“What does it mean to say that we live in a secular age?” This apparently simple question opens into the massive, provocative, and complex A Secular Age, where Charles Taylor positions secularism as a defining feature of the modern world, not the mere absence of religion, and casts light on the experience of transcendence that scientistic explanations of the world tend to neglect. -/- In Varieties of Secularism in a Secular Age, a prominent and varied group of scholars chart the (...) conversations in which A Secular Age intervenes and address wider questions of secularism and secularity. The distinguished contributors include Robert Bellah, José Casanova, Nilüfer Göle, William E. Connolly, Wendy Brown, Simon During, Colin Jager, Jon Butler, Jonathan Sheehan, Akeel Bilgrami, John Milbank, and Saba Mahmood. -/- Varieties of Secularism in a Secular Age is edited by Michael Warner, Jonathan VanAntwerpen, and Craig Calhoun. (shrink)

Phantasmagoria explores ideas of spirit and soul since the Enlightenment; it traces metaphors that have traditionally conveyed the presence of immaterial forces, and reveals how such pagan and Christian imagery about ethereal beings are embedded in a logic of the imagination, clothing spirits in the languages of air, clouds, light and shadow, glass, and ether itself. Moving from Wax to Film, the book also discusses key questions of imagination and cognition, and probes the perceived distinctions between fantasy and deception; it (...) uncovers a host of spirit forms--angels, ghosts, fairies, revenants, and zombies--that are still actively present in contemporary culture. It reveals how their transformations over time illuminate changing ideas about the self. Phantasmagoria also tells the accompanying story about the means used to communicate such ideas, and relates how the new technologies of the Victorian era were applied to figuring the invisible and the impalpable, and how magic lanterns (the phantasmagoria shows themselves), radio, photography and then moving pictures spread ideas about spirit forces. As the story unfolds, the book features the many eminent men and women--scientists and philosophers--who in the Society of Psychical Research applied their considerable energies to the question of other worlds and other states of mind: they staged trance seances in which mediums produced spirit phenomena, including ectoplasm. The book shows how this often embarrassing story connects with some of the important scientific discoveries of a fertile age, in psychology and physics. Over a sequence of twenty-eight chapters, with over thirty illustrations in color and black and white, Phantasmagoria thus tells an unexpected and often uncomfortable story about shifts in thought about consciousness and the individual person, from the first public waxworks portraits at the end of the eighteenth century to stories of hauntings, possession, and loss of self as in the case of the zombie, a popular figure of soulessness, in modern times. (shrink)

The authors of the articles in this special section discuss an array of psychological perspectives on emotion. The articles provide only a limited consideration of status and power processes, however, which play a larger role in sociological theories of emotion than in psychological ones. Here, I examine the ways in which the theories account for status and power and suggest opportunities for greater inclusion of these key facets of social structure.

In lieu of an abstract, here is a brief excerpt of the content:Martin Warner PHILOSOPHICAL POETRY: THE CASE OF FOUR QUARTETS I FOR plato the quarrel between philosophy and poetry was already an ancient one. Since his day strenuous efforts have been made to eliminate it by circumscribing each widiin carefully specified boundaries, on die principle that strong fences make good neighbors, and allowing die one to venture onto the territory of the other only as licensed. Thus until recently (...) assessments of the literary quality of a philosopher's writing have commonly been treated as extraneous to its value as philosophy, and philosophical probing of die thought of a poem as irrelevant to a literary critic's final assessment ofit. For some works, however, such compromises seem forced; Four Quartets is a case in point. Here we have a sustained effort to explore issues of a philosophical and theological nature in poetic terms — in a manner that challenges our understanding and lays claim to our assent. The poetry does not merely encapsulate a theoretical position, but enacts a process ofthought perceived as bearing on diese topics at least as significandy as do those processes commonly termed "philosophical," and diereby raises by implication more general issues concerning die status of those "philosophical" modes themselves. F. R. Leavis is well known both for his engagement with the poetry of T. S. Eliot, and for his insistence on a clear separation between literary criticism and philosophy; dius his raising of philosophical questions as an integral and decisive element in his final and most extensive analysis ofthe Quartets is particularly striking: That Four Quartets offers us thought, searching, basic and rigorous, we have our assurance in the first ten lines of"Burnt Norton".... As thought, it aspires to a general validity.... 222 Martin Warner223 The questions, how must reality be conceived, and what is the nature of the human situation, have been raised in a way diat compels one to determine and verify one's own ultimate beliefs.1 Of course, Leavis is clear that the manner in which die poem raises these questions is not that traditionally associated with philosophy: "The 'music' of Four Quartets challenges a criterion that is not logic, but something equivalent in the field of total meaning. We can only tell what it is by intelligent self-exposure to the poetry" (p. 159). Similarly his mode of"determining " and "verifying" his own beliefs in response is that proper to literary criticism. But the questions are plainly philosophical ones, and one does not need the authority of Leavis to see that the poem raises them. From a philosophical point ofview, the interesting questions are the status of the manner in which it does so and the nature of the "criterion that is not logic" which is said to have an internal relation to that "intelligent selfexposure to the poetry" which Leavis in his critical practice seeks to exemplify. Unfortunately, this late commentary on Eliot's poetry is among the weakest in the Leavis corpus, precisely lacking "intelligent self-exposure to the poetry";2 but this should not lead us to dismiss its more general claims. In earlier and far stronger criticism Leavis had already argued that "Burnt Norton" does "by strictly poetical means the business ofan epistemological and metaphysical inquiry" ("Eliot's Later Poetry," p. 65). Further, die most distinguished recent criticism of Eliot's poetry is probably that of A. D. Moody,3 and he too finds himself driven to place his own "ultimate beliefs" in relation to it. On the one hand, "There is likely to be at least some degree of essential conformity between the way we live now and die way in which the poem would order life; and to that extent the poem can be said to express, and to give a form to, the sensibUity ofits age" (p. 264). But on the other, "It is a neurotic vision, one arising from some disorder or disease of the personality — or of his culture.... It is not easy to attain a detached view of die neurosis which is like a dominant gene in our culture. It is a matter... of the alienation ofman from mat to which he properly, of his nature, belongs — his being cut off from... (shrink)

Warner here puts forward a much broader discussion of rationality than that which underlies today's polarization between analytic and continental philosophy. Through a series of case-studies the author explores ancient conceptions of dialectic and rhetoric in relation to the positive role given to sentiment or "the heart" by Pascal, Hume, and Nietzsche. These studies point to an understanding of philosophy which undercuts fashionable disputes and which helps to reaffirm a range of ideas long marginalized by the dominance of the (...) geometric model of philosophical argument. (shrink)

Computer and video games have become nearly ubiquitous among individuals in industrialized nations, and they have received increasing attention from researchers across many areas of scientific study. However, relatively little attention has been given to Massively-Multiplayer Online Games . The unique social context of MMOGs raises ethical questions about how communication occurs and how conflict is managed in the game world. In order to explore these questions, we compare the social context in Blizzard’s World of Warcraft and Disney’s Toontown, focusing (...) on griefing opportunities in each game. We consider ethical questions from the perspectives of players, game companies, and policymakers. (shrink)

Presents a penetrating study of Eliot's Four Quartets. Begins with an account of the intellectual and personal context for Eliot's mature work, explaining how his influences shaped his mind, then discusses Eliot's own personal circumstances and the contemporary relevance of his work a half century after it appeared, offering comparisons with Samuel Beckett. A central motif of analysis of "Burnt Norton" is Augustine's discussion of time in relation to subjective memory. Other literary references brought to bear on the Four Quartets (...) include work by Yeats, Milton, and St. John of the Cross, as well as the Bible and the Bhagavad-Gita. Warner is a senior lecturer in philosophy at the University of Warwick, UK. Annotation copyrighted by Book News, Inc., Portland, OR. (shrink)

The European Legacy, Volume 17, Issue 5, Page 715-716, August 2012.

In lieu of an abstract, here is a brief excerpt of the content:Out of an Old Toy ChestMarina Warner (bio)The Soul of the ToyIn Baudelaire’s essay “La Morale du joujou,” written in l853, he remembers how the toyshop owner Madame Pancoucke, all wrapped in velvet and furs, beckoned the young Charles to choose something from her “treasure store for children.” Looking back down the years, the poet still sees in his mind’s eye the magic room overflowing with toys from (...) floor to ceiling that this “Fée du joujou” (Toy Fairy) opened to him. Without a second thought, he picked out “the most beautiful, the most expensive, the most garish, the freshest and the most bizarre of the playthings.” But his horrified mother insisted he choose another, less extravagant present, and the little Baudelaire had to resign himself and relinquish his toy.The word joujou (not jouet, the usual word for toy) is almost a pet name with a nursery ring like a “teddy” or a “dolly”; its repetition hints at baby talk and hence at playing, as when a child exchanges endearments and questions with a toy in imaginary conversations and elaborate scenarios. The toy in so many children’s games becomes part of an ongoing story and in this way initiates the first invented narratives in the child’s life.That scene of seduction, pleasure, and frustration with Mme. Pancoucke and his own mother catches Baudelaire’s lasting affection and reasoned admiration for toys. He called them “cette statuaire singulière” (this singular statuary); he was first a poet and then an art critic rather than a novelist, and as a flâneur of the boulevards and the galleries, he adopted a language of aesthetics, treating toys as an unusual form of sculpture. He recalls in pleasurable detail the miniature worlds conjured by Victorian nursery games and child’s play—from tiny “diligences” or mail coaches to detailed model furniture. But above all he muses in wonder at children’s ability to play without props or models, creating narratives, dialogue, and dramas [End Page 3] through fantasy alone: “All children talk to their toys; toys become actors in the great drama of life, reduced by the camera obscura of their small brains. Children bear witness through their games to their great faculty of abstraction and their high imaginative power. They play without playthings.”1Significantly, Baudelaire goes on to make the connection to creativity in general: “[The child’s] facility to satisfy the imagination shows the spirituality of childhood in its artistic conceptions. The plaything is the first initiation of a child to art.” Nothing will ever attain again, he says, the same degree of liveliness, or, crucially, the same intensity of presence or belief. For Baudelaire, the realization of childish make-believe cannot be regained: “Isn’t all of life found there in miniature, and much more vivid in colour, cleaner and shinier than real life?”2Yet Baudelaire’s essay lingers on the frustration that dims these vivid, shiny colors, for children, he says, also want to see the soul of a toy. He describes how they will turn about their playthings and shake them, hurl them to the ground, and often break them in their bafflement and even rage at their stubborn refusal to awaken into life. His meditation hints that at the point when make-believe fails, the vitality of toys vanishes and produces a primal encounter with mortality: “But where is the soul? It’s here that bewilderment and sadness begin.”3 The beginning of imagining stories brings with it frustration that the story is not powerful enough—it is not the real thing. In a connected prose poem entitled “Le Joujou du pauvre,” published nine years later, Baudelaire pursues this thought, as he observes an exchange between a beautiful, pampered child inside the exclusive railed park of a chateau. He has “a splendid toy, as fresh as its master, varnished, gilded, clothed in a purple dress and covered with plumes and glitter.”4 But the rich child is not interested in his doll, for on the other side of the railings a ragged street urchin shows him, in a little cage which he shakes about, a living rat—”drawn... (shrink)

An ongoing challenge facing emotion researchers is finding appropriate measurement tools. Many of our theories focus on emotion in the context of dynamic interaction, yet many of our most relied-upon measures either interrupt or alter interaction. New research suggests that infrared thermography may be useful as a nonintrusive way to measure emotion. Here we discuss the viability of thermography for studying emotion response and advancing emotion theory.

Background: Many people participating in dementia research may lack capacity to give informed consent and the relationship between cognitive function and capacity remains unclear. Recent changes in the law reinforce the need for robust and reproducible methods of assessing capacity when recruiting people for research.Aims: To identify numbers of capacitous participants in a pragmatic randomised trial of dementia treatment; to assess characteristics associated with capacity; to describe a legally acceptable consent process for research.Methods: As part of a pragmatic randomised controlled (...) trial of Ginkgo biloba for mild-moderate dementia, we used a consenting algorithm that met the requirements of existing case law and the exigencies of the new Mental Capacity Act. We decided who had capacity to give informed consent for participation in the trial using this algorithm and sought predictors of capacity.Results: Most participants with mild-moderate dementia in this trial were unable to give informed consent according to the legal criteria. When adjusted for confounding, the Mini Mental State examination did not predict the presence of capacity.Conclusion: Cognitive testing alone is insufficient to assess the presence of capacity. Researchers and clinicians need to be aware of the challenging processes regarding capacity assessment. We outline a procedure which we believe meets the ethical and legal requirements. (shrink)

Consider the proposition, “Neither the motion of a body nor the action of a force affects space and time themselves”. We rejected this proposition when, in accepting the general theory of relativity, we accepted that the movement of a body or the action of a force affects the curvature of space-time. Compare the following proposition: “p and if and only if or ”. We think this is logically true; at least, most of us do. Some don’t, on empirical grounds—claiming that (...) we should interpret quantum mechanics as showing that the left-hand side can be true when the right-hand side is false. The idea is that the motions of bodies and actions of forces not only affect space-time relations, they also, as it were, affect logical relations as well. I think evidence from quantum mechanics—like empirical evidence generally—cannot possibly show that the equivalence fails to hold. I am convinced that I know a priori that p and if and only if or. My aim here is to explain the basis of this conviction. (shrink)

This is the text of The Lindley Lecture for 1980, given by Warner Wick, an American philosopher.

This essay examines the doctrine, the history, and the current institutions of the Mormon Church as they relate to business and economic activity. The Mormon tradition emphasizes cornmunitarian principles such as economic cooperation and equality; these which conflict with modern values of wealth acquisition, competition, and individualism. While Mormon businesspeople typically have adopted these values and become integrated quite comfortably into mainstream American business life, many have resolved the conflict by using their business skills to promote more communitarian ideals throughout (...) the world. (shrink)

Creating a perspective for schooling in the knowledge era 1 I commenced as principal at Eltham College in Melbourne in 2000 and discovered that part of the ...

In the keynote essay, David Chalmers proposes that we explain consciousness by a non-reductive theory of experience which adds new basic principles to the laws of nature. This essay endorses Chalmers’ proposal but argues -- contrary to Chalmers -- that the principles of such a theory interfere with purely physical laws, since the principles entail violations of physical conservation laws. The essay argues that the qualified incorrigibility of the mental nonetheless provides compelling reason to opt for a non-reductive theory.