In “The Bioethics of Environmental Injustice: Ethical, Legal, and Clinical Implications of Unhealthy Environments,” Ray and Cooper (2024) initiate needed discourse on environmental justice and the...

Preterm birth is defined as delivery occurring before 37 weeks gestation.1 Infants born prematurely have increased risks of morbidity and mortality throughout life, especially during the first year. These risks increase as the gestational age at birth decreases.2 Additionally, there are significant racial and ethnic differences in preterm birth rates. In 2022, the rate of preterm birth among non-Hispanic black women was approximately 50% higher than that observed in non-Hispanic white women.1 The outcomes for these infants are also disparate–preterm birth (...) and low birth weight are the second-leading causes of infant mortality (deaths before 1 year of age). Notably, among preterm neonates, infants born to non-Hispanic black women have a mortality rate more than double that of infants born to non-Hispanic white mothers.3 Importantly, there is a small but significant group of neonates that can be classified as severely premature (those born <28 weeks). Infants born before 28 weeks have varied and uncertain outcomes. While this group accounts for only 0.4% of preterm births, it also accounts for 40% of deaths among preterm neonates.4 As noted by Romanis and Adkins, the advent of artificial amnion and placenta technology (AAPT) holds promise for its potential to address the physiologic complications and mortality risks of extreme prematurity by introducing amniotic substitutes that mimic in vivo placental oxygenation and substrate delivery. In contrast …. (shrink)

The starting point of this paper is a statement that Benjamin makes in a group of notes he writes for his project of a detective novel. Benjamin writes here that «criminal and detective could be so friends [so befreundet sein] as Sherlock Holmes and Watson». We’ll try to understand the meaning of this statement through the investigation of the detective topic in two moments of its fore and afterlife: its fore life in Benjamin’s meditation on the baroque and its after (...) life in Sherlock Holmes’s most recent apparition, in the BBC series Sherlock. One of the most interesting elements of this series is in fact the relationship – which is barely sketched in Conan Doyle’s stories – between Sherlock Holmes and his antagonist, the maths professor Jim Moriarty. We’ll see that in Benjamin’s notes for a detective novel the criminal is not a maths professor but a psychoanalyst. What is the difference, anyway, between professor Moriarty’s knowledge and Sherlock’s knowledge? In fact, we will find out that criminal and detective are closer to one other than what we may be induced to think – close but not coincident. (shrink)

Narrative philosophy is the Australian philosopher Raimond Gaita’s answer to the question of how to philosophize in a manner that directly informs efforts to answer the classic philosophical question of ‘how best to live’. Gaita claims, provocatively, that getting the world in view in a manner relevant to arriving at an answer involves challenges that, far from being merely theoretical, are such that we can only meet them by working on ourselves or, alternately, by reshaping our sense of what matters. (...) A productive philosophical intervention would thus need to be in the business of directing our attitudes and would have to have the hallmark of literary discourse or “narrative.” This chapter lays out Gaita’s case for thinking that we need narrative philosophy, and it discusses some of Gaita’s efforts to present us with such a philosophy, specifically in relation to ethical thought about human-animal relations. An important virtue of Gaita’s approach is that it equips us to overcome the philosophically influential, but morally questionable, idea of tension between the moral standing of animals and the moral standing of severely cognitively disabled human beings. (shrink)

The Bubonic Plague outbreak that wormed its way through San Francisco’s Chinatown in 1900 tells a story of prejudice guiding health policy, resulting in enormous suffering for much of its Chinese population. This article seeks to discuss the potential for hidden “prejudice” should Artificial Intelligence (AI) gain a dominant foothold in healthcare systems. Using a toy model, this piece explores potential future outcomes, should AI continue to develop without bound. Where potential dangers may lurk will be discussed, so that (...) the full benefits AI has to offer can be reaped whilst avoiding the pitfalls. The model is produced using the computer programming language MATLAB and offers visual representations of potential outcomes. Interwoven with these potential outcomes are numerous historical models for problems caused by prejudice and recent issues in AI systems, from police prediction and facial recognition software to recruitment tools. Therefore, this research’s novel angle, of using historical precedents to model and discuss potential futures, offers a unique contribution. (shrink)

Subjective reasoning and chemical composition are not the sole arbiters of our systems of alimentary taste; consumption of food is also defined by cultural orientation and other complex value systems. There are those who choose to consume only plant matter to respect the rights of animals, equally there are those who consume pets without a second thought. What informs these choices depends on how we understand our own place in the world, the values we attribute to the things that surrounds (...) us, the relationships we maintain with our fellow beings and those with living things in general. It is in the space between those variable definitions that we find food taboos and the complex stories which entwine around them. Above all else comes cannibalism, present today not only as a hypothetical act in which only the wildest savages could take part but also as the basis of varying forms of current communication. Cannibalism is at work in advertising and in television programs, in modern rituals and in unconventional marketing campaigns. In this paper we will attempt to explain its meaning in connection with the more general way of how to catalogue and understand the consumption of food. (shrink)

Most normative theorists of public apology agree that, while apologies may have multiple purposes, central to most of them is the apology’s narrative power; that is, its ability to tell new stories of wrongdoing, responsibility, and accountability. We judge political apologies by whether they correctly identify the harms in question and the apologizer as the responsible party, whether they acknowledge the effects of this harms on the recipients of apology, and whether they successfully address those recipients as persons deserving respect. (...) The narrative power of official public apologies can also alter legal and political record, as well as media discourse nationally and internationally. Drawing on multiple examples of public apologies to women that were offered (or demanded and not offered), I identify three ways in which attention to gender complicates our understanding of public apology, and the narrative power they hold. These include the difficulties of articulating the nature of gendered harm, given the depoliticization of women’s roles and the stigma surrounding sexual violence, the complexities of traversing the public/private divide by bringing private stories of gendered harm to public attention, and the ways in which attending to gendered and sexual violence reframes our understanding of both political responsibility for wrongdoing, and how apologies express and affirm that responsibility. (shrink)

Bred to provide human companionship, dogs eclipse all other species when it comes to reading the body language of people. Dog owners hunger for a complete rapport with their pets; in the dog the fantasy of empathetic resonance finds its ideal. But cross-species communication is never easy. Dog love can be a precious but melancholy thing. An attempt to understand human attachment to the _canis familiaris_ in terms of reciprocity and empathy, _Melancholia’s_ _Dog_ tackles such difficult concepts as intimacy and (...) kinship with dogs, the shame associated with identification with their suffering, and the reasons for the profound mourning over their deaths. In addition to philosophy and psychoanalysis, Alice A. Kuzniar turns to the insights and images offered by the literary and visual arts—the short stories of Ivan Turgenev and Franz Kafka, the novels of J. M. Coetzee and Rebecca Brown, the photography of Sally Mann and William Wegman, and the artwork of David Hockney and Sue Coe. Without falling into sentimentality or anthropomorphization, Kuzniar honors and learns from our canine companions, above all attending to the silences and sadness brought on by the effort to represent the dog as perfectly and faithfully as it is said to love. (shrink)

Bred to provide human companionship, dogs eclipse all other species when it comes to reading the body language of people. Dog owners hunger for a complete rapport with their pets; in the dog the fantasy of empathetic resonance finds its ideal. But cross-species communication is never easy. Dog love can be a precious but melancholy thing. An attempt to understand human attachment to the _canis familiaris_ in terms of reciprocity and empathy, _Melancholia’s_ _Dog_ tackles such difficult concepts as intimacy and (...) kinship with dogs, the shame associated with identification with their suffering, and the reasons for the profound mourning over their deaths. In addition to philosophy and psychoanalysis, Alice A. Kuzniar turns to the insights and images offered by the literary and visual arts—the short stories of Ivan Turgenev and Franz Kafka, the novels of J. M. Coetzee and Rebecca Brown, the photography of Sally Mann and William Wegman, and the artwork of David Hockney and Sue Coe. Without falling into sentimentality or anthropomorphization, Kuzniar honors and learns from our canine companions, above all attending to the silences and sadness brought on by the effort to represent the dog as perfectly and faithfully as it is said to love. (shrink)

We add one point to Suddendorf & Corballis's (S&C's) story of mental time travel: For the future success of this hot, new area of research, it is imperative to pay attention to the fundamental distinction between the general brain/mind capacity that makes possible conscious awareness of the past and the future (the ), on the one hand, and specific expressions of this capacity in a large variety of future-related mental activities (the ), on the other.

Dietrich von Hildebrand, widely regarded as one of the great Catholic philosophers of the 20th century, is well-known for his numerous books, but, until this present work, not much has been known of his remarkable and inspiring life. Written by his wife, Alice, also a highly respected Catholic thinker, this is a fascinating, moving and, at times, gripping account of a truly great man of the Church who suffered much for the faith. Based on a very long "letter" Dietrich (...) wrote to his wife late in his life, it tells his story from his glorious youth with a unique intellectual and cultural formation, his coversion to Catholisism, his great passion for truth and beauty, his extensive writing on Christian philosophy and theology, and his steadfast, determined opposition to Nazism that made him a marked man who miraculously escaped execution. A powerful biography of a relentless fighter against injustice, a devoted son of the Church, a man who had the "soul of a lion". Illustrated. (shrink)

The author proposes the development of systems learning guidebooks to accompany famous children's classic books. Children's classic books can make excellent bases for children's learning guidebooks on systems thinking and global ecology, because they are fun to read and well known worldwide. If such learning guidebooks are properly designed with humor and entertaining aspects, they could stimulate children to learn more about systems thinking. Lewis Carroll's Alice's Adventures in Wonderland is chosen as a pilot case for developing such a (...) children's guidebook. The systems learning guidebook that accompanies Alice's Wonderland shall be entitled Alice in Systems Wonderland and will help its readers look at the Alice's Wonderland story with a systems perspective. (shrink)

Alice Dunbar-Nelson is mostly remembered as a poet, activist, and ex-wife of Paul Laurence Dunbar. Her volume The Goodness of St. Rocque and Other Stories (1899) has been largely overshadowed as a result. Yet, the collection contains a portfolio of heroines analogous and contemporaneous to the famed New Woman figure of the fin de siècle. In this article, I consider Dunbar-Nelson’s heroines in light of their New Woman-esque agency and autonomy as they find remedies and power in objects and (...) materials steeped in New Orleans’s cultural heritage. Ceded neither social nor political self-governance nor domestic comfort, this article reads these transcendental, metaphysical objects as sources of self-care. With close analysis of “The Goodness of St. Rocque,” “Tony’s Wife,” and “Little Miss Sophie,” I argue that Dunbar-Nelson’s protagonists exert influence over their lives, specifically in the negotiation of romantic relationships, through voodoo charms, Catholic candles, tarot cards, sewing machines, and knitting needles. Covering courtship, break-ups, and unhappy marriages, I demonstrate the ways in which these empowering spiritual objects respond to health concerns, including malnutrition and domestic violence, in turn, situating them as alternatives to patriarchal and historically racist medical institutions. Valorizing the cultural milieu of New Orleans and the customs of the Caribbean and European heritage, and thereby conveying Dunbar-Nelson’s resistance to white and male supremacist ideologies in late-nineteenth-century Southern America, the article ultimately assesses the parallels with (predominantly white) New Woman fiction, through shared themes of fraught heterosexual dynamics and women’s declining health. (shrink)

ABSTRACT: In this article, we intend to address the role of memory and narrative in the constitution of personal identity, based on Alice Munro’s short story “The Bear Came Over the Mountain” and the theoretical concepts of Paul Ricoeur (especially in Oneself as Another). This movement will allow us to underscore the idea that, contrary to what part of the analytical literature on identity and narrative has held, it is not just what we might call self-narrative that plays (...) a role in maintaining personal identity. Instead, we recover the Ricoeurian idea of a network of narratives or tangled of stories, in which self- and hetero-narratives are entangled, thus providing support to the identities it captures. (shrink)

A crisis looms over the scientific enterprise. Not a day passes without news of retractions, failed replications, fraudulent peer reviews, or misinformed science-based policies. The social implications are enormous, yet this crisis has remained largely uncharted-until now. In Science on the Verge, luminaries in the field of post-normal science and scientific governance focus attention on worrying fault-lines in the use of science for policymaking, and the dramatic crisis within science itself. This provocative new volume in The Rightful Place of Science (...) also explores the concepts that need to be unlearned, and the skills that must be relearned and enhanced, if we are to restore the legitimacy and integrity of science. (shrink)

In the late 1990s, Alice Sebold is writing what will become her phenomenally successful novel The Lovely Bones (2002), but she finds herself having to abandon it in order to write her critically acclaimed rape memoir Lucky (1999). She did not want, she says years later, Susie Salmon (the novel’s dead narrator) doing “work for her”, but wanted Susie free “to tell her own story”. Lucky would be the “real deal” about rape, while The Lovely Bones would be (...) a fantasy. And yet, the memoir and novel are similar in many respects; and nearly identical to begin with. The Lovely Bones opens with the rape, murder and mutilation of a young girl – Susie – while Lucky opens with reference to the girl who was raped, murdered and mutilated in the tunnel Sebold was also raped in. This girl, Sebold maintains, always haunts her. Thus, I will argue, it is not possible to read her novel, which some critics have dismissed as “timid and sentimental”, without reading her gritty autobiography; and vice versa it is not possible to read Sebold’s rape memoir without reading her novel, which in a complex way bears witness to that unnamed girl, if not for all dead, unnamed girls. The question is, then, how does the intertextuality of Sebold’s novel and memoir, and, more broadly, the interrelationship of truth and fantasy, impact on our reading of Sebold’s work, especially her memoir? Keywords Rape, fact, fiction, truth, lie, reading, writing, creative witnessing, wishful thinking, utopia. (shrink)

Ethics and Affects in the Fiction of Alice Munro explores the representation of embodied ethics and affects in Alice Munro's writing. The collection illustrates how Munro's short stories powerfully intersect with important theoretical trends in literary studies, including affect studies, ethical criticism, age studies, disability studies, animal studies, and posthumanism. These essays offer us an Alice Munro who is not the kindly Canadian icon reinforcing small-town verities who was celebrated and perpetuated in acts of national pedagogy with (...) her Nobel Prize win; they ponder, instead, an edgier, messier Munro whose fictions of affective and ethical perplexities disturb rather than comfort. In Munro's fiction, unruly embodiments and affects interfere with normative identity and humanist conventions of the human based on reason and rationality, destabilizing prevailing gender and sexual politics, ethical responsibilities, and affective economies. As these essays make clear, Munro's fiction reminds us of the consequences of everyday affects and the extraordinary ordinariness of the ethical encounters we engage again and again. (shrink)

According to the received view in the literature on homonymy and polysemy representation, there is a difference between how polysemes and homonyms are represented in our mental lexicons. More concretely, the received view holds that whereas the meanings associated with a homonymous expression are (mentally) represented in separate lexical entries, the meanings associated with a polysemous expression are represented together in a single lexical entry. It is usually argued that this is the picture that is supported by the growing body (...) of empirical evidence coming from psycholinguistics. Empirical studies of ambiguity processing and resolution consistently show that polysemous expressions enjoy various processing advantages compared to homonyms, and the received view is generally taken to be required in order to explain these results. The aim of this paper is not only to show that this is not the case but also, and more fundamentally, that the received view falls far short of explaining the available data to a sufficient degree. As a result, the received view is caught up in an explanatory dilemma that I dub the Continuum Puzzle. I then claim that the best way to escape this puzzle is to give up the received view’s core thesis in favor of an alternative view consistent with the empirical evidence. Reaching such an alternative will require rejecting the following pervasive but ill-motivated assumption: Differences in ambiguity processing and resolution can only be explained by there being some corresponding differences in the architecture of our mental lexicons. (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks make (...) the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

My argument is that faced with such reversal of stereotypical female roles, the culture relies on both the institution of the law and the custom of storytelling to reassure itself about boundary confusions—between guilt and innocence, man and woman, seductress and seducer, fact and fiction. The Thaw trial, however, shows that the law itself could not resolve any of those ambiguities, a predicament which, I will argue, Twain entertains and creates in his own fictional courtroom but flees from in his (...) response to the actual trial.My argument thus depends upon establishing particular dialogue between these two cases of seduction, for neither Twain’s nor the journalistic accounts alone tell the story that the two together do. Both cases speak in common to two aspects of fictionality. One is a mode of social differentiation, the sexual and legal categories essential to both cases, but whose actual application was, for different reasons in each, momentarily suspended. It was impossible to decide, for example, whether Evelyn Thaw or Alice or Twain himself, for that matter, should be classified as victim or victimizer, as playing the active or passive role in their respective narratives. The temporary suspension of these categories, I will argue, does not invalidate them or brand them as “fictive,” but rather reveals them as culturally constructed and culturally applied, in Twain’s words “fictions of law and custom” . In both cases, the response to this moment when cultural categories cannot be definitively applied is a process of storytelling—a second aspect of fictionality—that attempts to construct coherent narratives about those suspended “fictions of law and custom.” Although Twain’s “Alice” case opens in 1877, not until it connects with the Thaw trial in 1907 does the full story, as I have just briefly outlined it, emerge. It is precisely that double story that this esay will tell: the story of how Twain’s personal compulsions met up with his culture’s in the act of reporting, representing, interpreting, and finally making its own events mean. Susan Gillman is assistant professor of literature and American studies at the University of California, Santa Cruz. This essay is part of a forthcoming book, Dark Twins: Imposture and Identity in Mark Twain’s America. (shrink)

The paper explores whether the method of reflective equilibrium (RE) in ethics and political philosophy should be individual or public in character. I defend a modestly public conception of RE, in which public opinion is used specifically as a source of considered judgments about cases. Public opinion is superior to philosophical opinion in delivering judgments that are untainted by principled commitments. A case-based approach also mitigates the methodological problems that commonly confront efforts to integrate philosophy with the investigation of popular (...) attitudes. This conception of RE is situated in relation to alternative accounts, including those of Daniels, Rawls, and Wolff and de-Shalit. (shrink)

This piece continues an exchange between David Beaver and Jason Stanley, on the one hand, and Alice Crary, on the other, to which Beaver’s and Stanley’s “Neutrality” (immediately above) is a contribution. All three authors agree that the critique of ideology, propaganda, and oppressive structures should not be conceived as eliminating socially-situated perspectives and subjectively-mediated sensibilities from an allegedly neutral discursive space. Their exchange began with Crary’s 2018 article, “The Methodological as Political: What’s the Matter with ‘Analytic Feminism’?” which (...) attacks appeals to neutrality, including one Crary finds in Stanley’s 2015 book, How Propaganda Works, for obscuring a pivotal methodological insight of radical feminist thought, namely, that feminism’s political radicalism is complemented by a “methodological radicalism that involves making use of the practical power of ethically non-neutral resources, conceived as in themselves cognitively authoritative” (Crary 2018: 47). This new reply argues that Beaver’s and Stanley’s practice-based image of language, while at first seemingly aligned with this rejection of neutrality as an ideal for political discourse, fails to fully respond to her original complaint. The ideal of neutrality is problematic, not only in masking social location, but in wrongly impugning as ‘non-cognitive’ or ‘irrational’ critical resources drawn from socially-situated perspectives—the sorts of perspectives to which notable strands of feminist theory give voice precisely for their cognitive value. The current piece claims that to address this further danger it is necessary to go beyond Beaver’s and Stanley’s study of meaning and critically examine engrained philosophical assumptions about how to construe logical notions such as objectivity and truth. It closes by suggesting that, within philosophy of language broadly conceived, the tradition of ordinary language philosophy provides a more promising source of resources and illumination for struggles to make gender-based and overlapping forms of structural bias socially visible. (shrink)

The question of forgiveness in politics has attained a certain cachet. Indeed, in the fifty years since Arendt commented on the notable absence of forgiveness in the political tradition, a vast and multidisciplinary literature on the politics of apology, reparation, and reconciliation has emerged. To a novice scouring the relevant literatures, it might appear that the only discordant note in this new veritable symphony of writings on political forgiveness has been sounded by philosophers. There is a more-than-healthy cynicism directed at (...) what many philosophers see as an uncritical promotion of forgiveness, which – they fear – risks distorting and cheapening forgiveness as a moral ideal, on the one hand, and ignoring the moral and political values of justice, accountability and the cessation of harmful relationships, on the other. Are philosophical fears about the dangers of thinking about forgiveness in political terms warranted – or do they perhaps depend in part on conceptual conservatism regarding what exactly political forgiveness might be? I argue that most, if not all, standard objections to political forgiveness emerge from theoretical reliance on a picture of forgiveness I will call the Emotional Model. Once we make conceptual space for descriptions of forgiveness in performative and social terms, the concept is more easily adapted to a political account without at least some of the risks feared by philosophers. (shrink)

This article offers an analysis of Alice Walker's novel The Temple of My Familiar. It critiques the claim that humans' ability to use language, regarded in this article as equivalent to one sense of the word representation, marks the essential difference of humans from animals. The argument has two stages. The first claims that the novel offers a way to bridge this supposed fundamental difference in order that representation, in a second sense of speaking or advocating for animals, can (...) effectively occur. Importantly, the context of this is Walker's anti-oppressive politics of race and gender. It analyzes the portrayal of characters who understand their lives, the past, and their relationships with nonhuman animals by creating myths and stories, rather than via conventional written history. The second stage of the argument shows that this essentially creative understanding of worldviews other than the "norm" of western culture transcends the distance that language is said to insinuate between humans and animals. Creative, imaginative understanding allows humans to get close to animals."Can one speak of the animal? Can one approach the animal?". (shrink)

Philosopher Ludwig Wittgenstein had an enormous influence on twentieth-century philosophy even though only one of his works, the famous Tractatus Logico-Philosophicus, was published in his lifetime. Beyond this publication the impact of his thought was mainly conveyed to a small circle of students through his lectures at Cambridge University. Fortunately, many of his ideas have survived in both the dictations that were subsequently published, and the notes taken by his students, among them Alice Ambrose and the late Margaret Macdonald, (...) from 1932 to 1935. These notes, now edited by Professor Ambrose, are here published, and they shed much light on Wittgenstein's philosophical development. Among the topics considered are the meaning of a word and its relation to common usage, rules of grammar and their relation to fact, the grammar of first person statements, language games, and the nature of philosophy. This volume is indispensable to any serious discussion of Wittgenstein's work. (shrink)

This book has been inspired by Walter Benjamin’s idea of an afterlife of an original in its translations and probes into a wide variety of extensions of Carroll’s story in six languages. For one thing, it deals with language that speaks and more or less automatically steers its users in a particular direction and, for another, it discusses the creativity of individual translators who not only share a definite picture of the world with their language community but, in great (...) many instances, reveal a unique resourcefulness in resisting its power. Each chapter deals first with a separate theoretical issue (e.g. literalness, style, gender, and tense) and then proceeds to examine its practical actualization in various translations of Alice. (shrink)

"Eros" bezeichnet zuerst ein von fast allen Menschen mehr oder weniger glücklich erfahrenes Phänomen namens Verliebtheit oder sexuelles Begehren. Es gibt aber auch einen höchst einflussreichen Begriff des Eros.

Wider possibilities for moral thought -- Objectivity revisited: a lesson from the work of J.L. Austin -- Ethics, inheriting from Wittgenstein -- Moral thought beyond moral judgment: the case of literature -- Reclaiming moral judgment: the case of feminist thought -- Moralism as a central moral problem.

This text offers major re-evaluation of Wittgenstein's thinking. It is a collection of essays that presents a significantly different portrait of Wittgenstein. The essays clarify Wittgenstein's modes of philosophical criticism and shed light on the relation between his thought and different philosophical traditions and areas of human concern. With essays by Stanley Cavell, James Conant, Cora Diamond, Peter Winch and Hilary Putnam, we see the emergence of a new way of understanding Wittgenstein's thought. This is a controversial collection, with essays (...) by highly regarded Wittgenstein scholars that may change the way we look at Wittgenstein's body of work. (shrink)

In Self-Identity and Powerlessness , Alice Kouobová proposes a conception of human existence that does not essentially depend on the definition of self-identity. She does this by reinterpreting Heidegger’s fundamental ontology and that of other authors.

Nasir-i Khusraw is a major literary figure in medieval Persian culture. He was a Muslim philosopher, poet, travel writer, and Ismaili da'i who lived a thousand years ago in the lands known today as Afghanistan, Iran, and Tajikistan. Although known in the West mainly for his Safarnama, or travelogue, which describes his seven-year journey from Khurasan, in the eastern Islamic lands, to Cairo, the city of the Fatimid imam-caliphs, his poetry and ideas are less familiar. Yet, over the centuries, Persian-speaking (...) lands have consistently ranked him as one of the finest poets of all time. But today, even among those who know Nasir-i Khusraw's poetry, few understand the philosophical and Ismaili concepts the poet expounds. And while mystical and epic genres of Persian poetry are memorized and studied, the genre of philosophical poetry in Persian remains basically unexplored. This collection of studies seeks to redress the balance. Originally presented at a conference at the School of Oriental and African Studies (SOAS), University of London in 2005 to commemorate the millenary of Nasir-i Khusraw's birth, the papers published here examine his poetry both for philosophical meaning and poetic method. They address a variety of topics, ranging from metaphysics, cosmology, and ontology to prophecy, as well as rhythm and structure, and analysis of individual poems and authorship. (shrink)

Images of nature abound in the practice of international environmental law but their significance in law is unclear. Drawing on visual jurisprudence, and interpretative methods for visual art, this book analyses photographs for their representations of nature's aesthetic value in treaty processes that concern world heritage, whales and biodiversity. It argues that visual images should be embraced in the prosaic practice of international law, particularly for treaties that demand judgements of nature's aesthetic value. This environmental value is in practice conflated (...) with natural beauty, ethical and cultural values, and displaced by economic and scientific values. Interpretations of visual images can serve instead to critique and conceive sensory, imaginative and emotional appreciations of nature from different cultural perspectives as proposed by philosophers of environmental aesthetics. Addressing questions of value and the visual, this landmark book shows how images can be engaged by nations to better protect the environment under international law. (shrink)

As obstetric medicine has become more sophisticated, so Caesarean section (CS) has become safer. It is now seen as equally safe or, in some circumstances, safer than vaginal birth. Under the new National Institute for Clinical Excellence (NICE) guidelines on CS that were published in November 2011, requests for CS are to be given more weight. Women requesting CS can no longer be seen as compromising their control over birth. Rather, they are merely exercising their power, with the new guidelines (...) offering them an increasing role in the decision-making process regarding how they give birth. However, these new guidelines also present new problems, bringing the rights of patients and obstetricians into conflict. In order to mediate these tensions, a virtue-based approach to obstetric ethics is needed as a supplement to the rule- and right-based guidance provided by NICE. (shrink)

Typically, the imagination in thought experiments has been taken to consist in mental images; we visualize the state of affairs described. A recent alternative from Fiora Salis and Roman Frigg main...

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin 2014). (...) But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

Die vorliegende Untersuchung wird von der Frage geleitet, ob und wie sich philosophische Aussagen zur Kunst mit kunsthistorischen Sichtweisen verbinden und für die Rezeption nichtgegenständlicher Kunst fruchtbar machen lassen. Sie basiert auf der Analyse von Positionen des kunsthistorischen Kanons sowie auf der Untersuchung fünf philosophisch-ästhetischer Theorien essentialistischer und antiessentialistischer Art. Aufgrund dieses hermeneutischen Prozesses wird eine Systematik der Bildbefragung entwickelt, die sich als Interpretationsansatz insbesondere für nicht gegenstandsbezogenere Werke eignet. Die interdisziplinäre Arbeit gliedert sich in vier Kapitel. Sie beginnt mit (...) der Untersuchung Elemente Zeigen und Sagen. Im zweiten Kapitel werden Elemente der ikonischen Logik untersucht, die das Sein des Bildes als sein Scheinen definieren. Dabei werden vier Typen ikonisch absenter Charakteristiken systematisiert. Das dritte Kapitel analysiert signifikante Texte zur Ästhetik von G.W.F. Hegel, M. Weitz, N. Goodman, M. Heidegger und H.-G. Gadamer. Aus ihnen werden Leitgedanken deduziert, die im vierten Kapitel die Grundlage von drei systematischen Bildbefragungen bilden. Die kunstwissenschaftliche Relevanz dieses philosophischen Ansatzes wird durch die damit generierten Werkinterpretationen belegt. (shrink)

Those who wish to defend the role of aesthetic values in science face a dilemma: Either aesthetic language is used metaphorically for what are ultimately epistemic features, or aesthetic language is used literally but it is difficult to see the importance of such values in science. I introduce a new account that gets around this problem by looking to an overlooked source of aesthetic value in science: the relation between form and content. I argue that a fit between the content (...) of a thought experiment, and the way in which that content is formulated, can have important epistemic pay offs through contributing to scientific understanding. (shrink)