Sontag is certainly attracted to the aesthetic she describes but not so wholeheartedly as many readers have assumed.1 One of the ironies of her career has been her reputation as an enthusiast for works toward which she actually expresses considerable ambivalence. Many of her essays include overt advocacy, but it is rarely uncomplicated or uncompromised.2 Despite her reputation for partisanship, she more typically begins her essays by recounting an experience of alienation, annoyance, uncertainty, or shock. For example, she describes the (...) "happening" as an event "designed to tease and abuse the audience"3 and speaks of the "profoundly discouraging," even "hopeless," emotions of her first days in North Vietnam. She is, therefore, often motivated by her sense of difference from the event or object she describes. But it is not her wish merely to find ways of assimilating and dominating unpleasant or alien experience; while that is certainly one of the main impulses in her work - to control apparently impossible subjects, to exhilarate in the Nietzschean will to power over the text - her will to power is always countered by a need to credit and honor the text's otherness. Sontag never finally assumes an easy familiarity with her subject but rather draws its difficult and negating otherness ever closer to herself. Her work may be understood, in a way, as a search for a text that is utterly unknowable, a text that will always elude and contradict what we may say about it, a text, in short, that cannot be contaminated by critical rhetoric. That is a quality she has recently attributed to Artaud's work: "Like Sade and Reich, Artaud is relevant and understandable, a cultural monument, as long as one mainly refers to his ideas without reading much of his work. For anyone who reads Artaud through, he remains fiercely out of reach, an unassimilable voice and presence."4 · 1. There is, to be sure, an atmosphere of iconoclasm and intellectual challenge about Sontag's criticism, but it is not especially self-congratulatory. She is only interested in difficult topics or in topics whose difficulties have been repressed, partly because that context energizes her mind and partly, as she has written of Diane Arbus, because she wants "to violate her own innocence, to undermine her sense of being privileged" · 2. The exception is some of the early reviews included in Against Interpretation, where the polemical requirements of the occasion distinguish those brief judgments from her more careful and extended pieces.· 3. Sontag, Against Interpretation , p. 267.· 4. Sontag, "Artaud," Antonin Artaud: Selected Writings , p. lix. Cary Nelson teaches critical theory at the University of Illinois. He is the author of The Incarnate Word: Literature as Verbal Space and Our Last First Poets: Vision and History in Contemporary American Poetry and Reading Criticism: The Literary Status of Critical Discourse. (shrink)

Despite achieving broad acceptance of the moral case for treating animals fairly, the animal rights movement has reached an impasse concerning legal rights for animals. Zoopolis proposes a new approach to addressing this failure: integrating animal interests into human society via political institutions and practices. Zoopolis’s central theory that humans owe animals citizenship rights in a shared human-animal society, but that acceptance of responsibilities by animals also is required, has merit for the advancement of animal rights discourse. But its anthropocentric (...) approach, which itself exerts power over animals, necessitating suppression and policing of animals’ natural behavior, is problematic. (shrink)

Obviously, subject is what is said, style is how. A little less obviously, that formula is full of faults. Architecture and nonobjective painting and most of music have no subject. Their style cannot be a matter of how they say something, for they do not literally say anything; they do other things, they mean in other ways. Although most literary works say something, they usually do other things, too; and some of the ways they do some of these things are (...) aspects of style. Moreover, the what of one sort of doing may be part of the how of another. Indeed, even where the only function in question is saying, we shall have to recognize that some notable features of style are features of the matter rather than the manner of the saying. In more ways than one, subject is involved in style. For this and other reasons, I cannot subscribe to the received opinion that style depends upon an artist's conscious choice among alternatives. And I think we shall also have to recognize that not all differences in ways of writing or painting or composing or performing are differences in style. Nelson Goodman, professor of philosophy at Harvard University, has written The Structure of Appearance; Fact, Fiction and Forecast; Languages of Art: An Approach to a Theory of Symbols; Problems and Projects; and numerous articles. Logic and Art: Essays in Honor of Nelson Goodman was published in 1972. His contributions to Critical Inquiry include "Metaphor as Moonlighting" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)

According to the early futurist Julian Huxley, human life as we know it is ‘a wretched makeshift, rooted in ignorance’. With modern science, however, ‘the present limitations and miserable frustrations of our existence could be in large measure surmounted’ and human life could be ‘transcended by a state of existence based on the illumination of knowledge’ (1957b, p. 16).

Thank you for inviting me to speak today.John Dewey and I have had a long and occasionally contentious friendship. He taught me to think critically, and it is a habit I cannot get rid of. For that, I thank him. More than a dozen years ago, I gave a book talk at Teachers College, where I had been a professor for nearly twenty years. When I finished, Arthur Levine, who was then president of TC, got up and said incredulously, “You (...) criticized John Dewey.” And I responded, “John Dewey would have liked that. He taught me that we must keep thinking all the time.”I consider myself to be a disciple of Dewey’s, even when I disagree with him. Of course, Lawrence Cremin was my mentor at Teachers College, and Larry too taught.. (shrink)

Friends are fun -- Let's play -- Choose good friends -- My smart choices -- Glossary -- Index -- About the author.

Jeffrey Tulis’s The Rhetorical Presidency is deceptively titled. It is not about rhetoric or political symbolism or even about the American presidency as such, as were many postmodern studies produced in the Reagan era. Rather, Tulis re‐situates rhetoric: a minor theme in a story about the presidency becomes an important avenue into profound questions of political order and republican governance. Like Tulis, I approach my thesis obliquely; I distinguish his from other, seemingly similar, works to underscore what I see as (...) the book’s lasting legacy: its explication of the double binds and central paradoxes of republican governance , and its articulation of the role of rhetoric in institutional transformation. (shrink)

El presente artículo busca señalar la existencia de dos conflictos, al menos, que se presentan en Colombia. El primero es un conflicto directo mayoritariamente sufrido en zonas rurales. El segundo es un tele-conflicto. De su raíz griega es un conflicto que se vive desde lejos (tele). Este último, si bien es virtual, produce efectos reales en los sujetos con un alto poder de decisión, especialmente en zonas urbanas. Con ello se busca señalar el rol de los medios como condición de (...) posibilidad para la existencia del conflicto, pero no sólo debido al uso (abuso) que se pueda dar de ellos para la continuación del conflicto, sino por la misma manera en que es medializado. Para ello se analiza como caso empírico la refrendación de los acuerdos de paz de La Habana entre el estado colombiano y la guerrilla de las FARC-EP. Para ello se hará un análisis fenomenológico de la manera en que los medios interactúan con el sujeto. Con ello se busca observar el rol constitutivo de los medios de la experiencia humana. Con este punto como pivote, se señala la existencia de los dos conflictos previamente nombrados. (shrink)

According to Richard Routley, a comprehensive theory of fiction is impossible, since almost anything is in principle imaginable. In my view, Routley is right: for any purported logic of fiction, there will be actual or imaginable fictions that successfully counterexample the logic. Using the example of ‘impossible’ fictions, I test this claim against theories proposed by Routley’s Meinongian contemporaries and also by Routley himself and his 21st century heirs. I argue that the phenomenon of impossible fictions challenges even today’s modal (...) Meinongians. (shrink)

Yet while all features of reality are dependent upon discourse, are there perhaps some features of discourse that are independent of reality the differences, for example, between the ways two discourses may say exactly the same thing? The old and ugly notion of synonomy rattles a warning here: Can there ever be two different discourses that say exactly the same thing in different ways, or does every difference between discourses make a difference in what is said? Luckily, we can pass (...) over that general question here. We are concerned only with the specific question whether organization into referential chains and levels is purely conventional, independent of everything beyond discourse. And the plain answer is that such organization of discourse participates notably in the organization of a reality. A label in any nonnull application, literal or metaphorical, marks off entities of a certain kind, and even where the denotation is null, the label marks off labels of a certain kind that apply to that label. Just such marking off or selection of entities and relevant kinds makes them such as distinguished from the results of alternative organizations.Nelson Goodman, emeritus professor of philosophy at Harvard University and the author of, among other works, The Structure of Appearance, Ways of Worldmaking, and Problems and Projects, is currently working on projects in the performing arts and on a new collection of essays. His previous contributions to Critical Inquiry are "The Status of Style' , "Metaphor as Moonlighting" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)

We set the Turing Test in the historical context of the development of machine intelligence, describe the different forms of the test and its rationale, and counter common misinterpretations and objections. Recently published material by Turing casts fresh light on his thinking.

In 1948 Turing claimed that the concept of intelligence is an “emotional concept”. An emotional concept is a response-dependent concept and Turing’s remarks in his 1948 and 1952 papers suggest a response-dependence approach to the concept of intelligence. On this view, whether or not an object is intelligent is determined, as Turing said, “as much by our own state of mind and training as by the properties of the object”. His discussion of free will suggests a similar approach. Turing said, (...) for example, that if a machine’s program “results in its doing something interesting which we had not anticipated I should be inclined to say that the machine had originated something”. This points to a new form of free will compatibilism, which I call response-dependence compatibilism and explore here. (shrink)

Ethical research with children requires a special concern for their well-being as individuals. Researchers are therefore expected to report problems children experience and to refer children for assistance. This article addresses difficulties that can arise as researchers attempt to meet this obligation in research with low-income ethnic minority children. Potential difficulties include both failure to report and overreporting suspected problems. The role of institutional review boards in researchers' reporting and referring behavior is also discussed.

In sum, flashbacks and foreflashes are commonplace in narrative, and such rearrangements in the telling of a story seem to leave us not only with a story but with very much the same story.1 . . . Will no disparity between the order of telling and the order of occurrence destroy either the basic identity or the narrative status of any story? An exception seems ready at hand: suppose we simply run our film...backwards. The result, though indeed a story, seems (...) hardly to be the same story in any usual sense . . . Does cinematic narrative actually differ this sharply from narrative in a series of snapshots or in words? I think not. Our first impulse with any tale when the order of telling is clear is to take the order of occurrence to be the same as the order of telling; we then make any needed corrections in accord with temporal indications given in the narrative and with our antecedent knowledge both of what happened and of causal processes in general. But discrepancy between order of telling and order of occurrence cannot always be discovered instantaneously—or at all. If our series of snapshots is shown in reverse order at normal speed, we readily detect the reversal; for we know that a race begins at the starting gate, ends at the finish line, and so on. Even if the pictures do not show the starting gate or finish line or other identifiable parts of the track, we are not deceived, for we know that horses do not run backward. But when the film is run backward, such clues and considerations usually cannot be brought to bear soon enough, and we momentarily mistake the direction of the actions filmed. A little time is needed to make the correction. What seemed like a drastic difference between film and other forms of narrative amounts to nothing more than this lag. · 1. In an obvious and important sense. Of course, whether two version are properly said to be of the same story—or of the same world—depends upon which of many permissible interpretations of sameness is understood; but that need not trouble us here. Nelson Goodman is emeritus professor of philosophy at Harvard and the founder of both Project Zero and the Harvard Dance Center. His works include The Structure of Appearance; Fact, Fiction, and Forecast, and Ways of Worldmaking. His contributions to Critical Inquiry are "The Status of Style" , "Metaphor as Moonlighting" , and "The Telling and the Told". (shrink)

Rastreamos doctrinas unamunianas del Otro en el Edipo, rey de Sólbeles y en el Sofista platónico, edípico hacia el «padre» Parménides al filosofar sobre lo otro (té `ttapov). Examinamos el platonismo del Otro en Del setííimie,zío trágico, en las acotaciones de Unamuno a la tragedia de Sófocles y en su propio drama El Otro.

In lieu of an abstract, here is a brief excerpt of the content:Reclaiming the Works of Early Modern Women Authorship, Gender, and Interpretation in the Nouveau recueil de lettres des dames de ce temps (1635)1Aurora Wolfgang (bio) and Sharon Diane Nell (bio)Reclaiming the forgotten texts of women writers has been a major feminist undertaking of the last half-century. Indeed, believing in the importance of this sort of work, we have each spent much of our careers studying the women writers (...) absent from our own graduate-school education. What follows, however, is a cautionary tale about discovery and reclamation: first, our discovery of what we thought was a hitherto-neglected text by eminent seventeenth-century writer Madeleine de Scudéry—her Lettres amoureuses de divers auteurs de ce temps (1641); second, our discovery that the text was not (even as indexed in Gerritsen Collection of Women’s History microfilm collection) authored by Scudéry but was written instead by a Franciscan priest, Jacques Du Bosc. Clearly, our second discovery pointed out both our own rush to judgment as well as that of other literary scholars interested in the tenuous project of historical reclamation. In this essay, we seek to explore the implications of attribution and authorship for our cautionary tale. Does the fact that a work is not Scudéry’s Lettres amoureuses but instead Du Bosc’s Nouveau recueil de lettres des dames de ce temps (1635) diminish its importance to the history of women’s letters?The First DiscoveryWe became interested in Scudéry’s Lettres amoureuses because of a brief description of the text in Joan DeJean’s Tender Geographies, a pioneering study of women novelists of the seventeenth century. DeJean describes a one-volume work that constituted the first publication of one of the most important writers of the seventeenth century, Madeleine de Scudéry. This work was a reversal of and “forceful response to” the so-called Ovidian model of epistolary fiction in which a “seduced and abandoned” woman complains in letter form about the infidelity of her male lover. In Scudéry’s text, however, men wrote long letters complaining about the women who did not reciprocate their love (DeJean, Tender Geographies 79).We obtained a copy of the Lettres amoureuses from the Women’s History microfilm collection, which was created in the 1970s (published 1983) in order to make available [End Page 1] an extensive array of texts and documents relating to women’s lives. We were surprised to see that all of the letters in the Lettres amoureuses were written by women—not men. Moreover, most of the letters were written by women to other women. No letters by men were included at all. Our copy of Lettres amoureuses contained letters and responses written between women, meant to show the excellence of women’s writing skill. The letters discussed and debated a wide variety of topics of interest to seventeenth-century French women; more strikingly, however, they reflected a close-knit homosocial world of women who openly expressed love, devotion, desire, and longing for each other’s company.Given the differences between our copy of Lettres amoureuses and the text described by DeJean, we wondered if we were looking at the same book. Was our collection the one to which DeJean referred? Yes and no. In another DeJean article about the Lettres amoureuses, we discovered that DeJean had used a particular copy of the text, one found in the holdings of Harvard’s Houghton Library. Upon first obtaining a microfilm copy of the Houghton volume, and later examining the physical book itself in Houghton’s rare books room, we saw that it (unlike our own copy) did indeed contain only letters by men who complain about their female beloveds. At this point, we thought we had discovered a second volume to Scudéry’s work: it seemed clear to us that the Lettres amoureuses had been halved at some point in the last several centuries and that we had a chance to reunite the volumes. After all, the preface in the Houghton volume tells the reader, “Si vous receuez fauorablement ce volume, ie vous en prepare un second” [“If you receive this volume favorably, I will prepare a second one... (shrink)

We study the Iterated Bilateral Reciprocity game in which the need for help arises randomly. Players are heterogeneous with respect to ‘neediness’ i.e. probability of needing help. We find bounds on the amount of heterogeneity which can be tolerated for cooperation (all players help when asked to help) to be sustainable in a collectivity. We introduce the notion of Generalised Reciprocity. Individuals make a costly first move to benefit another under the reasonable expectation that either the other or somebody else (...) will reciprocate. We hope that these tentative attempts at extending Axelrod’s seminal work on cooperation will inspire future efforts in the field of organisational culture and social theory more generally. (shrink)

The bitterness and protracted character of the biometrician–Mendelian debate has long aroused the interest of historians of biology. In this paper, we focus on another and much less discussed facet of the controversy: competing interpretations of the inheritance of mental defect. Today, the views of the early Mendelians, such as Charles B. Davenport and Henry H. Goddard, are universally seen to be mistaken. Some historians assume that the Mendelians' errors were exposed by advances in the science of genetics. Others believe (...) that their mistakes could have been identified by contemporaries. Neither interpretation takes account of the fact that the lapses for which the Mendelian eugenicists are now notorious were, in fact, mostly identified at the time by the biometricians David Heron and Karl Pearson. In this paper we ask why their objections had so little impact. We think the answer illustrates an important general point about the social prerequisites for effective scientific critique. (shrink)

The imitation game, the recent biopic about Alan Turing's efforts to decipher Nazi naval codes, was showered with award nominations. It even won the 2015 Academy Award for Best Adapted Screenplay. One thing it won't win any awards for, though, is its portrayal of the "imitation game" itself-Turing's proposed test of machine thinking, which hinges on whether a computer can convincingly imitate a person. The Turing test, as it is now called, doesn't really feature in the file. (Given that the (...) movie gets so much of the history wrong, perhaps that's a good thing). (shrink)