edvard Munch that is premised on a reading of Charlotte Salomon’s monumental project of 784 paintings forming a single work Leben? oder Theater? as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Drawing on both Mieke Bal’s critical concept of “preposterous history” and my own project of “the virtual feminist (...) museum” as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche. (shrink)

This paper engages with radical democratic theory in light of the so-called ‘return of the people’ taking place in contemporary political discourse. I argue that the return of the people should not be seen only as a return of politics strictly speaking, but also as a process by which elements of the social that had previously been excluded from politics enter the political sphere. Framing the problem in this way calls for a view to how politics is circumscribed, distinguished from (...) the social but also, at various moments, broken open. At the same time, I call for paying increased attention to how the notion of the people takes shape beyond the political sphere, off the metaphorical political stage. By examining how the people is constructed in cultural and social movements, off the political stage, we can better understand the form taken by the people when it appears in politics. (shrink)

This paper focuses on the ways in which national identities are staged in recent film and theatre productions in Estonia. We want to complement the prevalent approaches to nationality (Anderson 1983; Gellner 1983; Bhabha 1990), where the role of theatre and film as modellers of national identity are undervalued. National identity is a complex term that presupposes some clarification, which we gave by describing its dynamics today; its relation to ethnic identity, a thread between the lived and declared national identities, (...) and the relevance of culture-based national identity. Herein we consider the concept of staging to have two implications: (1) as an aesthetic term it incorporates an artistic process, comprising several devices and levels; (2) as a concept in cultural theory it describes cultural processes in which something is set on stage for public reflection. Accordingly, in our analysis we considered national identities in theatre and film stagings in both senses. The results of our analyses demonstrated that our hypothesis about emerging new national identities in Estonia was valid, though deconstructed and hybrid national identities are not exactly and absolutely new types of identities but rather strategies of creating space for new identities to develop. A deconstructed national identity refers to the state of high self-reflexivity in which the existing elements of national identity are re-examined, recontextualised and re-evaluated. Further, a hybrid national identity demonstrates the diversity and coexistence of the components of national identity. Both strategies of staging are characteristic of the transformation of national identities, confirming that a single homogenous staging of national identity seems to be replaced by bringing multiple new self-models on stage. (shrink)

This paper focuses on the ways in which national identities are staged in recent film and theatre productions in Estonia. We want to complement the prevalent approaches to nationality (Anderson 1983; Gellner 1983; Bhabha 1990), where the role of theatre and film as modellers of national identity are undervalued. National identity is a complex term that presupposes some clarification, which we gave by describing its dynamics today; its relation to ethnic identity, a thread between the lived and declared national identities, (...) and the relevance of culture-based national identity. Herein we consider the concept of staging to have two implications: (1) as an aesthetic term it incorporates an artistic process, comprising several devices and levels; (2) as a concept in cultural theory it describes cultural processes in which something is set on stage for public reflection. Accordingly, in our analysis we considered national identities in theatre and film stagings in both senses. The results of our analyses demonstrated that our hypothesis about emerging new national identities in Estonia was valid, though deconstructed and hybrid national identities are not exactly and absolutely new types of identities but rather strategies of creating space for new identities to develop. A deconstructed national identity refers to the state of high self-reflexivity in which the existing elements of national identity are re-examined, recontextualised and re-evaluated. Further, a hybrid national identity demonstrates the diversity and coexistence of the components of national identity. Both strategies of staging are characteristic of the transformation of national identities, confirming that a single homogenous staging of national identity seems to be replaced by bringing multiple new self-models on stage. (shrink)

Auguste Comte, the founder of sociology, and Norbert Elias, the last classical sociologist, based their sociologies on the idea that humankind has gone from astage of childhood to adult stages. The essay shows that there has actually taken place a psychogenetic evolution of humankind in history. Empirical researchesacross the past generations, namely Piagetian and intelligence cross-cultural researches, have been continuing to support the idea, whether the researchers involved have been aware of it or not. The essay demonstrates further, that (...) the history of society, economy, culture, law, morals, politics, customs, religion, etc. can only be described against the background of developmental psychology. (shrink)

Thinker on Stage is Peter Sloterdijk's audacious, empathetic reading of Friedrich Nietzche's first published work, The Birth of Tragedy out of the Spirit of Music. Intended originally as a postscript to a new edition of Nietzsche's book, Sloterdijk's text grew and became a book in its own right. Sloterdijk characterizes Nietzsche as a centaur-a philologist/musician, a philosopher/poet; the possessor of multiple talents inseparable from one another-who, in consequence, led the life of an obscure outsider on the fringes of organized (...) class='Hi'>cultural life. To Sloterdijk, Nietzsche is not a hairsplitting philologist behind a lecturn but rather a thinker on stage, enacting a psychodrama on the origins of tragedy in universal human suffering. Reaching beyond philology, and risking his career, Nietzsche used this stage to present a glimpse of Greek antiquity quite unlike that cherished in nineteenth-century bourgeois culture. Sloterdijk, in turn, uses his subtle reading of Nietzsche to make his own cultural evaluations. Above all, he finds in The Birth of Tragedy, and in Nietzsche's life, a refutation of the will to power, and a sign that Nietzsche-fragile, wounded, endangered, yet self-affirming-is our contemporary. Book jacket. (shrink)

The drive to describe cultural history as an evolutionary process has two sources. One from within social theory is part of the impetus to convert social studies into "social sciences" providing them with the status accorded to the natural sciences. The other comes from within biology and biological anthropology in the belief that the theory of evolution must be universal in its application to all functions of all living organisms. The social scientific theory of cultural evolution is pre-Darwinian, (...) employing a developmental model of unfolding characterized by intrinsic directionality, by definable stages that succeed each other and by some criterion of progress. It is arbitrary in its definitions of progress and has had the political problem that a diachronic claim of cultural progress implies a synchronic differential valuation of present-day cultures. The biological scheme creates an isomorphism between the Darwinian mechanism of evolution and cultural history, postulating rules of cultural "mutation", cultural inheritance and some mechanism of natural selection among cultural alternatives. It uses simplistic ad hoc notions of individual acculturation and of the differential survival and reproduction of cultural elements. It is unclear what useful work is done by substituting the metaphor of evolution for history. (shrink)

Since Plato’s massive critique of the Sophists rhetoric’s ill repute runs through the history of western philosophy denunciating methods of rhetoric as in large part dishonest persuasion strategies which are at most marginally interested in dealing with truths. This judgement falls way too short insofar as it distorts the historically grown stock labeled “rhetoric” not only in the Aristotelian work. With reference to Olaf Müller’s philosophical book addressing the “controversy” between Goethe and Newton about the nature of light, I will (...) study the different rhetorical models and methods used by Newton and Goethe and also Müller himself. It becomes apparent that even works attempting to decide who was right in the long run do far more than trying to evoke true “representations” of facts or truths in the reader. The specific use of language patterns provides deeper insight into an author’s mindset towards the subject area discussed in his work and generally speaking the investigation of the rhetoric of science and philosophy leads to a better understanding of different epistemic cultures both in philosophy and science. (shrink)

The ) account of seven stages of learning is considered in the context of the Dreyfus (1980s) account of five stages of skill development. The two new stages, Mastery and Practical Wisdom, make more explicit certain themes implicit in the five‐stage account. In this way ) encourages a more reflexive approach.The themes now more explicit are, in part, derived from Aristotle on phronesis, but are also influenced by Heidegger and Foucault on cultural dimensions of meaning and value. The paper (...) considers whether Dreyfus’ revised account tends towards a relativism of different worlds of meaning, disclosed through personal commitment. A more reflexive account of phronesis, it is suggested, needs to clarify the potentiality of phronesis for co‐ordination as it promotes patterns of unity in difference and difference in unity. (shrink)

This paper presents the hypothesis that linguistic capacity evolved through the action of natural selection as an instrument which increased the efficiency of the cultural transmission system of early hominids. We suggest that during the early stages of hominization, hominid social learning, based on indirect social learning mechanisms and true imitation, came to constitute cumulative cultural transmission based on true imitation and the approval or disapproval of the learned behaviour of offspring. A key factor for this transformation was (...) the development of a conceptual capacity for categorizing learned behaviour in value terms - positive or negative, good or bad. We believe that some hominids developed this capacity for categorizing behaviour, and such an ability allowed them to approve or disapprove of their offsprings- learned behaviour. With such an ability, hominids were favoured, as they could transmit to their offspring all their behavioural experience about what can and cannot be done. This capacity triggered a cultural transmission system similar to the human one, though pre-linguistic. We suggest that the adaptive advantage provided by this new system of social learning generated a selection pressure in favour of the development of a linguistic capacity allowing children to better understand the new kind of evaluative information received from parents. (shrink)

The Dreyfus account of seven stages of learning is considered in the context of the Dreyfus account of five stages of skill development. The two new stages, Mastery and Practical Wisdom, make more explicit certain themes implicit in the five‐stage account. In this way Dreyfus encourages a more reflexive approach. The themes now more explicit are, in part, derived from Aristotle on phronesis, but are also influenced by Heidegger and Foucault on cultural dimensions of meaning and value. The paper (...) considers whether Dreyfus’ revised account tends towards a relativism of different worlds of meaning, disclosed through personal commitment. A more reflexive account of phronesis, it is suggested, needs to clarify the potentiality of phronesis for co‐ordination as it promotes patterns of unity in difference and difference in unity. (shrink)

What role did poetry, music, song, and dance play in the social and political life of the ancient Greek city? How did philosophy respond to, position itself against, and articulate its own ambitions in relation to the poetic tradition? How did ancient philosophers theorize and envision alternatives to fourth-century Athenian democracy? The City and the Stage poses such questions in a study of the Laws, Plato's last, longest, and unfinished philosophical dialogue. Reading the Laws in its literary, historical, and philosophical (...) contexts, this book offers a new interpretation of Plato's final dialogue with the Greek poetic tradition and an exploration of the dialectic between philosophy and mimetic art. Although Plato is often thought hostile to poetry and famously banishes mimetic art from the ideal city of the Republic, The City and the Stage shows that in his final work Plato made a striking about-face, proposing to rehabilitate Athenian performance culture and envisaging a city, Magnesia, in which poetry, music, song, and dance are instrumental in the cultivation of philosophical virtues. Plato's views of the performative properties of music, dance, and poetic language, and the psychological underpinnings of aesthetic experience receive systematic treatment in this book for the first time. The social role of literary criticism, the power of genres to influence a society and lead to specific kinds of constitutions, performance as a mechanism of gender construction, and the position of women in ancient Greek performance culture are central themes throughout this study. A wide-ranging examination of ancient Greek philosophy and fourth-century intellectual culture, The City and the Stage will be of significance to anyone interested in ancient Greek literature, performance, and Platonic philosophy in its historical contexts. (shrink)

The theme of consent is, without question, associated with the origins of bioethics and is one of its most significant paradigms that has remained controversial to the present, as is confirmed by the proposal for its debate during the last World Congress of Bioethics. Seen broadly as a compulsory minimum procedure in the field of biomedical ethics, even today it keeps open the issues that it has raised from the start: whether it is really necessary and whether it can be (...) proven to be effective. My goal will be to attempt to determine the most genuine and relevant meaning of consent, going back from its present dominant normative meaning and, from there, identifying or simply sketching other possible forms of its expression in the world we live in, so as to justify its pertinence and validity. This objective will involve three stages: (1) ‘Consent’ as a privileged paradigm of bioethics (the ethical-juridical sense), (2) The symbolic value of ‘consent’ (the social-cultural sense), and (3) ‘Consent’ as promotion of the human (the humanistic-personal sense) .It is concluded that the common notion of normative consent is not the only one, nor does it hold universal validity; that, from a historical-cultural perspective, new expressions of consent appear, adapted to different social contexts and to possibly be implemented in developing countries; and, finally, that consent is strictly indispensable in situations of extreme dependence, in its symbolic relational character, in as much as it promotes ethical relationships among strangers and ensures that they remain so. (shrink)

This article explores the relationship between the domestic position of Jewish bourgeois housewives and the larger Swedish, urban landscape at the beginning of the twentieth century. Examining the interior décor, shopping patterns, urban places, and the social, cultural and religious aspects of the domestic spheres of Irene Strauss and Jeannette Ettlinger, this article argues that they consciously used public spaces to establish their individual practices of Jewishness. By entering the gendered space of the Jewish home, accessible through private letters (...) and receipts, this article portrays the bourgeois women as actors with social and economic power. They produced public spaces that communicated either cultural integration or orthodox distinctiveness, thereby constructing diverse strategies for Swedish belonging. These strategies demonstrate the growing religious, social and cultural diversity within the Jewish community in Stockholm during the three last decades before the Second World War. (shrink)

Neo-Darwinian theories of cultural evolution are apt to be criticized on the grounds that they merely borrow from the theory of natural selection concepts that are then metaphorically applied to conventional historical narratives to which they add no more, if anything, than an implicit presupposition of progress from one predetermined stage to the next. Such criticisms, of which a particularly forceful example is a recent article in this journal by Fracchia and Lewontin, can however be shown to be seriously (...) misconceived. The fundamental process of heritable variation and competitive selection of information affecting phenotype underlies both biological and cultural evolution despite the obvious differences between the mechanisms of information transfer by genetic inheritance and by exosomatic imitation and learning. Information transfer is in neither case a metaphor standing for any other thing, and in neither case does change over time proceed in accordance with developmental laws from which the future evolution of either species or cultures could be predicted in advance. For all the unresolved questions that remain, neo-Darwinian evolutionary theory has demonstrated the mutual compatibility of idiographic and nomothetic explanation in the study of species and of cultures alike. (shrink)