From the mid-nineteenth century to the Gilded Age, Catharine Beecher and other American social reformers combined natural theology and evangelism to instruct their audiences how to lead healthy, virtuous, and happy lives. Worried about the consequences of urbanization, industrialization, unstable sexual and gender roles, and immigration, these “Christian physiologists” provided prescriptive scientific advice for hygiene and personal conduct based on the traditional norms of white, middle-class, Protestant domesticity. According to Beecher and her counterparts, the biosocial reproduction of (...) ideal American households promised to reverse the degeneration of men and women across the country and to ensure the long-term vitality of their children. Using evidence from Beecher, Harriet Beecher Stowe, Charlotte Perkins Gilman, and other nineteenth-century writers, I investigate the methods and aims of Christian physiology along with its relationships to natural theology, Darwinian feminism, and other reform movements. I also analyze how Beecher and her successors employed concepts including the machine, the tissue, the cell, and the germ to justify their conclusions about the optimal structure and functions of American society. Overall, I demonstrate how these actors leveraged the body and the family as mechanisms to produce healthy parents, children, and communities for an ailing nation. (shrink)

: Catharine Beecher held that women possessed a moral power that could allow them to play a vital role in the moral and social progress of nineteenth century America. Problematically, this power could only be obtained through their subordination to the greatest social happiness. I wish to argue that this notion of subordination, properly framed within her ethico-religious system, can in fact lead to economic independence for women and a surprisingly robust conception of moral power.

Catharine Beecher held that women possessed a moral power that could allow them to play a vital role in the moral and social progress of nineteenth century America. Problematically, this power could only be obtained through their subordination to the greatest social happiness. I wish to argue that this notion of subordination, properly framed within her ethico-religious system, can in fact lead to economic independence for women and a surprisingly robust conception of moral power.

Individuals of some animal species have been taught simple versions of human language despite their natural communication systems failing to rise to the level of a simple language. How is it, then, that some animals can master a version of language, yet none of them deploy this capacity in their own communication system? I first examine the key design features that are often used to evaluate language-like properties of natural animal communication systems. I then consider one candidate animal system, bird (...) song, because it has several of the key design features or their precursors, including social learning and cultural transmission of their vocal signals. I conclude that although bird song communication is nuanced and complex, and has the acoustic potential for productivity, it is not productive – it cannot be used to say many different things. Finally, I discuss the debate over whether animal communication should be viewed as a cooperative information transmission process, as we typically view human language, or as a competitive process where signaler and receiver vie for control. The debate points to a necessary condition for the evolution of a simple language that has generally been overlooked: the degree of to which the interests of the signaler and receiver align. While strong cognitive and signal production mechanisms are necessary pre-adaptations for a simple language, they are not sufficient. Also necessary is the existence of identical or near-identical interests of signaler and receiver and a socio-ecology that requires high-level cooperation across a range of contexts. In the case of our hominid ancestors, these contexts included hunting, gathering, child care and, perhaps, warfare. I argue that the key condition for the evolution of human language was the extreme interdependency that existed among unrelated individuals in the hunter-gatherer societies of our hominid ancestors. This extreme interdependency produced multiple prosocial adaptations for effective intragroup cooperation, which in partnership with advanced cognitive abilities, set the stage for the evolution of language. (shrink)

Pessimism over a democracy’s ability to produce good outcomes is as longstanding as democracy itself. On one hand, democratic theorists consider democracy to be the only legitimate form of government on the basis that it alone promotes or safeguards intrinsic values like freedom, equality, and justice. On the other, skepticism toward the ordinary citizen’s cognitive capacities remains a perennial concern. Qualms about the epistemic value of democracy have only been made more pertinent by a fundamental problem of deep epistemic disagreement (...) which underlies the post-truth phenomenon. I argue that the democratic theorists who have sought to defend democracy on epistemic grounds have thus far neglected such deep and intractable disagreements. Without addressing this oversight, the epistemic democrat will find that collective decision-making processes quickly become paralyzed and will not be able to yield the epistemic benefits they promise. Hence, the work for epistemic democrats is to recognize and take into account the ramifications of epistemic disagreements so as to make a stronger case for epistemic democracy. (shrink)

The aim of this book is to provide a unified solution to a wide range of philosophical problems raised by fiction. While some of these problems have been the focus of extensive philosophical debate, others have received insufficient attention. In particular, the epistemology of fiction has not yet attracted the philosophical scrutiny it warrants. There has been considerable discussion of what determines the contents of works of fiction, but there have been few attempts to explain how audiences identify their contents, (...) or to identify the norms governing the correct understanding and interpretation of works of fiction. -/- This book answers a wide range of both metaphysical and epistemological questions concerning fiction in a way that clarifies the relations between them. The metaphysical questions include: What distinguishes works of fiction from works of non-fiction?; What is the nature of fictive utterances?; What determines the contents of works of fiction?; What kinds of fictive content are there?; How broad in scope is fictive content?; and What kinds of things are fictional entities? The epistemological questions include: How do audiences identify the contents of authors’ fictive utterances?; How does understanding a work of fiction differ from interpreting it?; and What role does thinking and talking about fiction from an external perspective play in enabling communication through fiction? It develops the first single theory that provides answers to all these questions. (shrink)

This paper concerns the conditions under which realism is an artistic merit in perceptual narratives, and its consequences for the practice of non-traditional casting. Perceptual narratives are narrative representations that perceptually represent at least some of their contents, and include works of film, television, theatre and opera. On certain construals of the conditions under which realism is an artistic merit in such works, non-traditional casting, however morally merited, is often artistically flawed. I defend an alternative view of the conditions under (...) which realism is an artistic merit in perceptual narratives. I identify the two forms of realism at issue in debates about the artistic merits of non-traditional casting, and identify the artistic norms that determine the conditions under which each constitutes an artistic merit. I argue that, independently of the relation between moral merits and artistic merits, non-traditional casting violates these norms less often than is sometimes assumed. Moreover, in certain circumstances, non-traditional casting affects realism in artistically meritorious ways. I conclude by considering the implications of my view for the practice of whitewashing. (shrink)

The overall goal of this target article is to demonstrate a mechanism for an embodied cognition. The particular vehicle is a much-studied, but still widely debated phenomenon seen in 7–12 month-old-infants. In Piaget's classic “A-not-B error,” infants who have successfully uncovered a toy at location “A” continue to reach to that location even after they watch the toy hidden in a nearby location “B.” Here, we question the traditional explanations of the error as an indicator of infants' concepts of objects (...) or other static mental structures. Instead, we demonstrate that the A-not-B error and its previously puzzling contextual variations can be understood by the coupled dynamics of the ordinary processes of goal-directed actions: looking, planning, reaching, and remembering. We offer a formal dynamic theory and model based on cognitive embodiment that both simulates the known A-not-B effects and offers novel predictions that match new experimental results. The demonstration supports an embodied view by casting the mental events involved in perception, planning, deciding, and remembering in the same analogic dynamic language as that used to describe bodily movement, so that they may be continuously meshed. We maintain that this mesh is a pre-eminently cognitive act of “knowing” not only in infancy but also in everyday activities throughout the life span. Key Words: cognitive development; dynamical systems theory; embodied cognition; infant development; motor control; motor planning; perception and action. (shrink)

There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...) that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non-photographic pictures in both respects. (shrink)

Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...) them. It then develops an alternative resemblance account, drawing on Grice's account of nonnatural meaning and its role in determining sentence meaning to argue that something depicts an object if it bears intention-based resemblances to the object that jointly capture its overall appearance. In addition to solving the metaphysical problem of what it is for something to depict an object, this account also sheds significant light on the epistemological issue of how we are able to work out that something depicts an object. This essay argues that our ability to work out that something depicts an object results from both our more general ability to identify intentions from the products of communicative behavior and our knowledge of stylistic conventions. This account avoids the difficulties that face rival attempts to analyze depiction in terms of resemblance. It also clarifies and explains the features that distinguish depictive from nondepictive representation. (shrink)

In this commentary, we point to guidelines for performing human neuroimaging studies and their reporting in microbiota-gut-brain articles. Moreover, we provide a view on interpretational issues in MGB studies, with a specific focus on gut microbiota–derived metabolites. Thus, extending the target article, we provide recommendations to the field to increase reproducibility and relevance of this type of MGB study.

Notion complexe et problématique objet de crainte et de crispation, la stásis renvoie tout autant à la discorde, à la sédition, à la guerre civile, qu'à la division. Loin de lire dans cette équivocité le signe de son indétermination, cette enquête se propose de mettre en lumière l'unité et la cohérence de ce concept dans la philosophie pratique d'Aristote. Sans être banalisée, comment la stásis devient-elle le corrélat direct et explicite de la cité? En quel sens la théorie aristotélicienne rompt-elle (...) avec la tradition grecque, pour laquelle la stásis, figure du mal absolu, constituait pourtant un impensé de la cité grecque? (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

Whether mathematical truths are syntactical (as Rudolf Carnap claimed) or empirical (as Mill actually never claimed, though Carnap claimed that he did) might seem merely an academic topic. However, it becomes a practical concern as soon as we consider the role of questions. For if we inquire as to the truth of a mathematical statement, this question must be (in a certain respect) meaningless for Carnap, as its truth or falsity is certain in advance due to its purely syntactical (or (...) formal-semantical) nature. In contrast, for Mill such a question is as valid as any other. These differing views have their consequences for contemporary erotetic logic. (shrink)

Does avoiding biased responding to reasoning problems and grasping the ­correct solution require engaging in effortful deliberation or can such solution insight be acquired more intuitively? In this study we set out to test the impact of deliberation on the efficiency of a de-bias training in which the problem logic was explained to participants. We focused on the infamous bat-and-ball problem and varied the degree of possible deliberation during the training session by manipulating time constraints and cognitive load. The results (...) show that the less constrained the deliberation, the more participants improve. However, even under extremely stringent conditions (high time-pressure and dual task load), participants still show a significant improvement. Critically, this “intuitive” insight effect persists over two months. This suggests that deliberation helps reasoners benefit from the training, but it is not indispensable. We discuss critical applied and theoretical implications. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...) to serve. (shrink)

This volume frames the question of responsibility as a problem of agency in relation to the systems and structures of globalization. According to Ricoeur responsibility is a “shattered concept” when considered too narrowly as a problem of act, agency and individual freedom. To examine this Esther Reed develops a short genealogy of modern liberal and post-liberal concepts of responsibility in order to understand better the relationship dominant modern framings of the meanings of responsibility. Reed engages with writings by major (...) modern (Schleiermacher, Hegel, Marx, Weber) and post-liberal (Buber, Levinas, Derrida, Badiou, Butler, Young, Critchley) theorists to illustrate the shift from an ethnic responsibility built on notions of accountability and attributions to an ethic responsibility that starts variously from the 'other'. Reed sees Dietrich Bonhoeffer as the most promising partner of this theological dialogue, as his learning of responsibility from the risen Christ present now in the (global) church is a welcome provocation to new thinking about the meaning of responsibility learned from land, distant neighbour, (global) church and the bible. Bonhoeffer's reflections on the centre, boundaries and limits of responsibility remain helpful to Christian people struggling with an increasingly exhausted concept of accountability. (shrink)

This volume of specially written essays by leading philosophers offers to set the agenda for the philosophy of depiction.

Zimbabwean literature produced after the attainment of independence has been predominantly engrossed with thematisation of the postcolonial subaltern subjects’ existential conditions, enunciated together with gender politics, religion and socio-economic environment that frame politics of difference, and sites of suffering or resistance. These tropes remain absorbing and critical even in contemporary female-authored novels that also engage with a deeply fractured modern-day Zimbabwe. Tsitsi Dangarembga’s novel, This Mournable Body, offers important site to debate the enduring concerns of gender inequalities, politics, and religion. (...) A stylistic approach is adopted to identify the semiotic construction of the text and discuss the different styles that are deployed to foreground central tropes in the novel. The adoption of stylistics as an underlying conceptual model locates this current study in the interdisciplinary research which brings together gender, applied linguistics, poetics, politics, and religion, in order to provoke new ways of reading the dialogic and polyphonic elements of the text. The study contends that the politics of difference is an unsettling subject that profoundly impacts on gender relations and religio-political practices in a milieu where precarity is a major defining feature of the subaltern sections comprising women and the marginalised poor. Thus, the novel’s title figuratively foregrounds the (un)mournable bodies of the people, who are both dehumanised and heavily burdened by surviving at the margin.Contribution: Tsitsi Dangarembga’s novel, This Mournable Body demonstrates a deep concern with the plight of the subaltern people in a gendered society and how their conditions of the Othered bodies are further amplified by both religion and politics in present-day Zimbabwe. Thus the study contributes to the mounting discourses about politics of fragmentation and binary practices, and the ensuing agony suffered by the sidelined persons. The adopted stylistic reading of the focus novel underscores the interdisciplinary urgency to literary interpretative process. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mind, Theaters, and the Anatomy of ConsciousnessDonald Beecher"All unified theories of cognition today involve theater metaphors."—Bernard J. BaarsAmong the most perplexing challenges for cognitive philoso-phers are those pertaining to representationalism, Gilbert Ryle's denial of the "ghost in the machine," the languages of cognition, and the "self" as the one-time audience and author of consciousness.1 Each of these topics can be discussed metaphorically in terms of the theater. The (...) mind is a kind of acting space in which thoughts and images are in some fashion prepared and represented in rapid sequence. Consciousness is a theatrical machine behind which there is a director who helps to determine how the narrative of the mind will play itself out. The discrete "I" is not only the prompter of consciousness, but its audience, receiving all that is played in the mind's theater. Or, in the words of C. S. Sherrington, "each waking day is a stage dominated for good or ill, in comedy, farce or tragedy by a dramatis persona, the 'self,' and so it will be until the curtain drops."2 The problem, however, is that in matters so difficult to comprehend as the workings of the human brain and the mind operations attached to it, metaphors develop vectors of their own that shade and nuance understanding in ways that obstruct the plasticity of analysis. For this reason, theater analogies in relation to consciousness have been widely endorsed in characterizing its distinctive operations, yet widely criticized for epitomizing the philosophical thinking in the past (and the present) that detaches consciousness from the emotions, the body, and the material world. For the latter reason, the metaphor of [End Page 1] the theater will generally be found wanting, as it is in Dennett's assault on what he labels "the Cartesian theater." And yet there are compelling reasons why this metaphor may persist for a time to come as the image of choice for illustrating the operations of consciousness.Arguably, the earliest intimations of mind as resembling a theater emerged at the beginning of the sixteenth century. It was not only an age that fostered a renewed interest in dramatized spectacle, but one that confronted, through theater metaphors, the illusory nature of human experience. The rise of the modern theater, and speculations upon reality in relation to happenings in the mind, are quite separate phenomena, but, arguably, a sense of the theater as a place of memory, of illusions projected as realities, and of experience provided the best "thought experiment" for dealing with the paradoxes of mentation. In fact, the emerging sense of reality as an illusion was tantamount to a major paradigm shift, one that has remained at the center of western philosophy from the time of Descartes to the present day. That there could be a disparity between the phenomena of mind and the world of extension was a watershed in epistemological thinking, and it followed, as a matter of course, that the illusions associated with perception would find expression in the illusions associated with theatrical representation. The result was that the medieval metaphor of the speculum, emphasizing the mind as the faithful reflection of reality, was replaced by the theater, in which the necessary conventions permitting belief came to bear on the understanding of the data which the mind represented to itself. In short, conventions are to the theater what adequate representation is to the mind—the necessary slippages whereby perceptions function as reality.Parallel insights into the mind as a theater came about through sixteenth-century inquiries into mnemonics techniques for the improvement of memory. This metaphor of mind came about by analogy with memory theaters of the kind epitomized in the Idea del Theatro (1550) of Giulio Camillo. He chose the theater simply as the most apt edifice in which to house his elaborate set of memory prompts. His goal was to devise an actual working machine for enhancing recall. He chose the theater because of its architectural complexity and multi-sectionality which he could in turn invest with information. Yet insofar as the theater functioned in relation to memory through the art of mnemonics, it became an extension of mind, and... (shrink)

In a recent article, Wilkinson puts forward the notion of identity-relative paternalism. According to Wilkinson’s final formulation of this principle, ‘[i]ndividuals should be prevented from doing to future selves (where there are weakened prudential unity relations between the current and future self) what it would be justified to prevent them from doing to others’.1 In medical ethics, it is usually assumed that hard paternalism, that is, acting against a competent person’s wishes for their own benefit, is not justified. According to (...) Mill’s harm principle, we may only limit people’s freedom if they cause harm to others.2 Harm to self is not a sufficient reason for overriding competent persons’ decisions. Wilkinson, however, draws on Parfit’s reductionist view of personal identity to argue that sometimes, patients’ future selves are sufficiently disconnected from their present selves to treat future selves like different persons. If a competent person’s medical decision negatively affects a future self, this should be treated like a case of harm to others. Thus, overriding competent persons’ decisions in such cases—and treating them against their will—could be justified. In this commentary, I point out two problems with this approach. First, I demonstrate that the cases Wilkinson’s argument is based on are not examples of harm to others but rather cases of surrogate decision making gone wrong, …. (shrink)

According to ontological nihilism there are, fundamentally, no individuals. Both natural languages and standard predicate logic, however, appear to be committed to a picture of the world as containing individual objects. This leads to what I call the \emph{expressibility challenge} for ontological nihilism: what language can the ontological nihilist use to express her account of how matters fundamentally stand? One promising suggestion is for the nihilist to use a form of \emph{predicate functorese}, a language developed by Quine. This proposal faces (...) a difficult objection, according to which any theory in predicate functorese will be a notational variant of the corresponding theory stated in standard predicate logic. Jason Turner (2011) has provided the most detailed and convincing version of this objection. In the present paper, I argue that Turner's case for the notational variance thesis relies on a faulty metasemantic principle and, consequently, that an objection long thought devastating is in fact misguided. (shrink)

In this paper, I discuss the influential view that depiction, like language, depends on arbitrary conventions. I argue that this view, however it is elaborated, is false. Any adequate account of depiction must be consistent with the distinctive features of depiction. One such feature is depictive generativity. I argue that, to be consistent with depictive generativity, conventionalism must hold that depiction depends on conventions for the depiction of basic properties of a picture’s object. I then argue that two considerations jointly (...) preclude depiction from being governed by such conventions. Firstly, conventions must be salient to those who employ them. Secondly, those parts of pictures that depict basic properties of objects are not salient to the makers and interpreters of pictures. (shrink)

The study to follow is concerned with the structure of romance in the ancient and Renaissance periods from the perspective of nostalgia, to be defined here as one of the most deeply engrained features of the human psyche. The argument in brief is that of all the literary genres of the early modern era, romance tells the story of homecoming with the greatest sense of imperative, constituting a tropism in the form of a literary motif that originates in the evolutionary (...) engineering of the species. But first to the genre itself. Invariably, these are tales not only of outbound adventure, whether by choice or destiny, but of the return to a place or community that constitutes refuge, family, origins, reunion .. (shrink)

This study shows that professional identity should not be viewed as a composed variable with a uniform structure. Based on the literature and previous research, we view teachers? job satisfaction, self?efficacy, occupational commitment and change in the level of motivation as indicators of teachers? professional identity. Using two?step cluster analysis, three distinct professional identity profiles have empirically been identified, based on data of 1214 teachers working in secondary education in the Netherlands. These profiles differed significantly regarding the indicators of teachers? (...) professional identity. Teachers belonging to the found profiles did not significantly differ in their amount of experience. (shrink)

Les atlas linguistiques sont-ils des corpus? Nous voudrions ici montrer pourquoi certains atlas ne sont pas des corpus et comment leur informatisation pourrait, néanmoins, permettre de les exploiter comme tels. Le questionnement auquel font écho ces lignes est celui de la possibilité d’une informatisation de l’Atlas linguistique de la Wallonie (ALW), envisagée dans un premier temps comme l’intégration d’échantillons des publications dans des bases de données, exploitables via une interface de consultation en ligne. Ce travail consisterait à réduire la matière (...) de l’enquête qui avait été enrichie lors de l’édition des matériaux. Cependant, nous voudrions montrer la part d’analyse qu’il est souhaitable de conserver lors de cette réduction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:SuspenseDonald BeecherSuspense is one of those workaday terms so integrated into the discussion of literature that definition would hardly seem necessary. It does receive pro forma entries in most literary handbooks, but never provokes more than a statement of the self-evident: that it is a "state of uncertainty, anticipation and curiosity as to the outcome of a story or play, or any kind of narrative in verse or prose,"1 (...) that such anticipations arise "particularly as they affect a character for whom one has sympathy," and that plot types vary in ways that affect the ethos of suspense: those situations in which the outcome is uncertain and readers are concerned with how they will be resolved, and those in which the outcome is inevitable and readers, in their fear, concentrate merely on knowing when the catastrophe will be complete.2 Indicatively, Roger Fowler's A Dictionary of Modern Critical Terms gives it a pass altogether.3 But even these generic representations of the concept must venture such quizzical terms as "state" and "sympathy," both of which are seen to inhere not in texts and narratives, but in spectators and readers. Suspense, then, must have two sides: that which is invested in the design of the story as an emotion prompt; and that which is a feature of mind.This critical divide can be stated in many ways. One could say that evaluating the emotionality embedded in a text is an act of literary criticism, while the study of the emotionality aroused by literature belongs to cognitive psychology. These are, of course, two sides to the proverbial coin worthy of critical alignment—namely that which authors know about organizing narratives to produce suspense, and that which readers "know" through the constitution of their brains about responding to situations of alarm or disorientation involving themselves or others, and the compelling limbic reinforcement that impels them toward ends [End Page 255] that will release them from incertitude or danger. The critical challenge at this juncture is to decide whether a study of suspense should begin in narratology or psychology, for without the récit of events in time there are no prompts, even though suspense as experience does not reside in texts but in psyches.Wolfgang Iser calls for a balanced approach to literary study in general that "lays full stress on the idea that, in considering a literary work, one must take into account not only the actual text, but also, in equal measure, the actions involved in responding to that text."4 But that does not help in determining whether suspense should be defined according to a minimum prescription of narrative procedures and characteristics, or as a literary subset of a human, genetically-conditioned response mechanism selectively engineered to meet a range of stressors in the environment.The first question in the creation of a rapprochement between these domains must deal with the very capacity for mind states to be emotionally moved by literary configurations, insofar as literary suspense borrows from the vocabulary of limbic arousal responses. The second question pertains to what readers are brought to feel more particularly for make-believe persons in make-believe situations of danger. Are these also make-believe emotions, for then it must be determined what an exclusively literary emotion might be. Subsequent questions must deal with the range of suspense arousing situations, whether they involve only protagonists, their desires and prospects, or whether suspense applies to any motivated pursuit of information deemed vital to mental satisfaction. These distinctions and their relationship will prove critical.Almost universally, in the limited number of critical studies that exist, literary suspense entails liked characters under duress whose futures are perilous and uncertain—futures about which readers hold strong preferences. This perspective stands in opposition to potentially broader definitions that include curiosity, problem-solving sequences, cognitive jags, or pattern completion. One obstacle is that problem-solving activities appear to exceed the capacities of minds already absorbed in the events of fictive worlds, arriving merely as distractions from the conditions of high, dramatic suspense. They can be said to fall outside the fictive representation altogether, particularly as they pertain to the patterns of fiction, or a... (shrink)

It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...) attempt to date is incomplete. I argue that an adequate standard can be given only if one construes a picture’s content as being pictorially implicated, in a way analogous to that in which Grice explains an utterance’s meaning as being conversationally implicated. I propose a theory of pictorial implicature and use it as the basis for an intention-based standard of correctness. I show how this standard is able to explain both the ways in which the content of pictures differs from the content we would attribute to them solely on the basis of resemblance, and how we are able to apply an intention-based standard of correctness even though we lack any independent knowledge of the intentions of pictures’ makers. (shrink)

Cochrane has developed a linked data infrastructure to make the evidence and data from its rich repositories more discoverable to facilitate evidence-based health decision-making. These annotated resources can enhance the study and understanding of biomarkers and surrogate endpoints.

This paper enquires into the politics of real-time in online media. It suggests that real-time cannot be accounted for as a universal temporal frame in which events happen, but explores the making of real-time from a device perspective focusing on the temporalities of platforms. Based on an empirical study exploring the pace at which various online media produce new content, we trace the different rhythms, patterns or tempos created by the interplay of devices, users’ web activities and issues. What emerges (...) are distinct forms of ‘realtimeness’ which are not external from but specific to devices, organized through socio-technical arrangements and practices of use. Realtimeness thus unflattens more general accounts of the real-time web and research, and draws attention to the agencies built into specific platform temporalities and the political economies of making real-time. (shrink)

In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?

According to anti-individualism, the basic building blocks of the world are not individuals. The anti-individualist argues that standard, individual-entailing claims–for instance, that Theia is a cat–are mistaken in presupposing that there are individuals, but that such claims correspond to statements in a feature-placing language devoid of these presuppositions. Instead, the world is entirely made up of non-individualistic features–structurally akin to familiar examples such as it's raining or it's snowing–that are arranged in particular ways. Since features do not carve out individual (...) differences, however, this seems to entail that there is a class of statements in an individualistic language–statements expressing mere differences in which object is which–the members of which all correspond to the same anti-individualist description. That is, anti-individualism seems to entail anti-haecceitism, according to which all differences in ways the world could be supervene on qualitative differences. In this paper, I argue that, on the contrary, the anti-individualist has the resources to accommodate non-qualitative differences among ways the world could be. Moreover, haecceitistic anti-individualism does justice to the motivations for rejecting individuals while nevertheless accommodating intuitions that certain kinds of scenarios are metaphysically distinct. (shrink)