Interviewers routinely orient to applicant files as they produce first pair parts that forward the business of the interview. As they do so, they make clear what they know, whether they already know it or are discovering it in the moment, whether it comes from the file in hand, and whether the applicant holds primary rights to confirm or amend that information. In these moments, participants work out issues of epistemic authority through an orchestration of multimodal behaviors, including talk, gesture, (...) gaze, and touch. Our analysis focuses specifically on two discourse slots: when interviewers confirm specific information in side sequences; and when they gloss and assess general information while calling for an account. In the former, interviewers display minimal knowledge and secondary epistemic authority; in the latter, they show strong knowledge and assert primary epistemic authority. This article demonstrates how epistemic authority, negotiated through embodied talk-in-interaction, contributes to how interviews unfold. (shrink)

Upshot: The micro-phenomenological interview is a methodology that enables us to accurately guide subjects in describing an emotional experience. With this guide, it is possible to know the structure of a particular experience, which is helpful to understand the different processes related to it. The incorporation of the micro-phenomenological interview into emotion research can extend the limits set until now by third-person methodologies and give an integral comprehension of emotions.

Introduction Grady Hendrix is an American author and journalist who is also one of the founders of the New York Asian Film Festival. Horrostör: A Novel was published in 2014 by Quirk Books, a publisher based in Philadelphia and distributed by Penguin Random House. According to its website, Quirk Books was founded in 2002 and publishes ‘a highly curated list of entertaining, enlightening, and strikingly unconventional books for adults and children in a number of genres and categories,’ which i...

In lieu of an abstract, here is a brief excerpt of the content:Phenomenological Interviews and Tourette'sThe authors report no conflicts of interest.We appreciate the responses from the two clinicians, Efron and Mathieson. We agree with their reminder about the holistic nature of clinician's engagement (mood, sociality, and work life) and with their emphasis on patient-reported outcome measures, although this is not quite what we did in our interviews. As has recently been recognized in section 24 of the (...) Victorian Mental Health and Well-being Act (to provide a local Australian example), patients and caregivers' "lived experience makes them valuable leaders and active partners in the mental health and wellbeing service system."1In this paper, however, our aim was both more modest and immodest: modest, in that we aimed to work with those "leaders and active partners" to generate a more adequate account of lived experience in concert with behavioral symptomatology; immodest, in that we wondered how the lived experience of Tourette syndrome (TS) aligned (or not) with some of the commonly ascribed features of the condition. Although phenomenology as a discipline does not own lived experience, of course, it is more systematically treated in this tradition, starting with elaborations of Erlebnis.Efron and Mathieson note that older patients are more likely to describe urges or premonitory urges (PUs). This raises the priming question: Has greater exposure to and involvement in medical concepts and treatments transformed the nature of their self-report, or has it provided them with more phenomenological skills, enabling them to pick out discrete parts of experience? Or perhaps they have just been exposed more frequently to the experience over time? We address some related issues below, in our reply to Fernandez, where we outline our interview techniques more fully.They end by noting that the aim of comprehensive behavioral intervention for tics is to become attentive to PUs to better block tics. This is complex and understudied. In principle, becoming aware of something cognitively and experientially can foreground or even perhaps induce that experience. Conversely, from the TS scholarship, we know that attending to urges in certain ways (e.g., via acceptance training) can also reduce perceived urge frequency and intensity (see Gev et al., 2016). We would welcome further work on this link between attention and experience in TS. [End Page 49]Response to FernandezBecause our paper was partly framed around Fernandez' own work on phenomenological psychopathology, we welcome his invitation to provide further "inspiration and guidance" for other phenomenological researchers conducting empirical studies, who may also be dealing with the challenge posed by "narrative habits." When an interviewee uses well-worn medicalized terms to describe their experience, it is not clear whether these descriptions genuinely reveal or rather occlude the experience in question. There are sometimes, perhaps often, second-person phenomenological 'tells' regarding interviewees genuinely re-evoking an experience, but for interviewers it still raises the question of how to prompt alternative and potentially more accurate descriptions of experience.Because of this challenge, we purposely did not use the term "urge" or "premonitory urge" (PU) in our interview questions. Instead, we asked about (and used the broader term of) "experiences" that may occur prior, during, or after ticcing, without assuming that there are such experiences in the first place. We guided interviewees to evoke the memory of a specific, singular tic event (a tic token; see Curtis-Wendlandt 2020, 2023). Once a memory of such an event had been identified, we asked interviewees the following three lead questions:1. What, if anything, did you experience during this tic?2. What, if anything, did you experience before this tic?3. What, if anything did you experience after this tic?The temporal framing of these questions counters common trends and assumptions in the scholarship, which has focused heavily on pre-tic experiences, with little attention given to post-tic experiences (reduced to notions of "relief" and barely investigated), and even less to experiential explorations of the tic itself. Our catalogue of supporting questions sought to elicit fine-grained descriptions of evoked/recalled experiences along sensory and cognitive-affective dimensions:•. Did you see anything before, during, or after this tic? If so, what did you see?•. Did you hear anything... (shrink)

To support my Phd theses and results of my grant research in 1999, I asked 1) prominent chemist Antonín Holý, author of substances to treat hepatitis and HIV, about the indivisibility of the art and science (published in Slovak Narodna Obroda and Czech blisty,cz), 2) the distinguished economist William Baumol about the alternative activities (published in Slovak Nove Slovo, Czech Respekt and blisty.cz), 3) Nobel Laureate Clive Granger about the significance of the economics (published in 2004 in Czech weekly Tyden). (...) The interviews were exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013. (shrink)

The status of independent statements is the main problem in the philosophy of set theory. We address this problem by presenting the perspective of a practising set theorist. We thus give an authentic insight in the current state of thinking in set-theoretic practice, which is to a large extent determined by independence results. During several meetings, the second author asked the first author about the development of forcing, the use of new axioms and set-theoretic intuition on independence. Parts of these (...) conversations are directly presented in this article. They are supplemented by important mathematical results as well as discussion sections. Finally, we present three hypotheses about set-theoretic practice: First, that most set theorists were surprised by the introduction of the forcing method. Second, that most set theorists think that forcing is a natural part of contemporary set theory. Third, that most set theorists prefer an answer to a problem with the help of a new axiom of lowest possible consistency strength, and that for most set theorists, a difference in consistency strength weighs much more than the difference between Forcing Axiom and Large Cardinal Axiom. (shrink)

Larry A. Hickman is Emeritus Professor of philosophy at Southern Illinois University Carbondale, where he was the director of the Center for Dewey Studies from 1993 until his retirement in 2016. His monographs include: Modern Theories of Higher Level Predicates ; John Dewey's Pragmatic Technology ; Philosophical Tools for Technological Culture ; and Pragmatism as Post-Postmodernism. His edited volumes include Technology and Human Affairs ; Reading Dewey ; The Essential Dewey ; and The Correspondence of John Dewey. He has also (...) authored many articles on technology, environmental philosophy, critical theory, pragmatism, education, film studies, and philosophy of religion. This interview was conducted via email in the Spring of 2017. Hickman’s responses have not been altered in any way. (shrink)

This is an interview with author Lester Grinspoon, M.D., whose work on psychoactive substances over the last thirty‐five years has been highly influential. His book, Marihuana: The Forbidden Medicine (written with James B. Bakalar), is a classic source on the medical marijuana controversy. His books Psychedelic Drugs Reconsidered and Cocaine: A Drug and Its Social Evolution are standards in the field. Dr. Grinspoon received his M.D. from Harvard Medical School and currently is associate professor emeritus at Harvard Medical School. His (...) academic work has also reached a general audience through publications ranging from the New York Times Book Review to Playboy. Describing him as the "complete medical scholar," his citation for the Lindesmith Award for Achievement in the Field of Scholarship also notes, "Lester Grinspoon represents all those scholars who report the results of their research truthfully, despite the political consequences of this unwelcomed honesty.". (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Titles of modern interviews are studied on the material of German mass media texts. Leading syntactic structures, communicative signs and pragmatical aspects of titles are analyzed. The most attention is paid to titles in form of questions or exclamation, which have the strongest communicative pragmatical effect. Exclamation and questions in the position of titles lose value of incentive and interrogative, incentive or interrogative remain only formally, which makes them quasi-incentive and quasi-interrogative. Exclamation and question functions go by the wayside, (...) in the first place extends forecasting capabilities for the content of subsequent title text. Besides, in article the titles in the form of question containing the address are analyzed. Illocutionary goal of these titles is an invitation to a discussion of the potential reader, and a joint search for common perspectives in this or that activity, for selected search of the most appropriate of all the possible solutions to a problem. They seem to reproduce the process of reflection of the author and cause to think about the issues raised by recipients. (shrink)

Cambridge professor Simon Blackburn is best known to the general public as the author of several books of popular philosophy such as  ink, Being Good andTruth: a Guide for the Perplexed. Academic philosophers also know him as the author of one of the most important books of contemporary moral philosophy, Ruling Passions, and as a former editor of the leading journal Mind.

The teacher self is a composite psychological construct which encompasses the cognitive, affective, emotional, and social dimensions of teaching. This qualitative study draws on Bakhtin’s concepts of dialogism, answerability, and addressivity to discuss how English language teachers negotiated the shifting and conflictive context to construct selves in relation to the promoted communicative language teaching approach. Based on narrative interviews and classroom observations with five tertiary English teachers in China, we found that these teachers were actively engaged in the dialog (...) with their prior learning experiences and active, responsive in answering their contexts while authoring selves in everyday teaching practice. The multiple-case study data support a Bakhtinian understanding that teachers are active users and producers of theory in their own right, highlighting teachers’ agency, creativity, and autonomy. Based on Bakhtin’s dialogism and the case study findings, we bring cognition, identity and practice together and conceptualize the teacher self as having multiple facets and layers: the autobiographical self, the discursive self, and the pedagogical self. The three selves are constitutive of the consummated whole of the teacher self instead of being separate entities functioning individually. The study is concluded with implications for language teacher education and teacher development. (shrink)

Deceased in January this year, the Polish-British sociologist Zygmunt Bauman has left an extremely rich scholarly legacy. In one of his last academic interviews, he refers to the key issues which had been the subject of his in-depth analysis for many years. Bauman starts with reflections on the gap between political authority and power. Next, given his long-standing research into ‘liquid modernity’, he focuses on the vitality of capitalism, which has now adopted a lighter, consumer form. Another thread of (...) the interview is Bauman’s own research attitude, which he refers to as ‘sociological hermeneutics’. It is characterized by his reluctance to use any ‘-isms’ and a profound mistrust of all particular schools of research which could limit creative freedom. In the final part of the interview, Bauman highlights the problem of the social entanglement of intellectuals. (shrink)

An interview with the professor and philosopher Emmanuel Falque, in the context of his passage through the University of Coimbra, in the context of the Journée Internationale d’études philosophiques, which will take place on 26 May 2022, at the Faculty of Letters, entitled: «L’im‑pensable : Aux confins de la phénoménalité». In this interview, In this interview, our author coming to his entire philosophical project, from its origins to his most recent scientific production. The philosopher tells us about the provenance of (...) his thought through his main philosophical works and his existential interpretation and phenomenological reading of patristic and medieval philosophy as well as his debates with phenomenology and contemporary philosophy, particularly French philosophy. Here the epistemological and metaphysical question between philosophy and theology, literature and aesthetics, psychoanalysis and phenomenology is also addressed; the concept of «corps épandu», the corporeality or the embodiment as the cardinal point of human finitude and its incessant search to think our «humanity in common». Emmanuel Falque also presents us in this interview the genesis and the fundamental idea of Hors phénomène, as the central axis of his global philosophical project, but also as the revelation of a certain «turning point», inflexion or even of «radicalization» of his démarche, as well as its possible consequences to rethink aesthetics, ethics, politics and theology. The French thinker also talks to us here about the future of philosophy and the new horizons of his reflection (the new triptych...), about the authors and figures in the history of thought (philosophers or others) who have influenced and impacted his own philosophical‑existential path. Thus, the work of a thinker-philosopher is always an ex-position of himself to others, permanently thinking the world of life, the embodiment of reason in the folds of history. (shrink)

Rosso: Can you say something more about the differences between your work and Derrida’s?De Man: I’m not really the right person to ask where the difference is, because, as I feel in many respects close to Derrida, I don’t determine whether my work resembles or is different from of Derrida. My initial engagement with Derrida—which I think is typical and important for all that relationship which followed closely upon my first encounter with him in Baltimore at the colloquium on “The (...) Languages of Criticism and the Sciences of Man”—had not to do with Derrida nor with me, but with Rousseau. It happened that we were both working on Rousseau and basically on the same text, by sheer coincidence. It was in relation to Rousseau that I was anxious to define, to try to work out some … not discrepancies … but some change of emphasis between what Derrida does and what I’m doing. And there may be something in that difference between us that remained there, to the extent that in a very genuine sense—not as denegation or as false modesty —my starting point, as I think I already told you, is not philosophical but basically philological and for that reason didactical, text-oriented. Therefore I have a tendency to put upon texts an inherent authority, which is stronger, I think, than Derrida is willing to put on them. I assume, as a working hypothesis , that the text knows in an absolute way what it’s doing. I know this is not the case, but it is a necessary working hypothesis that Rousseau knows at any time what he is doing and as such there is no need to deconstruct Rousseau. In a complicated way, I would hold to that statement that “the text deconstructs itself, is self-deconstructive” rather than being deconstructed by a philosophical intervention from the outside of the text. The difference is that Derrida’s text is so brilliant, so incisive, so strong that whatever happens in Derrida, it happens between him and his own text. He doesn’t need Rousseau, he doesn’t need anybody else; I do need them very badly because I never had an idea of my own, it was always through a text, through the critical examination of a text … I am a philologist and not a philosopher: I guess there is a difference there … I think that, on the other hand, it is of some interest to see how the two different approaches can occasionally coincide, at the point that Gasché in the two articles he as written on this topic says that Derrida and myself are the closest when I do not use his terminology, and the most remote when I use terms such as deconstruction: I agree with that entirely. But, again, I am not the one to decide on this particular matter and I don’t claim to be on that level … Stephano Rosso teaches English literature at the University of Verona and is writing a dissertation in comparative literature at SUNY—Binghamton. Among other works, he has coedited, with Naurizio Ferraris, Decostruzione tra filosofia e letteratura and Estetica e decostruzione. He is presently translating Paul de Man’s Resistance to Theory into Italian. (shrink)

The following discussion with philosopher and political scientist Wendy Brown seeks to apply her provocative and indispensable ideas to recent political events and problems, in particular focusing on her work in Undoing the Demos and returning briefly to consider Politics Out of History in today’s context. The questions were collectively authored and the interview itself was conducted by Sebastian Raza via Skype on 23 May 2017. We would like to thank Wendy Brown for the generous contribution of her time and (...) for answering the questions so directly and clearly. (shrink)

Today, there is a considerable interest in phenomenology within psychiatric academic communities as well as among clinical practitioners; as a result, a growing number of institutions demonstrate their commitment to phenomenology as a privileged speculative companion. The main focus of existing teaching programs in phenomenology is usually placed on psychopathological issues and on describing the experience of mental illness from a non-naturalistic and person-centered perspective. In this article, I argue that phenomenological training should also be focused on the role of (...) the psychiatrist in providing such a phenomenologically informed patient-centered approach. In this perspective, phenomenological interviews such as EASE, EAWE and EAFI appear to be a particularly relevant form of training, as they allow the trainee to engage actively in the learning process. To focus on the person of the psychiatrist allows, however, to reconsider the meaning of the clinician’s neutrality, advocated by the authors of the phenomenological interviews. The attitude produced by adopting the phenomenological approach should instead be described as a particular reflective attitude which allows for paying attention to the embodied dimension of experience. This attitude differs from both the neutrality associated with the objectivity of classic psychiatry, and the neutrality to which a psychoanalyst strives. By taking into account embodied awareness as characteristic of phenomenological attitude, one then may address, through training, the specifics of phenomenological practice, such as its unstable and laborious nature, its integration in the lived experience, and the challenge that it poses to the psychiatrist’s scientific background. (shrink)

The status of independent statements is the main problem in the philosophy of set theory. We address this problem by presenting the perspective of a practising set theorist. We thus give an authentic insight in the current state of thinking in set-theoretic practice, which is to a large extent determined by independence results. During several meetings, the second author asked the first author about the development of forcing, the use of new axioms and set-theoretic intuition on independence. Parts of these (...) conversations are directly presented in this article. They are supplemented by important mathematical results as well as discussion sections. Finally, we present three hypotheses about set-theoretic practice: First, that most set theorists were surprised by the introduction of the forcing method. Second, that most set theorists think that forcing is a natural part of contemporary set theory. Third, that most set theorists prefer an answer to a problem with the help of a new axiom of lowest possible consistency strength, and that for most set theorists, a difference in consistency strength weighs much more than the difference between Forcing Axiom and Large Cardinal Axiom. (shrink)

Sarah Waters was born in Pembrokeshire in South Wales in 1966. She is the author of four novels, Tipping the Velvet (1998), Affinity (1999), Fingersmith (2003) and The Night Watch (2006). Among her many awards and nominations one can include the Sunday Times Young Writer of the Year (2000), Author of the Year at the British Book Awards (2003), and the South Bank Award for Literature (2003). Most recently, The Night Watch has been short–listed for the Orange Prize. It was (...) my great pleasure to have the opportunity to interview her at the inaugural conference of the Contemporary Women's Writing Network (CWWN), ‘For Love or Money? Contemporary Women's Writing in the Marketplace’, which was held at the University of Wales, Bangor, in April 2006. (shrink)

The article focuses on a method for collecting qualitative data. The method is the asynchronous email interview. The authors assess the advantages, challenges and best practices of the asynchronous email interview method. They base their assessment on the academic literature and their own experiences using this data collection method in qualitative research on women who had experienced perinatal loss. The asynchronous email interview will never fully replace traditional face-to-face interviews, but it could gain a solid position as a (...) qualitative research method thanks to its unique benefits. (shrink)

In this interview-essay, artist Rosanna Bruno talks with the author about her illustrations of The Trojan Women, a comic-book made in collaboration with Anne Carson. Bruno’s illustrations offer the reader an oblique entry into a devastated Troy: they are translation “at a slant.” The artist speaks on going against what is visually expected or plausible, in her use of surprising imagery to convey and counterpoint suffering, and touches upon the use of humor to bring the tragedy into sharp focus. Bruno (...) explains how the comic-book format can communicate radical ideas in the interdependence of word and image. She talks through creating the feeling of live theater and the emotional tenor brought about by an almost entirely non-human cast: dogs, cows, a huge wave, a turnip-like rootling, a pair of dungarees. The illustrator elucidates the collaborative process between herself and Carson, revealing the various iterations of characters before they settled on their final forms, and the materials and methodologies Bruno employed in its rendering. (shrink)

Charles Taylor is one of the most prolific and wide-ranging philosophers in the English-speaking world today. He writes with authority in the fields of moral theory, political philosophy, theories of language, the history of western thought, epistemology and hermeneutics.1 Currently an Emeritus Professor of Philosophy at McGill University, he has enjoyed a distinguished academic career which includes being Chichele Professor of Social and Political Theory at Oxford University. He has also been active and influential in the politics of his native (...) Quebec, arguing passionately for recognition of Quebec as a distinct society, but against the province’s secession from Canada. For many years he has been a member of the New Democratic Party. The American philosopher Richard Rorty described him as ‘among the dozen most important philosophers writing today’ and one of North America’s ‘most thoughtful politicians’. He is interviewed here by Ruth Abbey. Ruth Abbey: There can be no doubt that the theories and practices of management would benefit from the contributions of philosophers: as the editors of this journal contend, many of the terms and ideas used by managers are philosophical ones, yet there is little awareness of this and their uses and meanings in management practices remain undertheorised. Management therefore rests on a host of unarticulated but constitutive beliefs and ideas. One of the ideas that has recurred in your writings over the years has been just how significant the unsaid is, and how valuable it can be to articulate this. Could you say something about this? (shrink)

Charles Taylor is one of the most prolific and wide-ranging philosophers in the English-speaking world today. He writes with authority in the fields of moral theory, political philosophy, theories of language, the history of western thought, epistemology and hermeneutics.1 Currently an Emeritus Professor of Philosophy at McGill University, he has enjoyed a distinguished academic career which includes being Chichele Professor of Social and Political Theory at Oxford University. He has also been active and influential in the politics of his native (...) Quebec, arguing passionately for recognition of Quebec as a distinct society, but against the province’s secession from Canada. For many years he has been a member of the New Democratic Party. The American philosopher Richard Rorty described him as ‘among the dozen most important philosophers writing today’ and one of North America’s ‘most thoughtful politicians’. He is interviewed here by Ruth Abbey. Ruth Abbey: There can be no doubt that the theories and practices of management would benefit from the contributions of philosophers: as the editors of this journal contend, many of the terms and ideas used by managers are philosophical ones, yet there is little awareness of this and their uses and meanings in management practices remain undertheorised. Management therefore rests on a host of unarticulated but constitutive beliefs and ideas. One of the ideas that has recurred in your writings over the years has been just how significant the unsaid is, and how valuable it can be to articulate this. Could you say something about this? (shrink)

In this article, the authors present an ethnography of biomedical knowledge production and science collaboration when they take place in developing country contexts. The authors focus on the arrival of international clinical trials to Sri Lanka and provide analysis of what was described as one of the first multisited trials in the country, a pharmaceutical company sponsored, phase 2, randomized, double-blind, placebo controlled trial carried out between 2009 and 2010. Using interviews with those who conducted the trial (...) and six months of participant observation at the trial hospital, the authors describe the work that goes on to perform trials according to international standards. The article describes what happens when a randomized controlled trial encounters existing epistemic virtues and documents the impacts on ideas of authority, expertise and doctor–patient relationships found in Sri Lankan medicine. (shrink)

Texts and interviews from the period that saw the publication of Deleuze's major works. People tend to confuse winning freedom with conversion to capitalism. It is doubtful that the joys of capitalism are enough to free peoples.... The American “revolution” failed long ago, long before the Soviet one. Revolutionary situations and attempts are born of capitalism itself and will not soon disappear, alas. Philosophy remains tied to a revolutionary becoming that is not to be confused with the history of (...) revolutions.—from Two Regimes of Madness Covering the last twenty years of Gilles Deleuze's life, the texts and interviews gathered in this volume complete those collected in Desert Islands and Other Texts. This period saw the publication of his major works: A Thousand Plateaus, Cinema I: Image-Movement, Cinema II: Image-Time, all leading through language, concept and art to What is Philosophy?. Two Regimes of Madness also documents Deleuze's increasing involvement with politics. Both volumes were conceived by the author himself and will be his last. Michel Foucault famously wrote: “One day, perhaps, this century will be Deleuzian.” This book provides a prodigious entry into the work of the most important philosopher of our time. Unlike Foucault, Deleuze never stopped digging further into the same furrow. Concepts for him came from life. He was a vitalist and remained one to the last. This volume restores the full text of the original French edition. (shrink)

After twelve years as the inaugural Director of the Caroline Chisholm Centre for Health Ethics, leading Melbourne bioethicist Dr Norman M Ford has resigned his position. Instead of contemplating retirement however, the tireless septuagenarian, who is also a philosopher, author, Honorary Research Fellow in the School of Philosophy and Bioethics at Monash University and Catholic Salesiah priest, has his sights set on tackling even more controversial biomedical issues as an independent research scholar and author. Georgina Hall gets an insight into (...) his life’s work. (shrink)

Cambridge professor Simon Blackburn is best known to the general public as the author of several books of popular philosophy such as  ink, Being Good andTruth: a Guide for the Perplexed. Academic philosophers also know him as the author of one of the most important books of contemporary moral philosophy, Ruling Passions, and as a former editor of the leading journal Mind.

:This paper recounts the author’s conversations with Ryan Farnsworth, a 30-year-old ALS patient who consented to be interviewed for the purpose of improving communication between physicians and patients. Under the California End of Life Option, the patient had been prescribed medication that would allow him to end his life at a time of his choosing. He describes coping with the challenges of the illness, how he will make the decision when to take the drugs and what he hopes will be (...) his legacy. (shrink)

The article analyses how the oral history of philosophy can be conceptualized as a genre and a discipline of the history of philosophy. The need for this kind of conceptualization arose due to recent spreading of interviews in the genre of the oral history of philosophy, which in turn became a subject for the special issue The Oral History of Philosophy in Filosofska Dumka. Analysing this issue, the author proves that the “dialoguing” nature of the interview builds inflated expectations (...) about the oral history as well as its boundaries as an approach in a historical-philosophical study. He also suggests distinguishing the interview as a genre of oral philosophy – dialogue, which is a traditional philosophical literary form, from a tool in historical-philosophical study. In the latter case, it is important to determine who will play a role of a historian: an author of historical narration, an interviewee or an interviewer. Depending on the answer to the previous question, the author distinguishes three possible perspectives of the oral history of philosophy development: an interview as a self-sufficient study in the history of philosophy, an interview as a self-sufficient source for historical-philosophical research and an interview as one of sources for historical-philosophical research. Each of them has its opportunities for a historian of philosophy and plays its role in recruiting students and doctoral students (who often are involved as interviewers) to research work. (shrink)

In conversation with James Ash, Pasi Väliaho discusses the relationship between video games, politics and the turn to affect for thinking about mediated experience. In doing so, both authors consider the promises and problematics of utilizing neuroscientific concepts for understanding modes of power that operate through the knots of image and sensation that make up contemporary media culture.

Shaun Gallagher is a philosopher of mind who has made it his business to study and meet with leading neuroscientists, including Michael Gazzaniga, Marc Jeannerod and Chris Frith. The result is this unique introduction to the study of the mind, with topics ranging over consciousness, emotion, language, movement, free will and moral responsibility. The discussion throughout is illustrated by lengthy extracts from the author’s many interviews with his scientist colleagues on the relation between the mind and the brain.

In March of 1980, _Le Nouvel Observateur_ published the final interviews between the philosopher Jean-Paul Sartre, then blind and debilitated, and his young assistant, Benny Lévy. Readers immediately denounced the interviews as distorted and fraudulent for portraying a Sartre who had abandoned his leftist convictions, rejected his most intimate friends, and cast aside his fundamental beliefs in favor of a messianic Judaism. Sartre's supporters argued that it was his orthodox interlocutor, Lévy, who had twisted the words of the (...) ailing philosopher. Yet, shortly before his death, Sartre confirmed the authenticity of the interviews and their puzzling content. Here presented in translation, the interviews are framed by two provocative essays by Benny Lévy, accompanied by a comprehensive introduction from noted Sartre authority Ronald Aronson, which places the interviews in biographical and philosophical perspective to demonstrate how they confirm and contribute to Sartre's overall philosophy. This absorbing volume at last contextualizes and elucidates the final thoughts of a brilliant and influential mind. (shrink)

In March of 1980, just a month before Sartre's death, _Le Nouvel Observateur_ published a series of interviews, the last ever given, between the blind and debilitated philosopher and his young assistant, Benny Levy. Readers were scandalized and denounced the interviews as distorted, inauthentic, even fraudulent. They seemed to portray a Sartre who had abandoned his leftist convictions and rejected his most intimate friends, including Simone de Beauvoir. This man had cast aside his own fundamental beliefs in the (...) primacy of individual consciousness, the inevitability of violence, and Marxism, embracing instead a messianic Judaism. No, Sartre's supporters argued, it was his interlocutor, the ex-radical, the orthodox, ultra-right-wing activist who had twisted the words and thought of an ailing Sartre to his own ends. Or had he? Shortly before his death, Sartre confirmed the authenticity of the interviews and their puzzling content. Over the past fifteen years, it has become the task of Sartre scholars to unravel and understand them. Presented in this fresh, meticulous translation, the interviews are framed by two provocative essays from Benny Levy himself, accompanied by a comprehensive introduction from noted Sartre authority Ronald Aronson. Placing the interviews in proper biographical and philosophical perspective, Aronson demonstrates that the thought of both Sartre and Levy reveals multiple intentions that taken together nevertheless confirm and add to Sartre's overall philosophy. This absorbing volume at last contextualizes and elucidates the final thoughts of a brilliant and influential mind. Jean-Paul Sartre was offered, but declined, the Nobel Prize for literature in 1964. His many works of fiction, drama, and philosophy include the monumental study of Flaubert, _The Family Idiot_, and _The Freud Scenario_, both published in translation by the University of Chicago Press. (shrink)

The present study aims to examine the context of academic dishonesty of research students in a public university setting in Bangladesh. In this regard, the researchers conducted interviews with the concerned authorities of the university, i.e., Chairpersons of the Departments, Deans of the Faculties, Proctor of the University, and Director of Students Guidance and Counselling Cell in order to get an impression about the current practice of academic dishonesty by the students of that university; factors influencing these activities and (...) recommendations to uphold academic integrity among the students. The results showed that though there were several instances of academic integrity violation, negligible actions were taken against them due to the absence of an established policy on academic dishonesty. At the same time, the nonexistence of a course on academic integrity and research ethics in the curriculum is also responsible for this scenario. To mitigate this issue, all the concerned authorities strongly recommended formulating a central policy on academic dishonesty for promoting academic integrity and achieving university ranking success in global competitiveness. (shrink)

Interview with Michael Bruce and Steven Barbone, editors of Just the Arguments.

Author comments Rick Grush’s statements about emulation and embodied approach to representation. He proposes his modification of Grush’s definition of emulation, criticizing notion of “standing in for”. He defends of notion of representation. He claims that radical embodied theories are not applicable to all cognition.

Language and the birth of "literature." A preface to transgression. Language to infinity. The father's "no." Fantasia of the library.--Counter-memory: the philosophy of difference. What is an author? Nietzsche, genealogy, history. Theatrum philosophicum.--Practice: knowledge and power. History of systems of thought. Intellectuals and power. Revolutionary action: "until now.".

'It nails the old lie that rigorous science and a humane attitude to illness do not go together.' From review of Pride and a Daily Marathon in the TLS Jonathan Cole is, amongst other things, a clinical neurophysiologist practising at Poole Hospital in Bournemouth, England, an author of extraordinarily interesting books, and an experimental neuroscientist who conducts his experiments in some of the major laboratories in Europe and North America, and at least once while floating weightless in mid-air some 30,000 (...) feet above earth. In all of these endeavours, Cole is an explorer of human experience in its many variations, and most often at the frontiers or extremes of such experiences. (shrink)

Michael Marder: Could you summarize the main contributions of your new book, Hermeneutic Communism: From Heidegger to Marx, co-authored with Gianni Vattimo, to contemporary political philosophy?Santiago Zabala: Well, as the subtitle indicates, we do not demand a return to Marx, as so many philosophers do today, but rather the retrieval of his thought through Heidegger, or, better, through hermeneutics. The problem with contemporary political philosophy is bound to the prejudice people hold toward Heidegger's, Nietzsche's, and Gadamer's political sympathies and choices. (...) While one of them clearly made an error, the others were quite conservative and in…. (shrink)

The New Yorker calls him "the most influential living philosopher." His critics call him "the most dangerous man in the world." Peter Singer, the De Camp Professor of Bioethics at Princeton University's Center for Human Values, is most widely and controversially known for his view that animals have the same moral status as humans. He is the author of many books, including Practical Ethics (1979), Rethinking Life and Death (1995), and Animal Liberation (1975), which has sold more than 450,000 copies. (...) This year he published Writings on an Ethical Life (Ecco Press) and A Darwinian Left: Politics, Evolution, and Cooperation (Yale University Press), which argues that the left must replace Marx with Darwin if it is to remain a viable force. (shrink)

This article is a transcript of an interview with David Shaw, the author of the book, “An Ancient Greek Philosophy of Management Consulting: Thinking Differently about its Assumptions, Principles and Practice”, published with Springer in 2022. It discusses his reasons for looking to the ancient Greek philosophers for new ideas about management consulting, and how his papers for this journal have contributed to the development of the book.

Yanis Varoufakis is an economist and politician. After serving as Greek Finance Minister in 2015, he went on to co-found the Democracy in Europe Movement 2025, of which he is now Secretary- General. The author of many books and academic papers, his latest work, Technofeudalism: What Killed Capitalism?, was published by Bodley Head in 2023. Professor of Economics, and editor of this journal, Michel Zouboulakis interviewed Varoufakis in December 2023. What follows is a transcript of that meeti...

Interview with the author of "why We are in Need of Tails." Iguana Books, Toronto, Canada.

Doctoral students in clinical, counseling, and school psychology programs often collaborate with faculty on research projects in their training as scientist-practitioners. Yet, the determination of publications' credit and order of authorship on resulting manuscripts continues to be a major concern and challenging process for professional psychologists and student collaborators. This article describes the use of case-based learning and semi-structured interview approaches to instruct first-year clinical psychology doctoral students in publication ethics during a research seminar. The instructor models ethical decision-making with (...) 1) a discussion of four cases from his own professional experiences and 2) a description of the Authorship Eligibility Assessment form, which he developed for use with junior researchers. The authors advocate for more educational strategies to supplement the APA standards in teaching the ethics of the publication process. Implications in terms of graduate student development and research collaborations in the field of professional psychology were discussed. (shrink)

This interview study investigates the short- and long-term implications of incidental findings detected through brain imaging on research participants’ lives and their surroundings. For this study, nine participants of the Rotterdam Scan Study with an incidental finding were approached and interviewed. When examining research participants’ narratives on the impact of the disclosure of incidental findings, the authors identified five sets of tensions with regard to motivations for and expectations of research participation, preferences regarding disclosure, short- and long-term impacts and (...) impacts on self and others. The paper shows: that the impact of incidental findings may be greater than participants at first let on; incidental findings can have significant effects on participants’ social environment; and participants may not feel prepared for disclosure even if incidental findings have been discussed during the informed consent process. The authors call for investigators to be aware of research participants’ experiences and these short- and long-term impacts when designing suitable courses of action for the detection and management of incidental findings in research settings. (shrink)