This paper examines the role of speculative motives in the determination of commodity prices and specifically food related commodity prices. The motivation for this study is the considerable flow of funds into commodities, the widespread view that the process of financialization has led to greater levels of speculation and that speculation is the primary cause of regular spikes in food prices since the turn of the century. We consider two forms of short-term trading, a biasing influence and a correcting influence, (...) relative to the fundamental price. While both forms of short-term trading are relevant, they are small in terms of their influence on overall prices. We do however find some evidence of an increased role being played by Manipulators during the period most associated with financialization. (shrink)

Introduction: situating Heidegger and the philosophy of technology -- Heidegger's philosophy of technology -- The historical-ontological priority of technology over science -- Deromanticizing Heidegger -- Interlude: the earth inherited -- Was Heidegger prescient concerning technoscience? -- Heidegger's technologies: one size fits all -- Concluding postphenomenological postscript: writing technologies.

The most important, or at least the most central, part of Ferdinand de Saussure's Course in General Linguistics is found in the first six chaptersof Part Two. Here, Saussure formulates one of the basic principles of Structuralism. Yet the text is in some ways oddly impenetrable. It is dear enough on a quick reading, but closer attention discovers doubtful meanings, ambiguity, the beginnings even of contradictions. These defects may, of course, be inevitable in a reconstructed text. Or they may testify (...) to some profound erroneousness in the thought, to a theory whose natal difficulties are symptoms, not of the elusiveness of truth, but of a miscarriage. It is mypurpose here to argue the latter. (shrink)

In everyday English usage, the words ‘literal’ and ‘figurative’ are normally taken to be opposite in meaning. It is an opposition with very ancient roots. One of its forbears was the medieval theory of Scriptural hermeneutics, which distinguished among the literal, allegorical, moral, and anagogic senses of Scripture. This itself had an ancestry in pre-Augustinian times: Augustine tells in his Confessions how he learned from Ambrose the trick of interpreting Scripture figuratively, thus eliminating the problems and contradictions created by a (...) literal reading. Earlier still, the distinction and the opposition were at least implicit in Poetics 21, where Aristotle differentiated between the standard or normal name for a thing, and various other types of name among which he listed metaphor. The antonymy of the literal and the figurative is therefore deeply embedded in our intellectual history, and it is perhaps for this reason that it has remained, to a large extent, unexamined and unquestioned. (shrink)

The purpose of this article is to advance a new understanding of gender as a routine accomplishment embedded in everyday interaction. To do so entails a critical assessment of existing perspectives on sex and gender and the introduction of important distinctions among sex, sex category, and gender. We argue that recognition of the analytical independence of these concepts is essential for understanding the interactional work involved in being a gendered person in society. The thrust of our remarks is toward theoretical (...) reconceptualization, but we consider fruitful directions for empirical research that are indicated by our formulation. (shrink)

A thorough historical survey of philosophies of the arts.

In lieu of an abstract, here is a brief excerpt of the content:Hugh Bredin I. A. RICHARDS AND THE PHILOSOPHY OF PRACTICAL CRITICISM IN much of the English-speaking world, an essential component of literary studies is the exercise known as "practical criticism." The name, and to some extent the practice, originated in a book by I. A. Richards, Practical Criticism, 1 in which he described an experiment conducted by him at Cambridge and elsewhere. In the experiment, undergraduate students of (...) English were given a number of unfamiliar poems, whose authorship was not revealed, and were asked to read and to submit written comments upon them. The result, in the words of one account, "was horrifying. Magazine poetasters were extravagandy praised, Donne, Hopkins, and Christina Rossetti firmly damned; every felicity was ridiculed, and every absurdity praised, by large minorities and even majorities."2 Richards himself did not respond to his discoveries in quite such a marked fashion as this, but he did betray the concern of someone in whom a longheld fear had been confirmed. He suggested that members of the Royal Society of Literature would have fared no better, and argued in general that an ability to read successfully — that is, with correct understanding and appropriate sensuous and emotive response — was rare and intermittent in even the most highly educated products of our schools and universities. He discerned a worsening of language performance compared with a few generations earlier, and advocated, as a corrective measure, widespread study of the theory of interpretation, and widespread training in the techniques thereof. This project he initiated himself in a subsequent work, Interpretation in Teaching.3 Richards's recommendations have not been adopted in general education practice, but they have been extremely influential in the pedagogy of literature; and it is generally said about other writers, such as Leavis, 26 Hugh Bredin27 Empson, and Brooks, that they have reinforced this influence. Practical criticism, as a teaching device, means the close and attentive reading of literary texts, usually poetry, usually by a small group, under the guidance of a tutor. As an examination method, it means the kind of test originally undergone by Richards's undergraduates. The end result ofthe practice — a result which, presumably, may or may not occur in the examination hall — is alleged to be "an opening up of the poem for what it can really be for us: a unique and fascinating experience, carefully wrought by its maker, and fully available only to those with the patience, as well as the sensibility, to recreate."* Practical Criticism is a most interesting work. The variety and divergence of views on the poems used for the experiment reveal unexpected and musty corners of the human spirit. Richards's diagnosis of the factors which may lead to errors in judgment and understanding is acute. His proposals for remedial action win our approval. What is puzzling, however, is that the result of the experiment should be a cause of surprise or dismay to anyone. What other result could there have been? Richards himselfremarked that "the precise conditions ofthis test are not duplicated in our everyday commerce with literature," and upon "the difficulty of judging verse without a hint as to its provenance."5 Yet he makes no concession to the fact that these conditions, with their attendant difficulty, must bear primary responsibility for the failings displayed by his students. His conviction was that the conditions helped to reveal defects in reading, and not, as seems more likely, that they helped to produce them. Any written text requires a context if it is to be fully understood. This is of course true of spoken language as well; and the extra complexity of poetry makes it especially susceptible to misinterpretation and misjudgment if taken in isolation. The first thing that any competent teacher will do with a poem is to provide a context — a period, a chronology, a social, political, religious, and intellectual background, a body of similar and contrasting works, works by the same and by related authors, linguistic and stylistic conventions, the relevant conceptions ofart and literature and their role in the world — all of this, and more. He will take it for granted that, as the student grows more deeply familiar with context, a context which... (shrink)

C. L. Hardin has argued that the colour opponency of the vision system leads to chromatic subjectivism: chromatic sensory states reduce to neurophysiological states. Much of the force of Hardin's argument derives from a critique of chromatic objectivism. On this view chromatic sensory states are held to reduce to an external property. While I agree with Hardin's critique of objectivism it is far from clear that the problems which beset objectivism do not apply to the subjectivist position as well. I (...) develop a critique of subjectivism that parallels Hardin's anti-objectivist argument. (shrink)

In contemporary literary culture there is a widespread belief that ironies and paradoxes are closely akin. This is due to the importance that is given to the use of language in contemporary estimations of literature. Ironies and paradoxes seem to embody the sorts of a linguistic rebellion, innovation, deviation, and play, that have throughout this century become the dominant criteria of literary value. The association of irony with paradox, and of both with literature, is often ascribed to the New Criticism, (...) and more specifically to Cleanth Brooks. Brooks, however, used the two terms in a manner that was unconventional, even eccentric, and that differed significantly from their use in figurative theory. I therefore examine irony and paradox as verbal figures, noting their characteristic features and criteria, and, in particular, how they differ from one another. I argue that irony and paradox — as understood by Brooks — have important affinities with irony and paradox as figures, but that they must be regarded as quite distinct, both in figurative theory and in Brooks’ extended sense. (shrink)

The subtitle of this book, Philosophie du faire, suggests both its Thomistic inclinations and the approach adopted to the problems of aesthetics. Professor Philippe is more than ready to distinguish between the fine arts and the useful arts, but only as modes of the activity of ‘making’.

Original essays by leading philosophers of science explore the question of whether metaphysics can and should be naturalized--conducted as part of natural science.

C. L. Hardin has argued that the colour opponency of the vision system leads to chromatic subjectivism: chromatic sensory states reduce to neurophysiological states. Much of the force of Hardin's argument derives from a critique of chromatic objectivism. On this view chromatic sensory states are held to reduce to an external property. While I agree with Hardin's critique of objectivism it is far from clear that the problems which beset objectivism do not apply to the subjectivist position as well. I (...) develop a critique of subjectivism that parallels Hardin's antiobjectivist argument. (shrink)

It is widely believed that Hume often wrote carelessly and contradicted himself, and that no unified, sound philosophy emerges from his writings. Don Garrett demonstrates that such criticisms of Hume are without basis. Offering fresh and trenchant solutions to longstanding problems in Hume studies, Garrett's penetrating analysis also makes clear the continuing relevance of Hume's philosophy.

This was the book which first garnered international celebrity and notoriety for its author, and which fire-started a debate about the supernatural claims of Christianity. Rejecting Christian doctrines and metaphysics in favour of the religious consciousness which characterises human identity, Cupitt 'takes leave' of God by abandoning objective theism. Whatever one thinks of the author's views, and of the non-realist beliefs he has been seen to champion, Taking Leave of God remains an essential work, and one of the most controversial (...) theological interventions of its age. (shrink)

In many ways, Benedict (Baruch) de Spinoza appears to be a contradictory figure in the history of philosophy. From the beginning, he has been notorious as an "atheist" who seeks to substitute Nature for a personal deity; yet he was also, in Novalis's famous description, "the God-intoxicated man." He was an uncompromising necessitarian and causal determinist; yet his ethical ideal was to become a "free man." He maintained that the human mind and the human body are identical; yet he also (...) insisted that the human mind can achieve a kind of eternality that transcends the death of the body. He has been adopted by Marxists as a precursor of historical materialism, and by Hegelians as a precursor of absolute idealism. He was a psychological egoist, proclaiming that all individuals necessarily seek their own advantage and implying that other individuals were of value to him only insofar as they were useful to him; yet his writings aimed to promote human community based on love and friendship, he had many devoted friends, and even his critics were obliged to acknowledge that his personal conduct was above reproach. He held that the state has the right to do whatever it has the power to do, while at the same time he defended democracy and freedom of speech. He denied supernatural revelation and criticized popular religion as a grave danger to the peace and stability of the state; yet he devoted himself to the careful interpretation of scripture and argued for toleration and freedom of religion. Rarely employing figures of speech or rhetorical flourishes of any kind, his works are nevertheless among the most magisterial and uplifting of all philosophical writings, and they have inspired more poets and novelists than those of any other philosopher of the early modern period. (shrink)

For Socrates, philosophy is not like Christian conversion from error to truth, but rather it is like the pagan process whereby a young man is initiated into cult mysteries by a more experienced man - the mystagogos - who prepares him and leads him to the sacred precinct. In Greek cult religion, the mystagogos prepared the initiate for the esoteric mysteries revealed by the hierophant. Socrates treats traditional wisdom with scepticism, and this makes him appear ridiculous or dangerous in the (...) eyes of cultural conservatives. Nevertheless, his scepticism is not radical: custom is not something on which we must turn our backs if we are to pursue the truth. Socrates assumes an epistemology and employs a method by which he induces his companions to begin the critical and self-critical process of philosophical inquiry, not ignoring conventional wisdom, but thinking through and reinterpreting it as they make constructive progress towards the truth. He provides conclusive and convincing arguments in support of controversial answers to some of the most important moral questions he poses. (shrink)

A thorough historical survey of philosophies of the arts.