Bio‐banking in research elicits numerous ethical issues related to informed consent, privacy and identifiability of samples, return of results, incidental findings, international data exchange, ownership of samples, and benefit sharing etc. In low and middle income (LMICs) countries the challenge of inadequate guidelines and regulations on the proper conduct of research compounds the ethical issues. In addition, failure to pay attention to underlying indigenous worldviews that ought to inform issues, practices and policies in Africa may exacerbate the situation. In this (...) paper we discuss how the African context presents unique and outstanding cultural thought systems regarding the human body and biological materials that can be put into perspective in bio‐bank research. We give the example of African ontology of nature presented by John Samwel Mbiti as foundational in adding value to the discourse about enhancing relevance of bio‐bank research in the African context. We underline that cultural rites of passage performed on the human body in majority of communities in Africa elicit quintessential perspective on beliefs about handling of human body and human biological tissues. We conclude that acknowledgement and inclusion of African indigenous worldviews regarding the human body is essential in influencing best practices in biobank research in Africa. (shrink)

Taking a social identity approach to health behaviors, this research examines whether experimentally “activating” the human identity is an effective public-health strategy to curb the spread of COVID-19. Three goals of the research include examining: whether the human identity can be situationally activated using an experimental manipulation, whether activating the human identity causally increases behavioral intentions to protect the self and others from COVID-19, and whether activating the human identity causally increases behaviors that help protect vulnerable communities from COVID-19. Across (...) two preregistered experiments, results suggest the manipulation of identification with humanity had a significant but small effect on participants’ psychological bond with all humanity, but not their concern for all humanity. However, the manipulation had no causal effect on health-related behavioral intentions or helping behaviors that reduce the spread of COVID-19. Limitations, future directions, and direct benefits of the research are discussed. (shrink)

Business students have long been noted for their differential proclivity to engage in academic misconduct. Unfortunately, the potential for misconduct has been exacerbated in recent years by rapid advances in technology, easy access to information, competitive pressures, and the proliferation of websites that provide students access to information that allows them to directly circumvent the learning process. Using a convenience sample of 631 students matriculating in various business majors at four U.S. universities and structural equations modeling procedures, this study assesses (...) the effects of psychological factors on business students’ propensities to utilize the services of homework assistance websites. Specifically, we examine how “Dark Triad” personality traits (i.e., narcissism, Machiavellianism, and psychopathy) interact with Fraud Diamond elements to influence student decisions to engage the services of these websites. We find that each Dark Triad trait exerts a significant influence on at least one of the Fraud Diamond elements, which in turn have a significant direct or indirect positive association with students’ reported intentions to utilize, and reported utilization of, these websites. (shrink)

This book offers both the theoretical background behind the minority effect, teachers' personal experiences as they experienced being a minority, and their analyses and insights for teaching diverse learners. This book uses real-life experiences of diverse people to illustrate that, if not understood and addressed, situational minorities at school or work are unlikely to perform at their highest potentials.

The world in which the Scottish Enlightenment took shape -- Archibald Campbell, 3rd Duke of Argyll (1682-1761) : patronage and the creation of the Scottish Enlightenment -- How many Scots were enlightened? -- What did eighteenth-century Scottish students read? -- Our excellent and never to be forgotten friend : David Hume (26 April 1711- 25 August 1776) -- Hume's intellectual development : part II, 1711-1762 -- Hume's histories -- Hume's economics -- Numbering the medics -- Numbers and money -- (...) Who were they? -- The émigrés as they appear in the American sample. (shrink)

The story of the end of the Philosophical Society of Edinburgh in 1783, is linked with that of the founding of the Society of Antiquaries of Scotland and the Royal Society of Edinburgh , both of which were given Royal Charters sealed on 6 May 1783. It is a story which has been admirably told by Steven Shapin. He persuasively argued that the P.S.E. was a casualty of bitter quarrels rooted in local Edinburgh politics, in personal animosities and in disputes (...) about the control of cultural property and intellectual leadership. In all this he was surely correct just as he was in finding the principal actors in this controversy to be: David Erskine, 11th Earl of Buchan; the Reverend Dr John Walker, Professor of Natural History in Edinburgh University; Dr William Cullen, Professor of the Theory and Practice of Medicine and Vice-President of the P.S.E.; Mr William Smellie, Printer to the Society of Antiquaries; Henry Home, Lord Kames, S.C.J. and President of the P.S.E.; Sir George Clerk-Maxwell, Vice-President of the P.S.E.; John Robison, Professor of Natural Philosophy and Secretary to the P.S.E.; Edinburgh University's Principal, William Robertson; the Curators of the Advocates Library: Ilay Campbell, Robert Blair, Alexander Abercromby, Alexander Fraser Tytler, Professor of Public Law; Henry Dundas, Lord Advocate and M.P. for Midlothian. In a peripheral way, the Royal Colleges of Physicians and Surgeons were probably also involved; so too were Lord Buchan's brothers, Henry and Thomas Erskine, Foxite Whigs who opposed Dundas politically. Henry Erskine displaced Dundas as Lord Advocate in August 1783. After the change of ministry on 18 December 1783 he was ousted, but became Dean of the Faculty of Advocates in 1785. National as well as burgh politics touched these disputes and gave the parties of the Erskines and Dundas and his friends some leverage in London. (shrink)

The Philosophical Society of Edinburgh Throughout the years 1768–1783 looked to the outside world like a flourishing and important body. By 1771 it had sponsored the publication of five volumes of papers which had gone through several printings and translations. It had a distinguished foreign membership which assured its recognition abroad as one of the important academic bodies in the cosmopolitan Republic of Letters. From its foundation in 1737 until his death in 1768, its President had been the Earl of (...) Morton, better known as the President of the Royal Society of London and as an astronomer who had been active in the practical work of the London society. Another member, Sir John Pringle, became President of the Royal Society in 1772. It was also known abroad that among the Edinburgh philosophers were to be found the most important professors of the town's university, not only those of its distinguished medical faculty but also men like William Robertson, Adam Ferguson and later John Robison. David Hume had been at one time a Secretary of the Society and probably remained a member to the end of his life in 1776. In the British colonies, the Society could point to members in Pennsylvania, South Carolina, Jamaica and other West Indian islands and it had contacts in a far-flung network reaching from China and Siberia in the east to places less remote in Europe and America. Within Britain, the Society had members in London and in provincial towns of whom William Brownrigg was the most important. From these men and from others scattered in Scotland, the Society drew information and projected its image as a successful learned society. These appearances, however, are far clearer than the Society's record of accomplishment during its last years. It is not accidental that so little pertaining to its work survives. The Society in reality had a career far from brilliant and by 1778 hardly deserved the reputation it had acquired. During its last five years it revived but even then it probably did not reach the level of activity seen in the early and mid 1750s. (shrink)

Recent years have witnessed a renewed scholarly interest in David Hume’s History of England (1754–1762), and this essay adds to that interest by analyzing the sources that Hume used in the History. Unfortunately, Hume did not provide a bibliography or guide to those sources, and no scholar has produced one since. We have been preparing a bibliography for publication and the following essay is a preliminary view of some of what it will show. It demonstrates that Hume consulted and (...) used more varied sources, and used them in more skillful ways, than commonly has been assumed. (shrink)

The paper is the first of two to be published in Cognitio which explore the hypothesis that the thought of Ralph Waldo Emerson (1803- 1882), brilliantly expounded in the generation before Charles Sanders Peirce (1839-1914), anticipated, if not provided the direct provenance of, Peirce’s mature metaphysical ideas. The papers provide running commentaries on Emerson’s later-phase essays, “Poetry and Imagination” (1854, published in 1876) and “The Natural History of Intellect” (1870). “Poetry and Imagination” is shown to contain the seeds (...) of Peirce’s objective idealism — namely, that “matter is effete mind,” or “mind hide-bound with habits,” — set within an evolutionary cosmology that grounds the human mind’s connaturality or affinity with the laws of nature, a doctrine subtending his abductory logic of scientific discovery. Mutatis mutandis, all these components were already present in Emerson’s essay. Peirce spoke of his “buddhisto-christian religion,” which was another name for Emersonian cosmosemiosis. His originality consisted in applying Emerson’s emphasis on the poetic to the scientific imagination, though the seeds of the latter are present in Emerson’s “The Natural History of Intellect” and other essays as well. (shrink)

In Emerson and the Conduct of Life, David M. Robinson describes Ralph Waldo Emerson's evolution from mystic to pragmatist, stressing the importance of Emerson's undervalued later writing. Emerson's reputation has rested on the addresses and essays of the 1830s and 1840s, in which he propounded a version of transcendental idealism, and memorably portrayed moments of mystical insight. But Emerson's later writings suggest an increasing concern over the elusiveness of mysticism, and an increasing stress on (...) ethical choice and practical power. These works reveal Emerson as an ethical philosopher who stressed the spiritual value of human relations, work and social action. (shrink)

Ralph Waldo Emerson, an important figure in the popular understanding of America has been rediscovered by scholars and critics, yet there has been no critical study of Emerson's relation to traditional nineteenth-century questions about ethics and epistemology. In Emerson's Epistemology David Van Leer turns to this unexplored area of Emerson's philosophy and especially to the problem of his relation to the central intellectual issue of his age - the transcendental idealism of Immanuel Kant. Although (...) class='Hi'>Emerson would throughout his life try a number of vocational roles, he considered himself primarily a thinker. He saw his roles as poet and prophet as versions of the more fundamental one of philosopher. Thus an understanding of Emerson's relation to traditional problems about the theory of knowledge clarifies not only the arguments of the specific essays, but the shape of his complex career. (shrink)

The long ignored philosophical content of Emerson's writings has recently emerged as a central topic in Emerson studies. In Emerson's Pragmatic Vision, David Jacobson enters the discussion, placing Emerson in a line of philosophers from Kant and Hegel to Heidegger and Derrida, and adding to our understanding of his philosophical appropriations and anticipations. In the process Jacobson shows how Emerson grappled not only with basic issues of philosophy but eventually with the value of philosophical (...) discourse itself. Conceiving Emerson's writings as reflective of a continuous inquiry into the fundamental question that motivates philosophy and guides reason—the question of Being—Jacobson traces his movement through philosophical humanism and anti-humanism to his identification of a philosophy founded on a reconceptualization of individual practice. -/- Emerson's Pragmatic Vision depicts not two Emersons but three. Between the early humanist confidence in self-reliance and the late embrace of fate, Jacobson identifies a transitional period, enunciated in the stark lecture, "The Method of Nature" (1841), and typified by the pessimism and humanist nostalgia of "Experience." The doctrine of fate, Emerson's mature pragmatic philosophy, is presented as a response to this period in which is found Emerson's retrieval of a philosophical posture rooted in obedience to the eloquence of the practice of life. (shrink)

O artigo desenvolve uma hermenêutica comparativa dos “mundos da vida” da América do Norte continental e do círculo Pacífico do Japão Meiji através de uma interface das articulações protopragmáticas de Ralph Waldo Emerson e Fukuzawa Yukichi. Ainda relevante no mercado de ideias atuais, The Young American, de Emerson, e Outline of a Theory of Civilization, de Fukuzawa, foram possibilidades melhorativas pioneiras da modernidade meritocrática na civilização pós-patriarcal e pós-feudal.

The long ignored philosophical content of Emerson's writings has recently emerged as a central topic in Emerson studies. In _Emerson's Pragmatic Vision_, David Jacobson enters the discussion, placing Emerson in a line of philosophers from Kant and Hegel to Heidegger and Derrida, and adding to our understanding of his philosophical appropriations and anticipations. In the process Jacobson shows how Emerson grappled not only with basic issues of philosophy but eventually with the value of philosophical discourse (...) itself. Conceiving Emerson's writings as reflective of a continuous inquiry into the fundamental question that motivates philosophy and guides reason—the question of Being—Jacobson traces his movement through philosophical humanism and anti-humanism to his identification of a philosophy founded on a reconceptualization of individual practice. _Emerson's Pragmatic Vision_ depicts not two Emersons but three. Between the early humanist confidence in self-reliance and the late embrace of fate, Jacobson identifies a transitional period, enunciated in the stark lecture, "The Method of Nature", and typified by the pessimism and humanist nostalgia of "Experience." The doctrine of fate, Emerson's mature pragmatic philosophy, is presented as a response to this period in which is found Emerson's retrieval of a philosophical posture rooted in obedience to the eloquence of the practice of life. (shrink)

Examines Emerson's ideas concerning nature, culture, and politics, discusses his influence on American political life, and considers works by William James, R.P. Blackmur, Joseph Heller, and Ralph Ellison.

This article reflects on the complex nature of Nietzsche's enduring appreciation of Emerson. Rather than rely on merely coincidental similarities between the two thinkers, the essay discerns a more difficult relationship—that of friendship—which somehow, perhaps through character, unites the two without making them the same.

This book is Stanley Cavell’s definitive expression on Emerson. Over the past thirty years, Cavell has demonstrated that he is the most emphatic and provocative philosophical critic of Emerson that America has yet known. The sustained effort of that labor is drawn together here for the first time into a single volume, which also contains two previously unpublished essays and an introduction by Cavell that reflects on this book and the history of its emergence. Students and scholars working (...) in philosophy, literature, American studies, history, film studies, and political theory can now more easily access Cavell’s luminous and enduring work on Emerson. Such engagement should be further complemented by extensive indices and annotations. If we are still in doubt whether America has expressed itself philosophically, there is perhaps no better space for inquiry than reading Cavell reading Emerson. (shrink)

David Mikics's The Romance of Individualism in Emerson and Nietzsche examines the argument, as well as the affinity, between these two philosophers. Nietzsche was an enthusiastic reader of Emerson and inherited from him an interest in provocation as a means of instruction, an understanding of the permanent importance of moods and transitory moments in our lives, and a sense of the revolutionary character of impulse. Both were deliberately outrageous thinkers, striving to shake us out of our complacency.

In White Noise by Don DeLillo, two characters visit a famous barn, described as the “most photographed barn in America” alongside hordes of picture-taking tourists. One of them complains the barn has become a simulacrum, so that “no one sees” the actual barn anymore. This implies that there was once a real barn, which has been lost in the “virtual” image. This is in line with Plato’s concept of the simulacrum as a false or “corrupt” copy, which has lost all (...) connection with the “original.” Plotinus, however, offered a different definition: the simulacrum distorts reality in order to reveal the invisible, the Ideal. There is a real building which has been called “the most photographed barn in America”: the Thomas Moulton Barn in the Grand Teton National Park. The location—barn in the foreground, mountain range towering over it—forms a striking visual composition. But the site is not only famous because it is photogenic. Images of the barn in part evoke the heroic struggles of pioneers living on the frontier. They also draw on the tradition of the “American sublime.” Ralph Waldo Emerson defined the sublime as “the influx of the Divine mind into our mind.” He followed Plotinus in valuing art as a means of “revelation”—with the artist as a kind of prophet or “seer.” The photographers who collect at the Moulton Barn are themselves consciously working within this tradition, and turning themselves into do-it-yourself “artist-seers.” They are the creators, not the slaves of the simulacrum. (shrink)

Hefty and serious—that is how this book feels when you pick it up. That was my subjective aesthetic experience anyway. Aesthetic judgment is, after all, one key to assessing our thoughts and perceptions. More on that soon, as you might expect.Hefty and serious also describes the questions with which the volume grapples: Is there, or can there be, a clear American Aesthetics, not merely aesthetics practiced by Americans? What would that look like? How would such a process affect the minds (...) and actions of Americans?The answers? It's complicated.The twenty essays in this volume trace the possibility of an American Aesthetics from foundational ideas of the past to the contemporary landscape. The goal is not only articulating an aesthetics that is distinctively American—aesthetics as a method for examining the arts and the artful—but also the possibility of aesthetics as a dynamic tool for pursuing a flourishing life within our hyper-capitalist, consumerist culture.Constant amongst the scholars gathered here is the assertion that aesthetics is not an abstract academic pursuit interesting only to the privileged and interested few but rather that aesthetics is the key element in the human pursuit of meaning and purpose in our lives. Aristotle would approve!Speaking of ancestors, the scholars here trace the work of grandparents such as Ralph Waldo Emerson, Charles Pierce, and William James, and parents such as the pragmatist John Dewey and the process philosopher Alfred North Whitehead. (Whitehead is from the UK but “American” in that he died in the US after a long career at Harvard and wrote his magnum opus, Process and Reality, in the US.) From these ancestors, the scholars gathered in this volume see a path forward: Art as conscious experience, as Dewey posited, and/or art as committed immersion in the process, as Whitehead claimed.Whitehead's process approach—process aesthetics—reminds us that each moment of our experience in this at once mundane and amazing world is an occasion of beauty and a telos—each moment is in the larger process of reality quite literally our last.William James attempted to map how we might free ourselves from the everyday and from everyday-ness: “We are stuffed with abstract conceptions, and glib verbalities and verbosities and in the culture of these higher functions the peculiar sources of joy connected with our simpler functions often dry up” (109). Yet, according to James, there is hope due to the fact that we human beings seek art and do art first and foremost because we enjoy it.Enjoyment was not the angle from which John Dewey approached the subject. According to Dewey our aesthetic reactions and interactions create the experience of art (and life) that re-accesses “an underlying harmony... that we vaguely remember” (112). For pragmatists, noticing a “thing” is entering a relationship with that thing, what David Strong terms in his essay, “correlational coexistence” (371).From these building blocks the scholars assembled propose ways to change US culture from one prone to ask, “What does it do?” into one in which it is increasingly possible to ask, “What does it mean?” This would be a fundamental shift in the dominant paradigms in US culture.How to get there? Randall E. Auxier offers a concise definition of “bad”—bad is something that is “lifeless and too much indebted to the actual.” My attempts at singing fall into that category, as do many American experiences conceived in the mode of what they do, not what they mean.That works of art escape or repel descriptions of their constitutive elements has proven to be a persistent philosophical conundrum through the centuries, as has the question of whether human feelings create an object or an object creates feelings, or both/and—Dewey's interaction of “organism and environment.” From whichever philosophical direction we approach this crux, aesthetic thinking can lead us to recognize and experience the inwardness of what we view as things—objects—and this examination can realign our personal axiology—our personal valuation of reality—the “ten thousand things” of ancient Chinese philosophy.Several authors cite Suzanne Langer's theory of symbol, broadening the scope of “art” well beyond Art with a capital A into the aesthetic and the ritualistic.The scholars gathered here are optimistic that aesthetic examination can create more of those rare moments (moments art can reliably create) in which our very being adjusts to the reality of existence, and we feel exhilarated and a part of the whole process of existence. We call this “nirvana” or “enlightenment.”That is another thing that feels hefty about this volume: the persistent optimism among the scholars that psychic wholeness and human flourishing are possible for more Americans. Robert S. Corrington terms this the “selving process,” roughly what Carl Jung termed “individuation.” This collection adds up to much more than the sum of its parts, as one idea inflected in a particular way by one author sparks off the same idea approached from a different perspective in another. This collection contains scholars on the cutting edge of process theology, pragmatism, aesthetics, and religion, many of whom are adept at crossing the traditional fences between academic fields. The US needs an American Aesthetics. As American poet William Carlos Williams wrote,It is difficultto get the news from poems yet men die miserably every day for lackof what is found there. (shrink)

The article begins with a comparative hermeneutic of the incongruent legacy worldviews of Emerson’s transcendentalism and Santayana’s skeptical materialism, proceeds on to Peirce’s convergence with Emerson’s transcendentalism in a neo- Neoplatonic and neo-Aristotelian configuration, with particular reference to the sweep of the Cambridge Conference Lectures of 1898.

Henry Thoreau boasted that he was widely travelled in Concord, Massachusetts. He was born there on 12 July 1817, and he died there on 6 May 1862, of tuberculosis, at the age of forty-four years. In 1837 he graduated from Harvard College, and in 1838 he joined Ralph Waldo Emerson, Margaret Fuller, and others in the informal group that became known as the New England Transcendentalists. The author of four books, many essays and poems, and a voluminous journal, he (...) is best known for the book Walden and the essay ‘Civil Disobedience’, and for the circumstances attending these two milestones in American thought and literature. (shrink)

Henry Thoreau boasted that he was widely travelled in Concord, Massachusetts. He was born there on 12 July 1817, and he died there on 6 May 1862, of tuberculosis, at the age of forty-four years. In 1837 he graduated from Harvard College, and in 1838 he joined Ralph Waldo Emerson, Margaret Fuller, and others in the informal group that became known as the New England Transcendentalists. The author of four books, many essays and poems, and a voluminous journal, he (...) is best known for the book Walden and the essay ‘Civil Disobedience’, and for the circumstances attending these two milestones in American thought and literature. (shrink)

Philosophers have almost always relegated the topic of revision to the sidelines of their discipline, if they have thought about it at all. This book contends that acts of revision are central and indispensable to the project of philosophizing and that philosophy should be construed essentially as a practice of rereading and rewriting. The book focuses chiefly on Heidegger's highly influential interpretation of Nietzsche, conducted in lectures during the 1930s and 1940s and published in 1961. The author closely analyzes the (...) rhetorical means by which Heidegger repositions Nietzsche's thinking within a broad history of metaphysics, even as Heidegger positions his own reinterpretation as that history's more 'proper' reading. In addition to being the first book-length published study of Heidegger's interpretation of Nietzsche, the book also examines the work of Hans-Robert Jauss, Harold Bloom, and other critics of revision. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Implicit Soul of Charlie Kaufman's AdaptationDavid L. SmithI don't know what else there is to write about other than being human, or, more specifically, being this human. I have no alternative. Everything is about that, right? Unless it's about flowers.—Charlie Kaufman 1There are some things that cannot be observed directly, even in principle: a single quark, the present moment, ones own eye. What Richard Rodriquez calls the "one (...) subject" of literature—"What it feels like to be alive" 2 —is perhaps another one of those things. A writer struggles to be true to something central about life—to catch it on the fly, to get it right. Some have reified this "something" as "the soul" or "the human spirit." Today, though, we mainly rely on placeholders: "it," for example, as in "do you get it?" or "what's it all about?"—a usage that flirts with the vanishing "it" of "it is raining," implying a source or substance behind phenomena in which we do not really believe but without which we cannot do justice to experience. In any case, the writer's attempt to represent this elusive heart of things is typically frustrated, done in by the slipperiness of words, the cludginess of the conventions of communication, and the waywardness of the imagination. Writing inevitably falls short of its deepest aims.Nevertheless, there is something deviously affirmative in this state of affairs. For if life is a thing that refuses to be observed, then isn't the very failure of literature, if consciously acknowledged, a way of staying true to it? Isn't the writer's disappointment an especially telling feature of "what it feels like to be alive?" Emerson, more clearly than most, understood how this trick is turned: "We grant that human life is [End Page 424] mean; but how did we find out that it was mean? What is the ground of this uneasiness of ours; of this old discontent? What is the universal sense of want and ignorance, but the fine innuendo by which the soul makes its enormous claim?" 3 As noted above, "the soul" is a disposable term here. If you prefer, say simply "the human," "life," or "it." The point, in any case, is that the elusive subject which cannot be stated or represented directly may nevertheless be implied. If the human cannot be caught in a formula, it may be embodied or enacted in the ongoing work of creation.Charlie Kaufman's Adaptation is both an argument for and an example of this implicit realization of the human in art. Many viewers and even reviewers might see it as a poor candidate for humanistic interpretation along these lines. Most, in fact, have seen the film as little more than a clever postmodern puzzle-box, albeit one with great acting, deft direction, and a generous sense of humor. Its theme, after all, is the representation of representation. A book is being rewritten or adapted to become the film we are watching. The subject of that film is its own author's struggle to create it. The film further calls attention to its own artificiality by changing the rules of representation on us midway through. Its tone, style, and basic genre conventions shift when the author/protagonist begins to rethink his original purposes, undermining the credibility of all representational schemes in the process. Adaptation, in short, seems to be what the graduate-educated a decade ago might have felt comfortable calling "an endless play of simulacra," a text absorbed in its own textuality, a snake that eats its own tail. 4All of this is true enough, but it is not the whole story. The point of Adaptation, I will argue, is not simply the pleasure it takes in playing with issues of representation, but its clear sense of the human issues at stake in that play. Adaptation, that is, is not only about the way words tend to float free of the world. Rather, it is also a demonstration of the way a writer's basic goal can survive the wreck of her intentions, or the way that failed attempts to be true to life... (shrink)

At a moment when the requirements of belief and unbelief were being negotiated in unexpected ways, transcendentalism allowed for a more creative approach to spiritual questions. Interrogating the movement's alleged atheistic underpinnings, David Faflik contends that transcendentalism reconstituted the religious sensibilities of 1830s and 1840s New England, producing a dynamic and complex array of beliefs and behaviors that cannot be categorized as either religious or nonreligious. Rather than "the latest form of infidelity," as one contemporary described it, adherents viewed (...) their unconventional and distinct spiritual practices as a modern religion. Transcendental Heresies draws on an expansive antebellum archive of period commentary and writings by transcendentalism's practitioners, including Ralph Waldo Emerson, Henry David Thoreau, Theodore Parker, Margaret Fuller, and the women of transcendentalism's second and third waves. From Boston to Concord to the heady environs of Harvard, the species of unbelief they practiced multiplied the religious possibilities of the era, expressing misgivings about traditional notions of divinity, flouting religion's customary forms, and ultimately encouraging spiritual questioning. (shrink)

But then I think of how often I have cast the world I want to live in as one in which my capacities for playfulness and for seriousness are not used against one another, so against me. I am the lady they always want to saw in half. Just as there was a time when it was uncommon, not to say unfashionable and perhaps professionally treacherous, for philosophers to write about Ralph Waldo Emerson, there was also a time when (...) the pertinence of Stanley Cavell’s work for philosophy was a point of controversy. For some philosophers, as well as literary scholars who read and use work by philosophers, Cavell’s achievements were in evidence early and consistently—even as he ably ventured into new fields of research.. (shrink)

The sky proclaimed Emerson is “the daily bread of the eyes.” Despite the apparent truth of this observation, we often fail to appreciate the complex canopy of air above and around us in considerations of environmental aesthetics and ecological awareness. I examine the sky and aerial phenomena that are bound to, closely allied with, or materially emergent from, this ocean of blue. In the process, I develop a perspective for thinking about some of the aesthetic characteristics and dimensions of (...) this realm. I show that understanding and appreciating the sky must attend to features related to ephemerality, protean colors, the lack of aclear and definite frame, and other non-anthropogenic qualities. I pay particular attention to explorations of horizontally-mobile clouds and, for the sake of contrast, vertically-originating snow by painters, poets, and philosophers who are able to express imaginative components of these phenomena and to reveal or vivify aspects that complement or complete the more realistic descriptions provided by natural scientists. The always-accessible and ever-fluctuating beauty of the sky offers the potential for deepening our daily experiences of and encounters with the elemental world in which we are sensually immersed and physicallyembedded. It also helps to offer an indirect rationale for respecting and protecting this vital other-than-human sphere. (shrink)

The sky proclaimed Emerson is “the daily bread of the eyes.” Despite the apparent truth of this observation, we often fail to appreciate the complex canopy of air above and around us in considerations of environmental aesthetics and ecological awareness. I examine the sky and aerial phenomena that are bound to, closely allied with, or materially emergent from, this ocean of blue. In the process, I develop a perspective for thinking about some of the aesthetic characteristics and dimensions of (...) this realm. I show that understanding and appreciating the sky must attend to features related to ephemerality, protean colors, the lack of aclear and definite frame, and other non-anthropogenic qualities. I pay particular attention to explorations of horizontally-mobile clouds and, for the sake of contrast, vertically-originating snow by painters, poets, and philosophers who are able to express imaginative components of these phenomena and to reveal or vivify aspects that complement or complete the more realistic descriptions provided by natural scientists. The always-accessible and ever-fluctuating beauty of the sky offers the potential for deepening our daily experiences of and encounters with the elemental world in which we are sensually immersed and physicallyembedded. It also helps to offer an indirect rationale for respecting and protecting this vital other-than-human sphere. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Propaedeutic to Walter BenjaminDavid Socher (bio)I took the picture—the Marines took Iwo Jima.—Joe Rosenthal (1912-2006)The Emerson College Web site on Walter Benjamin's essay The Work of Art in an Age of Mechanical Reproduction1 nicely animates some ideas of the essay. One such idea is the following: To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. When Benjamin wrote (...) this essay and this maxim, Norman Rockwell had been illustrating magazine covers for both Boy's Life and the Saturday Evening Post for several years. Rockwell, who also made paintings for advertisements, said he didn't "want to paint for the few who can see a canvas in a museum." He wanted his "pictures to be published," exemplifying Benjamin's point.2 Wood engravings have been around for a thousand years and coins with portraits for two thousand. I don't mention these old examples to dispute Benjamin's point—certainly to an ever-greater degree the modern age designs for reproducibility. And Benjamin himself at the outset mentions the stampings, coins, and terra cottas of the Greeks as ancient cases of reproduction of a work of art. I merely intend to highlight the distinction between creating a print and painting a painting or drawing a drawing. In the latter cases the artist's goal is to produce one particular physical surface. We often imbue this surface with what Benjamin called an aura.3 Collectors of Rockwell Post covers don't have Rockwell's auras,4 and even less so those who have and hang reproductions of such covers. The making of prints has its own cachet, however. Although he is far from a typical printmaker, M. C. Escher here expresses a thought applicable to all printmakers: "The printmaker has [End Page 1] something of the minstrel spirit; he sings, and in every print … he repeats his song over and over again."5As is usual with such illustrations, Rockwell's paintings were put on magazine covers by photographic processes. Rockwell, of course, is not a photographer. His name will not be included in the history of photography. Why is it even worth stating such more-than-obvious observations? Because Benjamin seems to me to be mixed up about photography and the mix-up pervades his essay, even including his very title. Getting clear about exactly what photography is will help untangle things. Therefore, before turning to Benjamin's text, allow me a few words on photography.It is hard to overstate the importance of photography. About his own parents, whom he had never seen, Dickens's Pip says, he "never saw any likeness of either of them (for their days were long before the days of photographs)."6 Many school textbooks feature photos of children in a classroom, but often these are staged photos not actually taken in a classroom. At least one textbook publisher keeps props, including a wheelchair to take photos of "Able bodied children selected through modeling agencies [posing] in the wheelchair."7 Well, it's hard to get disabled children to serve as models, and in this way the publisher meets his disability quota. In such a case the photo is not doctored. It does picture the event in front of the camera, although unknown to the student, the picture is staged and the pictured student is neither in a classroom, nor disabled. This is a small deception; it is, however, a greater deception than is normal for, say, clothing catalogues. In such a catalogue all know that the model photographed is not actually skiing or chopping wood, although the model is so pictured. In the textbook an able-bodied child is presented as a disabled one, however, no direct falsehoods are being taught and no picture is falsely captioned. On the other hand, when a news agency doctors, falsely captions, or stages a picture, the deception is great.Newspapermen and newspaperwomen know well that photo-ops and managed news are cases where the tail wags the dog inasmuch as the event itself was only created for the sake of the picture. Somewhat similarly, staged wedding photos and other... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics and Racism:Toward an Embodied Pedagogy of DifferenceDavid A. Granger (bio)IntroductionThe philosopher Ludwig Wittgenstein once remarked that "The human body is the best picture of the human soul."1 There is a basic truth in this assertion that we recognize (I want to say) intuitively: the notion that human beings are parts both mental and physical, that these facets are ultimately interdependent, and that they are in some measure correlated (...) was a commonplace in the intellectual culture of ancient Athens, especially among Socratic thinkers. It can also be found as a central part of the basic ontology and ideals of self-cultivation espoused in much East Asian philosophy. In the West, however, this deep appreciation for the relationship between mind and body appears somewhat sporadically after the Socratics, only to be fervently reasserted as a main plank in the lived philosophy of the early American pragmatists, as when Henry David Thoreau proclaimed that "We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins to refine a mean's features, any meanness or sensuality to imbrute them."2I use the word "sporadically" above because it is likewise a basic truism that canonical Western philosophy has a long and storied history of rejecting, ignoring, or degrading the human body—that most formative part of our being and connection to the world and to others. The position of the later, more metaphysical Plato is iconic in this regard, and it effectively set the tone for much Christian theology and the Cartesian philosophy of consciousness. For Plato and his adherents, the longing to escape our embodiedness, conceived as a necessary means to human (or perhaps superhuman) perfection [End Page 69] by achieving a godlike existence, requires effectively divorcing ourselves from the irrational brutes of terra firma. The body is conceived as a static constraint to human flourishing rather than a dynamic enabler. It is more or less an adversary, something that we must endeavor to be freed from or subdue.3 Its base senses and unruly passions deceive us epistemologically, while its inexorable power to situate us in space and time limits our objectivity. In its inevitable pains and infirmities, the body is also a constant reminder of the aging process and of our ultimate mortality. Deeming the body as at best a mere servant of the mind, philosophers typically have portrayed it as a veritable prison of deception, temptation, and suffering. Moreover, it is well-established that such thinking has been particularly pernicious in light of the historical identification of women and other marginalized groups with their variously enfeebled, depraved, or uncivilized bodies.4Against this disquieting backdrop, it is only relatively recently that the human body, and the significance of our existence as embodied beings, has received sustained positive attention by leading lights in Western philosophy and criticism. These luminaries include, among others, "feminist" thinkers like Simone de Beauvoir, Julia Kristeva, Luce Irigaray and, of late, Susan Bordo and Judith Butler (with a nod to Michel Foucault, Pierre Bordeau, and others); pragmatists William James and John Dewey (with a nod to Emerson and Thoreau); phenomenologist Maurice Merleau-Ponty (with a nod to Jean-Paul Sartre); analytic philosopher Ludwig Wittgenstein (with a nod to James); and postmodernist Michel Foucault (with a nod to Friedrich Nietzsche, George Bataille, and the ancient Asian ars erotica tradition5). While these thinkers do not universally praise the body and its active, conscious cultivation for human flourishing (about which more later), they nonetheless acknowledge its necessity for all perception, action, and even thought.6 In short, they all seek to recognize and elucidate the significance—cognitive and affective, discursive and nondiscursive—of our full embodied intelligence.Looking specifically at the architectonics of the body espoused by the trio of Dewey, Foucault, and Wittgenstein, this article uses what philosopher Richard Shusterman terms "analytic somaesthetics" to examine some of the primary embodied dimensions of feeling, perception, action, and thought, particularly through the functioning of habit.7 In doing so, it seeks to expose the way various ideologies of domination (for example, racism, sexism, classism, ableism, heterosexism, ageism, etc.) are covertly (and at times overtly) materialized... (shrink)

America the Philosophical is a wake-up call to the institutional practice of Philosophy in the United States. Romano's claim is twofold; an incisive critique of the narrow way in which academic Philosophy—Philosophy with a capital "P"—is currently practiced; and a celebration of the vast amount of philosophical (with a small "p") energy displayed in American culture. Romano, a philosopher, lawyer, journalist, literary critic, and Professor of Philosophy, is able to marshal a unique set of skills, experiences, and insights to support (...) his claim.America the Philosophical stands in a long line of compelling appeals to American Philosophy. Emerson's Divinity School Address represents a "first wave" of appeals for the .. (shrink)