The anthropogenic environmental change characteristic of the Anthropocene generates numerous threats and opportunities for the non-human beings who are intrinsic to forest and tree health. There are profound consequences for both humans and non-humans as a result of natural ecosystem disturbances, such as forest fires or invasive insects, and their accompanying environmental management responses. However, the consequences for non-humans as a result of either disturbance or management receive virtually no attention within environmental policy and practice. In this paper we argue (...) for the growth and transformation - the 'eclosion' - of the 'stakeholder' concept so as to provide a pragmatic basis for greater attentiveness to, and comprehension of, non-human interest. We explore the implications and feasibility of this, describing particular approaches to stakeholder analysis and representation that emanate from research methods including multispecies ethnography and studies in 'new animism', that can effectively enable non-human 'voices' to be heard and taken more seriously. We conclude there are solid methodological and conceptual foundations on which to build an effective understanding of non-human stakeholdership, particularly in the area of forest and tree health. (shrink)

As incoming Editor and Deputy Editor we describe our impression of the current situation that those committed to understanding and upholding environmental values find themselves in. We consider some of the factors that make enviornmental concern difficult to maintain, including conditions that affect us as academics, publishers, global citizens and activists. We describe some of the emerging trends that have appeared in Environmental Values in recent years, in philosophy, ecological economics, critical social science and widening interdisciplinarity in the environmental humanities. (...) We highlight the journal's commitment to engaged, plural and open investigation of environmental values and consider what we might expect and hope for in the coming years. (shrink)

This study draws on a synergy of Corpus Linguistics and Critical Discourse Studies to scrutinize the portrayal of hackers in China Daily and The New York Times in the 21st century, primarily revolving around the main social actors and targets in hacking. This study demonstrates that both media share a positive transformation of the image-building of hackers in the 21st century. Besides, countries are salient social actors in hacker media discourse and the two media differ in their ways of constructing (...) them. The New York Times tends to have a negative other-representation and categorical otherness of specific countries through such discursive strategies as negative other-representation and group categorization, whereas China Daily is prone to insist on opposing the US hacking allegations in a defensive manner. Regarding major targets, China Daily highlights government websites whereas The New York Times emphasizes government websites, officials’ emails, large technology companies, and election infrastructure. The analysis shows that the two media’s different ways of framing hackers are underpinned by the ideologies behind them and the Chinese and US socio-political landscapes. This study can provide insights into how hacker discourse in media is represented in the 21st century and how national identities are constructed in the media representations of hackers. (shrink)

The endogenous opioid system has received attention and extensive research for its effects on reward, pleasure, and pain. However, relative to other neurochemicals, such as oxytocin, vasopressin and dopamine, the function of opioids in regulating human attachment, sociosexuality, and other aspects of human sociality has not received much consideration. For example, nonapeptides have been extensively studied in animals and humans for their possible roles in mother-offspring attachment, romantic attachment, fatherhood, and social cognition. Likewise, others have proposed models wherein oxytocin and (...) vasopressin are moderators of the relationship between steroid hormones and human social behaviors. Recently, opioids have generated renewed interest in relation to social pain, and importantly, the brain opioid hypothesis of social attachment, which suggests that endogenous opioids are a key implementer in primate and human bonding, has received some support. Here we focus on romantic bonds by proposing that endogenous opioids are an important mechanism mediating reproductive trade-offs through their inhibitory effects on testosterone production. (shrink)

In two experiments, we examined whether POWER is embodied in terms of horizontal forward and backward movement using an action compatibility task. Participants were asked to categorize power-relate...

Brummell fut le Prince des Dandys, dit-on. Il fut aussi et surtout un individu grossier, égoïste, agressif, ironique, cynique, malpoli, menteur, escroc, insultant, arrogant, suffisant, prétentieux et, bien sûr, content de lui, vivant de reprocher aux autres leur mauvais goût, leur inélégance, leur fatuité, leur manque d'éducation. Ce personnage réel, recouvert par son mythe et sa légende, fut l'étoile brillante de la société mondaine anglaise pendant une vingtaine d'années, avant d'être, pendant un quart de siècle, sur le sol français, un (...) pitoyable personnage, un raté minable, un pique-assiette mal élevé, un misanthrope syphilitique, un gâteux, puis un demi-fou enfermé à l'asile. Comment un homme si détestable a-t-il pu devenir le personnage conceptuel du dandysme pensé comme une éthique de l'élégance et de l'aristocratie, du bon goût et de la singularité? De quelle manière cet adulte, qui ne fut jamais qu'un gamin mal élevé, est-il devenu l'incarnation du poète de l'existence? Par la grâce d'un autre dandy, Jules Barbey d'Aurevilly, qui publie Du dandysme ou de George Brummell, et de Charles Baudelaire. Brummell fut un déchet; Barbey en fit un astre noir; Baudelaire, un feu latent qui pouvait rayonner, mais ne voulut pas... Le dandy a-t-il encore des choses à nous dire en ces temps nihilistes? (shrink)

El ensayo examina el carácter crítico de la ironía romántica de Friedrich Schlegel siguiendo las consideraciones y apropiaciones de Walter Benjamin, Harold Bloom y Paul de Man. También, el ensayo pretende mostrar el paralelismo de la actitud crítica de la ironía con tres figuras literarias románticas: el esteta, el dandy y el âneur. Estas criaturas, unidas por una fe profética en el arte, hacen de la ironía una profesión que se mueve entre la creación y la destrucción. La apropiación en (...) el contexto post-estructuralista nos permite percibir a la ironía en una incomprensión radical, desarrollando un patrón estético que opera entre la creación y la aniquilación. (shrink)

"Qui domine la littérature mondiale?" demandait Strindberg. "Péladan, Gorki, Maeterlink, Kipling" répondait-il. De ces noms, seul celui de Péladan n'évoque plus un livre précis pour nos contemporains. Certains se souviennent d'un auteur de la fin du siècle dernier qui s'était rendu célèbre par ses extravagances vestimentaires : son pourpoint Renaissance et sa barbe à l'assyrienne dans le Paris de la Belle Epoque défrayait la chronique. Les journalistes ont aussi consacré une large place à ses démêlés avec d'autres occultistes. Ses salons (...) de la Rose-Croix, pour lesquels Satie composa des sonneries, eurent une grande renommée et sont importants pour qui s'intéresse à l'histoire de l'art. Péladan, avec un sens certain de la publicité, s'était proclamé S.A.R., titre assyrien qui en faisait un descendant mythique des Mages chaldéens. C'est ce titre qui a assuré sa notoriété jusqu'à nos jours. D'androgynes pervers en femmes violées, mêlant la magie aux thèmes décadents, ses romans présentent un tableau étonnant de la pensée fin de siècle. Ce texte veut démontrer que Joséphin Péladan, qui eut des admirateurs comme Jarry ou Paul Valéry, n'était pas qu'un dandy excentrique, un farfelu 1900 teinté d'ésotérisme mais un authentique écrivain. Il existe un récit de Borgès qui raconte l'histoire d'un peintre qui voulut faire un tableau de l'univers. Au bout de nombreuses années de travail, il avait peint un mur entier de personnages pour s'apercevoir qu'en fait il n'avait peint que son propre visage. Ce fut précisément la destinée de Péladan : l'auteur ne fit plus qu'un avec son personnage principal du Mage. Jamais son œuvre n'aura présenté une telle fusion entre imaginaire et réalité. (shrink)

The metrologist: on Marcel Duchamp's Three standard stoppages -- The object-subject: Marcel Broodthaers, merchant of the insincere -- A sense of umor: Jacques Vaché -- The ridiculous subject -- Counting for nothing: the nihilist -- Slippered negligence: the dandy -- The happy melancholic -- Conclusion: A hole in a thing it is not.

Introduction: an 'untimely' political thought for serious times -- The twentieth-century politics of contempt -- 'Undisguised influences' -- Tragic beginnings mystic 'communion' with nature -- An artist's point of view -- Rethinking participation beyond 'romanticism' -- A stranger to the world of ressentiment -- Commencement of freedom -- Sisyphus or happiness in hell -- Nothing is possible, everything is permitted -- The absurd and power -- Combat with nihilism -- Between Sade and the Dandy -- Conclusion.

Surprisingly, when Laurence Sterne’s Yorick sets his head toward Dover, it is with no developed motive of connoisseurship or curiosity: the gentleman dandy ups with his portmanteau at the merest glance of “civil triumph” from a male servant. Perhaps we are in the world of P. G. Wodehouse, with a gentleman’s gentleman who happens, like Jeeves, to be the embodiment of all the prescriptive and opportunistic shrewdness necessary to maintain his master’s innocent privileges—but it is impossible to tell; the servant (...) utters his five words, glances his glance, and disappears from the novel. The prestige that has lent force to his misprision—or is it a sneer?—seems to belong not to a particular personality but to a position, a function , a bond between gentleman and gentleman’s gentleman that, throughout this novel, makes up in affective and class significance what it lacks in utilitarian sense. Yorick’s bond to another valet is the most sustained and one of the fondest in the novel; and, for most of the novel, the bond is articulated through various forms of the conquest and exchange of women.In the discussion ahead, I will be using the “exchange of women” paradigm taken from Claude Lévi-Strauss and, for example, René Girard and Gayle Rubin, to focus on the changing meanings of the bonds between men in a seventeenth-century play and an eighteenth-century novel.1 These discussions are part of a book-length study of what I am calling “male homosocial desire”—the whole spectrum of bonds between men, including friendship, mentorship, rivalry, institutional subordination, homosexual genitality, and economic exchange—within which the various forms of the traffic in women take place. Eve Kosofsky Sedgwick is associate professor of English at Amherst College. She is the author of Between Men: English Literature and Male Homosocial Desire. (shrink)

Quien esto escribe no tiene manías o predilecciones aristocráticas. Al contrario, siempre se ha obstinado en creer que no vale menos la gente de los lugares que la más encopetada de la corte. Mutatis mutandis, todo le parece lo mismo: la mujer del alcalde es igual a una emperatriz o reina, la del escribano equivale a la duquesa más en moda de Madrid y el majo Fulanito se le antoja más brioso y gallardo, buen jinete, seductor, afable y ameno que (...) el más perfecto dandy de cuantos ha conocido.. (shrink)

There are few sartorial ensembles as heavily signified as masculine as a suit. This article focuses on the suit within queer fashion digital cultures and spaces to explore how butch of colour digital fashion suits up to offer us different ways to think about masculinity. Intervening in the erasure of women of colour in histories of fashion – including menswear – and histories of sexuality – butch, dapper, tomboy, dandy – I argue that butch digital fashion works as a site (...) and composition of flesh, fabric and feeling that reworks masculinity as a project of embodiment. I look at three interwoven dimensions of butch digital fashion – aesthetic process, texture as feeling and spatial imaginations – attending to the themes of fantasy, desire and pleasure. I situate butch within and between fashion studies and media studies to offer butch as a relation, practice, orientation and site of embodiment to think about being and becoming, about the body politics of space and feeling, as matters of race, sexuality, class and gender – and the materialities of race, sexuality, class and gender, mediated by the global, and as the global by the digital. Digital butch fashion is, at once, a visual culture, a creative visual space, a resource of queer fantasy and an aesthetic process. It is messy, tense and fraught with the politics of race, colonialism and class, yet at the same time, dense with possibility, pleasure and eroticism. Butch of colour fashion offers frames and forms for rethinking and remaking masculinity as a sign of a body, as a category of personhood, as a set of practices and feelings made coherent by processes of embodiment. (shrink)

This article discusses the “aesthetics of existence” developed by Foucault in the late “ethical” stage of his work, aiming to clarify its complex significance through its relationships with ethics, critique, and, in particular, art as a model of self-invention. The main claims are that aesthetics of existence is a new type of self-formation molded by technologies inspired not only by the ancient ethical self-formation but also by modern art understood as creative self-production; thus, aesthetics of existence is an active form (...) of aesthetic education, in the particular sense of an ontological self-formation. To argue these claims, the author advances a line of analysis alternative to typical readings, which see it as related exclusively to the ancient “art of living” or its modern revival in the Nietzschean project of self-fashioning. The focus is instead on the Baudelairean and Kantian roots of Foucault’s work—modernity as a critical attitude and the transgressive art of the self of the dandy—as keys to understand the reframing by him of the art of living into a modern aesthetics of existence. This appears as a critical-transgressive invention of the self, which could contribute to constituting new subjectivities and alternative norms for the entire social body. (shrink)

El enfoque central de esta investigación es la configuración teórica de la violencia en La ciudad y los perros y la interacción representada entre los personajes principales (para aludir al Jaguar, el Poeta y el Esclavo; para ellos ha usado convencionalmente el término «tríada protagónica»; a la vez, asume que estos personajes podrían ser entidades dispuestas a los posteriores análisis). Desarrolla la metateoría de los triángulos jerárquicos — la cual será convencionalmente graficada de forma piramidal, para que con ello se (...) represente la idea de superioridad e inferioridad con respecto a algún rango asignado a los valores o los personajes —, estos facilitarán la demostración del carácter evolutivo de la violencia en la tríada protagónica (por lo que el Esclavo sería un primer portador mínimo de la violencia; luego, el Poeta, con un poco más de agresión; y, finalmente, el Jaguar, quien estaría configurado como violento, dandi, agresor y manipulador). La forma de demostrar esta metateoría compuesta se basa en una mecánica repetitiva y cíclica, en su mayoría, de apropiación o rechazo hacia un determinado carácter, como también referente al ascenso y el descenso por los cuales atraviesa la valoración del mismo. De alguna manera, se explica que la adquisición de la violencia, como objeto interno de los personajes, provocaría una falsa visión de evolución, seguridad y madurez en un primer momento, mientras que se demostraría que aquella conducta, ilusoriamente adquirida, conllevaría una vía autodestructiva de la interioridad de los sujetos. (shrink)

En la primera novela de Mario Vargas Llosa, La ciudad y los perros, se observan múltiples manifestaciones de violencia que se desarrollan con fines disciplinarios y estratégicos para la construcción óptima de una identidad en los alumnos del Colegio Militar Leoncio Prado, sin embargo, estas se asimilan de una forma diversificada por ellos, sobre todo, por el Jaguar, quien ya asume una agresividad exponencial y transfiere una imposición temeraria y respetable hacia los demás personajes. Para que este planteamiento resulte posible, (...) expongo algunas cualidades propicias que se extraen principalmente de propuestas teóricas de la Literatura y la Psicología para determinar esa identidad negativa y violenta que instauraría una nueva manera de sobrevivir en aquel universo militar por parte del Jaguar. Entre los conceptos por desarrollar, fundamentaré las nociones de protagonista, amo, dandi, manipulador, violento, agresor, temerario, vengativo y obsesivo, las cuales serán de utilidad para diferenciar las distintas modalidades con las que se desenvuelve este personaje en aquella institución. (shrink)

The epic, page-turning history of how a group of physicists toppled the Newtonian universe in the early decades of the twentieth century. Marie Curie, Max Planck, Niels Bohr, Werner Heisenberg, Erwin Schrödinger, and Albert Einstein didn't only revolutionise physics; they redefined our world and the reality we live in. In The Age of Uncertainty, Tobias Hürter brings to life the golden age of physics and its dazzling, flawed, and unforgettable heroes and heroines. He immerses us in a half century of (...) global turmoil against which some of humankind's greatest and strangest scientific discoveries unfolded, expertly guiding us through the brilliant and mind-bending ideas that turned the world on its head. The work of the twentieth century's most important physicists produced scientific breakthroughs that led to an entirely new view of physics -- and a view of the universe that is still not fully understood today, even as evidence for its accuracy is all around us. The men and women who made these discoveries were intellectual adventurers, renegades, dandies, and nerds, some bound together by deep friendship; others, by bitter enmity. But the age of relativity theory and quantum mechanics was also the age of wars and revolutions. The discovery of radioactivity transformed science, but also led to the horrors of Hiroshima and Nagasaki. Throughout The Age of Uncertainty, Hürter reminds us about the entanglement of science and world events, for we cannot observe the world without changing it"--Publisher's description. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter McGehee and the Erotics of Gay Self-RepresentationRaymond-Jean Frontain (bio)Novelist Peter McGehee was a beautiful man who—at the height of what Brad Gooch terms “the Golden Age of Promiscuity”—knew he was a beautiful man.1 Coming of age in the early 1970s when American gay men consciously set about refashioning their image, Peter’s dress was always striking, whether he was playing the slut or the dandy. Members of his close (...) circle of friends, dubbed “the Quinlan Family,” regularly twitted him for preening in the mirror, and one close friend reports that Peter could not pass a reflective surface without stopping to examine his image.2 Peter’s narcissism was further empowered by his talent as a photographer. He began taking pictures while in high school when his mother, an English teacher who advised both the school newspaper and yearbook, recruited him to serve as the staff photographer for both publications. And he continued taking photos—in particular, making self-portraits—until at least his early thirties (see Illustration 1).3 Click for larger view View full resolution1.Self-portrait by Peter McGehee. The hairstyle is identical to the one in the portrait that appears on the cover of the Stubblejumper Press edition of Beyond Happiness, suggesting that this photo was taken around 1985 when Peter was twenty-nine or thirty years old. Courtesy of the Estate of Peter McGehee.[End Page 115] Click for larger view View full resolution2.Self-portrait by Peter McGehee in mascara and woman’s top, circa 1981. Courtesy of Fiji Robinson.It should not come as a surprise that McGehee’s life and career are characterized by an ongoing and extraordinarily rich experimentation with modes of self-presentation. Peter was adept at making wacky collages that employ photographs and images culled from newspapers or magazines to serve as invitations, announcements to friends, and handbills for his performance activities. Under carefully controlled circumstances, Peter and his male friends donned female drag with Peter fashioning for himself a persona, “Princess Marie,” and signing himself as the same in letters to friends written in the royal first-person plural (see Illustration 2). When performing as the only male with two female partners in the Quinlan Sisters, a musical revue that he founded and for which he wrote the songs, he was generally identified in the program as “Marie Quinlan, the Sister with the Difference” (see Illustration 3).Peter experimented with personae even in his journals, where one might expect to find a less theatricalized self. Beginning in 1986, however, numerous entries are composed as letters that begin “Dear Winsome” (a word defined by the American Heritage College Dictionary as “charming, often in a childlike or naive way”—a manner that Peter liked to adopt), “Dear Winnie” (which is most likely a familiarization of the former), “Dear Timmy” (a name synonymous with naive wholesomeness for American baby boomers who were raised watching the television drama Lassie on Sunday evenings), and the matronly and delightfully dowdy “Dear Mrs. Hackensack.”4 Like Joe Orton, McGehee apparently even wrote letters to the local newspaper under a matronly female pseudonym in which he commented wryly on public matters that concerned him.5 [End Page 116] Click for larger view View full resolution3.Publicity photograph of Peter with Wendy Coad and Fiji Robinson as the Quinlan Sisters, circa 1982. Courtesy of Fiji Robinson.But clearly it was his fiction that offered McGehee the most satisfying opportunity for creative self-fashioning. It is the first rule of the creative writing class that a writer must write from, and of, what he knows if his writing is to have authority. But in his blurring of the line between fiction and autobiography Peter followed the lead established by Christopher Isherwood in The Berlin Stories (1935–39) and, more importantly, Christopher and His Kind (1976)—and pursued by Peter’s senior contemporaries Edmund White and Felice Picano—in which the autobiographer writes of himself in the third person in order to study himself with an almost brutal detachment, or in which the fictional protagonist is a barely disguised version of the writer’s self to the point of... (shrink)

Robert Knox (1791–1862) is typically remembered as the Edinburgh anatomist to whom the murderers Burke and Hare sold the bodies of their victims. This association brought Knox infamy and damaged his life and career. Before the Burke and Hare scandal, Knox was one of the most famous, original and influential anatomists in Britain. He was also something of a dandy with a sophisticated appreciation of the visual arts. His most significant writings on artistic subjects were his books A Manual of (...) Artistic Anatomy and Great Artists and Great Anatomists: A Biographical and Philosophical Study. Knox's interesting and independently minded opinions on the central artistic questions of his day were taken seriously by his contemporaries. His demotion in the official history of anatomy following his involvement with Burke and Hare, however, also removed him from the history of art theory in 19th century Britain. Knox was such a magnetic and impressive figure, though, that he has to be brought back to his era and his era is not complete without him. This paper discusses how Knox's writings on anatomy and biology shaped his contributions to art theory. It is a first step towards returning Knox, the art theorist, to the cultural life of 19th century Britain. (shrink)

These are the final three volumes of the seven volume work which the Hongs have been working on since 1960. The first volumes appeared in 1967 and subsequent volumes in 1976. The original intent of the editors was to produce five volumes, the first four of which would be arranged according to topics discussed in the Papirer. Under each topic relevant passages were arranged in chronological order to suggest the development of each idea in the mind of Kierkegaard. Originally the (...) fifth volume was to contain autobiographical material plus an index with crossreferences to aid English readers whose only first-hand acquaintance with the Papirer heretofore has been in the translations of Dru and Smith. But now the projected fifth volume has become actually three: Volume 5 contains chronological entries from the years 1829 to 1848, volume 6 contains entries from 1848 to 1855, and volume 7 contains the index and composite collation. Some of the entries will be recognized at once by those familiar with Kierkegaard’s own writings and with writings about him. For example, entry 6332 where he mentions how he disguised his authorship of Either Or by going to the theater every evening for ten minutes so that he might lead local gossips into believing he could not possibly be the author of Either Or because he was too busy playing the dandy and so that Regine Olsen would believe that he really was the trifler and philanderer he made himself out to be. These autobiographical volumes offer more insight into his relation with Regine because his correspondence with Emil Boesen, his confidant in the matter, is reproduced in more detail than usual and the number of times he returns to the subject of Regine right up until the year 1854 brings into focus how painful it was for him to make the break with her and yet how important it was for him to make the break. One of the best summaries of why he closed off the engagement is found in entry 6163. This passage by itself would not be as convincing as it is unless we had read already in passage after passage the complete despondency with which he often lived. Strangely enough, there is almost nothing in these autobiographical entries before the event itself to indicate that he was going to break off the relationship. (shrink)

Professor Gallie of Queen’s University, Belfast takes his history seriously, in the spirit of R G Collingwood, and like Collingwood, he gives the impression of knowing what the historian is about. He inspires confidence by reference to a wide range of historical writing, instead of the one or two faded examples which tend to turn up again and again in books on the philosophy of history. Gallie’s primary purpose may be seen as a blow against the kind of systematised history (...) which Marxism stands for. He is opposed to this and to all sociological approaches to history because they misrepresent the nature of the task which confronts the historian. For Gallie, history is essentially narrative. Narrative is indeed too weak a word. In Gallie’s view, the historian tells a story. Our attention is held because the element of the unexpected is always present as it is in a story. A rational predictable construction of a Marxist type is ruled out because of the multiplicity of contingent events round which history revolves. History for this reason is distinct from science. The historian, in Gallie’s view, is not concerned with events in so far as they are specific instances of general laws. The scientist who ignores history, however, does so at his peril. Men who assume that scientific progress is inevitable and regard history as irrelevant are disregarding the fact that scientific development has taken place in some societies but not in others. Gallie’s pages on this topic are among the most illuminating in the book. Where he is perhaps open to criticism is in pressing the analogy of history to story telling too far. It may be argued that what the historian is after is surprise. He is trying to show us that the past is not as we thought it was but different. This may be achieved in ways other than story telling. For example, the sociologist or anthropologist may teach us to look at the past in a new light. Place medieval England and twentieth century Africa in juxtaposition and handy dandy, which is the justiciar and which is the thief? This method of illuminating the past is analogous to putting two photographs together or two caricatures. Whatever it is, it cannot be described as story telling. If we regard surprise as our criterion, we may also rule out both the plodding story tellers, who bore us with banalities, and the Namierites who are equally predictable in their own sphere. In a word, we will banish the bores from history. Professor Gallie in this entertaining book may be said to have banished boredom from his own pages. He is an example to philosophers and historians alike. (shrink)

Bernard Howells explores the problematics surrounding individualism and history in a number of prose texts, and situates Baudelaire within the broader contexts of nineteenth century historical, cultural and artistic speculation, represented by Emerson, Carlyle, Joseph de Maistre, Guiseppe Ferrari and Eugene Chreveul. This major new work will be of interest not only to Baudelaire specialists, but also to scholars working in any area of nineteenth-century French studies.".