This investigation explores the methodological implications of choosing an unusual example for phenomenological description (here, a bodily awareness practice allowing spontaneous bodily shifts to occur at the leading edge of the living present); for example, the matters themselves are not pregiven, but must first be brought into view. Only after preliminary clarifications not only of the practice concerned, but also of the very notions of the “body” and of “protentionality” is it possible to provide both static and genetic descriptions of (...) the phenomena in question, leading to concluding meditations on the differences between an “integrating” consciousness engaged in a project of knowing and an “improvisational” consciousness open to radical transformation. In the end, however, the Urzeitigung in which what is protended is simply “more time” holds good as the invariant governing the deep structure of both of these styles of consciousness. (shrink)

Two recent works in phenomenology of space address unusual themes. Ballanfat’s L’espace vide is concerned with a primal spatialization yielding an Open that is irreducible to a three-dimensional container for objects, while DuFour’s Husserl and Spatiality describes a layered space of ritual whose sensuous immediacy is infused with intercorporeal, interaffective, inter­generational, and geo-historical moments. Both books demonstrate that the phenomenological tradition can deal with complex topics and unfamiliar styles of experience, and both indicate the ethical import of their findings.

This paper thematizes the operative kinaesthetic style of world-experiencing life by turning to the ongoing how of our habitual bodily comportment: to our deeply sedimented way(s) of making a body; to schematic inner vectors or tendencies toward movement that persist as bodily ghost gestures even if one is not making the larger, visible gestures they imply; and to inadvertent isometrics, i.e., persisting patterns of trying, bracing, freezing, etc. All such micromovements witness to our sociality insofar as they are not only (...) socially shaped, but perpetuate certain styles of intercorporeal interaction and sustain certain modes of responsivity. Reactivating the sediment -- retrieving the tacit choreography of everyday life from its anonymity and sensing our ongoing ways of living out the legacy of our communal body -- not only allows one''s individual bodily style to shift, but can open new possibilities for healthy interkinaesthetic comportment. Such work can thus contribute to an embodied ethics in both theory and practice. (shrink)

After introducing the new field of cultural evolution, we review a growing body of empirical evidence suggesting that culture shapes what people attend to, perceive and remember as well as how they think, feel and reason. Focusing on perception, spatial navigation, mentalizing, thinking styles, reasoning (epistemic norms) and language, we discuss not only important variation in these domains, but emphasize that most researchers (including philosophers) and research participants are psychologically peculiar within a global and historical context. This rising tide (...) of evidence recommends caution in relying on one’s intuitions or even in generalizing from reliable psychological findings to the species, Homo sapiens. Our evolutionary approach suggests that humans have evolved a suite of reliably developing cognitive abilities that adapt our minds, information-processing abilities and emotions ontogenetically to the diverse culturally-constructed worlds we confront. (shrink)

The Metaphysics of Experience styles itself as "a Sherpa guide to Process and Reality, whose function is to assist the serious reader in grasping the meaning of the text and to prevent falls into misinterpretation." Although originally published in 1925, Process and Reality has perhaps even more relevance to the contemporary scene in physics, biology, psychology, and the social sciences than it had in the mid-twenties. Hence its internal difficulty, its quasi-inaccessibility, is all the more tragic, since, unlike most (...) metaphysical endeavors, it is capable of interpretating and unifying theories in the above sciences in terms of an organic world view, instead of selecting one theory as the paradigm and reducing all others to it. Because Alfred North Whitehead is so crucial to modern philosophy, The Metaphysics of Experience plays an important role in making Process and Reality accessible to a wider readership. (shrink)

This report outlines the findings from a Delphi study designed to establish consensus on the definitions of cognitive style and learning style amongst an international style researcher community. The study yields long-needed definitions for each construct that reflect high levels of agreement. In a field that has been criticised for a bewildering array of definitions and a proliferation of terms and concepts, this study represents an important step to address confusion in the meaning of the two terms. New researchers interested (...) in styles are encouraged to draw on these definitions when developing new research agendas aimed at deepening our understanding of style as a core construct in educational psychology. (shrink)

Georg Simmel has long been appreciated as a major theorist of the arts in society, as well as of aesthetic phenomena in general in social life. Yet Simmel’s essays in the area have remained dispersed for many years across the disparate parts of his corpus and have not been easy to survey in their full thematic cohesion and interconnection. This symposium article reflects on Austin Harrington’s comprehensive anthology of these writings in English, published in 2020, which assembles virtually all the (...) relevant titles – many of them appearing in English for the first time. Among the central topics of discussion are Simmel’s fluid style of theorizing, his thinking about representation, reality and modernity in art, his relationships to philosophers and artistic personalities, and his legacy for the present. (shrink)

What is the proper role of politics in higher education? Many policies and reforms in the academy, from affirmative action and a multicultural curriculum to racial and sexual harassment codes and movements to change pedagogical styles, seek justice for oppressed groups in society. They understand justice to require a comprehensive equality of membership: individuals belonging to different groups should have equal access to educational opportunities; their interests and cultures should be taken equally seriously as worthy subjects of study, their (...) persons treated with equal respect and concern in communicative interaction. Conservative critics of these egalitarian movements represent them as dangerous political meddling into the disinterested pursuit of knowledge. They cast the pursuit of equality as a threat to freedom of speech and academic standards. In response, some radical advocates of such programs agree that the quest for equality clashes with free speech, but view this as an argument for sacrificing freedom of speech. (shrink)

This paper is aimed at identifying how a model’s explanatory power is constructed and identified, particularly in the practice of template-based modeling (Humphreys, Philos Sci 69:1–11, 2002; Extending ourselves: computational science, empiricism, and scientific method, 2004), and what kinds of explanations models constructed in this way can provide. In particular, this paper offers an account of non-causal structural explanation that forms an alternative to causal–mechanical accounts of model explanation that are currently popular in philosophy of biology and cognitive science. Clearly, (...) defences of non-causal explanation are far from new (e.g. Batterman, Br J Philos Sci 53:21–38, 2002a; The devil in the details: asymptotic reasoning in explanation, reduction, and emergence, 2002b; Pincock, Noûs 41:253–275, 2007; Mathematics and scientific representation 2012; Rice, Noûs. doi:10.1111/nous.12042, 2013; Biol Philos 27:685–703, 2012), so the targets here are focused on a particular type of robust phenomenon and how strong invariance to interventions can block a range of causal explanations. By focusing on a common form of model construction, the paper also ties functional or computational style explanations found in cognitive science and biology more firmly with explanatory practices across model-based science in general. (shrink)

Feminist epistemology and philosophy of science studies the ways in which gender does and ought to influence our conceptions of knowledge, the knowing subject, and practices of inquiry and justification. It identifies ways in which dominant conceptions and practices of knowledge attribution, acquisition, and justification systematically disadvantage women and other subordinated groups, and strives to reform these conceptions and practices so that they serve the interests of these groups. Various practitioners of feminist epistemology and philosophy of science argue that dominant (...) knowledge practices disadvantage women by (1) excluding them from inquiry, (2) denying them epistemic authority, (3) denigrating their “feminine” cognitive styles and modes of knowledge, (4) producing theories of women that represent them as inferior, deviant, or significant only in the ways they serve male interests, (5) producing theories of social phenomena that render women's activities and interests, or gendered power relations, invisible, and (6) producing knowledge (science and technology) that is not useful for people in subordinate positions, or that reinforces gender and other social hierarchies. Feminist epistemologists trace these failures to flawed conceptions of knowledge, knowers, objectivity, and scientific methodology. They offer diverse accounts of how to overcome these failures. They also aim to (1) explain why the entry of women and feminist scholars into different academic disciplines, especially in biology and the social sciences, has generated new questions, theories, and methods, (2) show how gender has played a.. (shrink)

Undergraduate Research can be defined as an investigation into a specific topic within a discipline by an undergraduate student that makes an original contribution to the field. It has become a major consideration among research universities around the world, in order to advance both academic teaching and research productivity. Edited by an international team of world authorities in UR, this Handbook is the first truly comprehensive and systematic account of undergraduate research, which brings together different international approaches, with attention to (...) both theory and practice. It is split into sections covering different countries, disciplines, and methodologies. It also provides an overview of current research and theoretical perspectives on undergraduate research as well as future developmental prospects of UR. Written in an engaging style, yet wide-ranging in its scope, it is essential reading for anyone wishing to broaden their understanding of how undergraduate research is implemented worldwide. (shrink)

John Constable is one of England’s best-known landscape painters and greatest artists. While few will object to this statement, what it means will depend on when it was made. In the 150 years since his death in 1837, the terms of Constable’s greatness have shifted several times. In the nineteenth century his scenes of the Stour Valley in Suffolk were valued as images of a particularly English countryside: the placid river with its locks and barges, great overhanging trees, and distant (...) green water-meadows beneath massive cloudy skies. In this century, though the popular conviction of his Englishness persists, Constable is better known as “The Natural Painter.”1 As modernism rewrote the history of art, Constable was rediscovered as the man who excited Eugène Delacroix and other French artists in the 1820s: the natural painter whose freedom of technique, color, and chiaroscuro suggested a new way of representing the truth of landscape. The happy accident of his reception in France in the 1820s anchors English claims to participate in the development of an international style that moves through impressionism toward the more purely painterly and formal values of modernism. This Constable probably still dominates contemporary critical discussions of his work: the truthful student of nature who is also a painter’s painter.2 There is more than a little chauvinism in this view of Constable, but it is the national feeling of a less confident age, always looking over its shoulder to other countries like France. 1. This is the title of Graham Reynolds’ seminal book, Constable, the Natural Painter .2. See, for example, Malcolm Cormack’s recent book, Constable ; hereafter abbreviated C. Elizabeth Helsinger is professor of English at the University of Chicago and coeditor of Critical Inquiry. Her Ruskin and the Art of the Beholder was published in 1982. This essay is part of a book in progress on representations of the rural scene in Victorian England. (shrink)

Baudelaire's response to Delacroix's art and theories provides a particularly fruitful focus for a study of the new rapport between the former sister arts. There is little similarity between Delacroix's action-filled exotic subjects and Baudelaire's more intimate and private poetry; their arts must therefore be related in some domain apart from content. We are aided in deciphering this domain by Baudelaire's extensive commentary on Delacroix. Moreover, perhaps because of its subtlety, the relationship between these arts has not received the attention (...) it deserves.1 Yet no sooner is the possibility for such a study recognized than the problems it entails become apparent. Without the focus of common subjects, where does one begin? The dangers of impressionistic comparisons of study are readily apparent in the tendency of Geistesgeschichte studies to transfer stylistic terms from one art form to another, creating such bizarre transpositions as "the visible chamber music of the bent furniture" or the "Titian style of the madrigal" in Spengler's Decline of the West or Wylie Sypher's suggestion that a Shakespearean play is like a Renaissance painting because it makes use of "perspective" to create a real and believable world.2 And indeed it would be misleading to look for particular stylistic similarities between Delacroix and Baudelaire. Delacroix's dissolution of solid color masses into separate strokes of different colors, for example, would appear to be closer to Rimbaud's disjointed language than to Baudelaire's carefully interwoven sentences. Only by viewing the two art forms as interconnected systems can we determine their relationship. If the new affiliation of poetry and painting in the Romantic period derives from the expression of imaginative unity, a critical approach to their relationship must be attuned to different ways of expressing unity. The theoretical framework that accounts most completely for the kind of relationship existing between Delacroix and Baudelaire is provided by the structuralists, although, as we shall see, even this approach has limitations. · 1. There are several studies of Baudelaire's aesthetics and criticism, such as André Ferran's L'Esthétique de Baudelaire , Margaret Gilman's Baudelaire the Critic , and Jean Prévost's Baudelaire: essai sur l'inspiration et la création poétiques , which contain sections on the influence of Delacroix but do not extend their analysis into Baudelaire's poetry as a whole. More specific works, such as Lucie Horner's Baudelaire critique de Delacroix , provides a detailed study of their relationship based on their correspondence and references to one another, but no analysis of the relationship between their two art forms. Some studies of Baudelaire's poetry, such as Lloyd James Austin's L'Univers poétique de Baudelaire: symbolisme et symbolique and Martin Turnell's Baudelaire: A Study of His Poetry , point out aspects of Baudelaire's poems that appear relevant to the relationship with Delacroix, but they do not make these connections themselves. Most commentary on the relationship of Delacroix to Baudelaire's poetry is limited to those few poems that Baudelaire wrote on Delacroix's paintings.· 2. Wellek and Warren quote the comments on Spengler in Theory of Literature, p. 131. Sypher's comments are in Four Ages of Renaissance Style: Transformations in Art and Literature 1400-1700 , pp. 79-80. Elizabeth Abel is an assistant professor of English at the University of Chicago. A coeditor of Critical Inquiry, she is currently writing a book on literary and psychoanalytic representation of female identity. (shrink)

Feminist perspectives have been increasingly influential on philosophy of science. Feminism and Philosophy of Science is designed to introduce the newcomer to the central themes, issues and arguments of this burgeoning area of study. Elizabeth Potter engages in a rigorous and well-organized study that takes in the views of key feminist theorists - Nelson, Wylie, Anderson, Longino and Harding - whose arguments exemplify contemporary feminist philosophy of science. The book is divided into six chapters looking at important themes: naturalized (...) feminist empiricism feminist value theory feminist conceptual empiricism standpoint epistemologies of science value-free science Arranged thematically, F eminism and Philosophy of Science looks at the spectrum of views that have arisen in the debate, and unpicks the arguments on key topics such as value-free science, values, objectivity, point of view and relativism. It assumes no previous knowledge of the subject, and is written in an accessible, student-friendly style. It will be an important read for students of philosophy, philosophy of science, gender studies and feminist studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Main Street as Art Museum:Metaphor and Teaching StrategiesElizabeth (Beau) Vallance (bio)In truth, walking down Main Street in many American small towns today is rather like walking through an art museum whose walls have mysterious gaps where paintings have been removed for cleaning. Maybe more accurately, walking down Main Street can be rather like walking through the Isabella Stewart Gardner Museum in Boston after a Vermeer, two Rembrandts, and eleven (...) other artworks were stolen in 1990: since the Gardner's charter does not allow it to rearrange its holdings, the resulting gaps remained with only explanatory notes in their too-large spaces on my last visit there. A town I know well has a disturbing number of empty storefronts, identified with only the faint outlines of their former names, their windows holding explanatory notes in the form of signs proclaiming that they are for sale or rent. Thanks to Wal-Mart and other big-box stores thriving in a distinctly nonpedestrian strip north of town, the commerce that once thrived on Main Street has died or been removed to new locations, and the once-lively street-level shop windows that testified to downtown liveliness for foot traffic are now empty, awaiting new life as, very likely, antique shops or restaurants.But in principle, a walk down Main Street can be very much like a stroll through a museum gallery—visually rich, inviting unexpected choices, aesthetically rewarding. This article explores the concept of shop windows as visually ordered compositions much like paintings and other art objects and suggests some approaches to applying this concept in teaching a range of subjects and styles of art in both classrooms and actual museums. For the purposes of argument, we will assume that our mythical Main Street is alive [End Page 25] with businesses of many kinds, with the old-fashioned windows open to the street that allow us to "window shop" for many blocks. Some of my examples are drawn from the very enjoyable experience they still offer, of wandering from image to image, commenting as we go.Museum Visitors as Window-ShoppersConsider the behavior of the average museum visitor, a composite characterization drawn from my years as a museum educator and augmented by a few statistics on how people comport themselves in museums and other public places. The behavior of visitors in art museums is an especially clear case of how people observe deliberate compositions, for in art museums objects are typically arranged fairly sparely, with minimal crowding of the objects themselves, small labels that may or may not explain much about the painting or sculpture or silver tureen, good lighting, and a fairly hushed atmosphere, unless a crowd has gathered for a family festival or a major exhibition.Generally, people come to museums in pairs or small groups and not necessarily with a clear plan beyond perhaps seeing a particular favorite work of art or generally catching the highlights of the collection. Their purpose may be social as much as specifically educational, and those who come with companions tend to chat a bit as they walk through the collection. Generally, other things being equal, they turn to the right on entering the building.1 After that, however, visitors become unpredictable, and they meander among the objects in ways the museum cannot control unless visitors are following a live tour guide or a printed self-guiding tour that recommends stopping at selected objects in a predetermined order. Visitors may move to a large object located in the center of the gallery (such as a medieval suit of armor, an Egyptian mummy case, or an enormous painting on a freestanding wall partition), or to a case filled with many small precious-looking objects (such as pre-Columbian gold jewelry from Peru, or the tiny bass sculptures that are gold weights from the Ashanti culture in Ghana). They may be drawn to something in a familiar style, such as a large Impressionist painting or a Rembrandt-looking portrait. They may gravitate to a favorite object in the collection, or they may be attracted by a new acquisition or a work recently installed after many years in storage. At all these stops, they... (shrink)

Interpreting the letters characterized as written by Alice Alington and Margaret Roper in 1534 has proved perplexing since their first publication, when the editor wrote, “It is not certainly known” whether Thomas More or Roper wrote the letter to Alington. Did Roper, More, or both write it? This study looks at both letters from a variety of perspectives, pointing out many reasons that complicate reading them before focusing on the personal and political circumstances, the structural knot of wise/foolish, and the (...) writing styles of father and daughter, including an analysis of Roper's known writing, characteristically empathic. It agrees that More was the chief writer, but that Roper might well have written some, though not all, of her speeches, and that she was involved in their discussions and as More's personal representative. Finally, it suggests both letters constitute a mini-dialogue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nomadic Turns:Epistemology, Experience, and Women University Band DirectorsElizabeth GouldMusic education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.1 Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.2 At the (...) postsecondary level in the U.S., women constitute less than 10%.3 In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.In terms of women university band directors, researchers have investigated employment trends,4 personal and occupational characteristics,5 occupational role models, and professional identity.6 Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies7 demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,8 their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities9 of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,10 is central.Postmodern/Feminist AnalysisDescribed variously as a "philosophical perspective,"11 a "sensibility,"12 and a historical moment,13 postmodernism resists definition. It may be understood as a way of perceiving the world that accepts and even embraces contradictions and uncertainties while rejecting commonly accepted cultural beliefs and practices, including humanist understandings of identity, representation, and the subject. This is a "postmodernism of resistance"14 that interrogates cultural practices, focusing on what is unexpected, marginalized, and silenced, opening spaces for change. In contrast, analysis based on modernism is constrained by binary oppositions that inscribe the positionalities of social groups. These oppositions are exemplified by Subject/Other (for example, male/female, reason/emotion) and consist of asymmetrical power relations in which the former is privileged over the latter, and the latter is defined in terms of not-the former. Postmodern analysis [End Page 148] reveals what these dualisms exclude, distort, or obscure, and provides flexibility for research from a variety of perspectives. Braidotti describes it as a "new kind of theoretical style"15 in terms of thinking, design, and analysis of research, a style... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nomadic Turns:Epistemology, Experience, and Women University Band DirectorsElizabeth GouldMusic education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.1 Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.2 At the (...) postsecondary level in the U.S., women constitute less than 10%.3 In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.In terms of women university band directors, researchers have investigated employment trends,4 personal and occupational characteristics,5 occupational role models, and professional identity.6 Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies7 demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,8 their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities9 of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,10 is central.Postmodern/Feminist AnalysisDescribed variously as a "philosophical perspective,"11 a "sensibility,"12 and a historical moment,13 postmodernism resists definition. It may be understood as a way of perceiving the world that accepts and even embraces contradictions and uncertainties while rejecting commonly accepted cultural beliefs and practices, including humanist understandings of identity, representation, and the subject. This is a "postmodernism of resistance"14 that interrogates cultural practices, focusing on what is unexpected, marginalized, and silenced, opening spaces for change. In contrast, analysis based on modernism is constrained by binary oppositions that inscribe the positionalities of social groups. These oppositions are exemplified by Subject/Other (for example, male/female, reason/emotion) and consist of asymmetrical power relations in which the former is privileged over the latter, and the latter is defined in terms of not-the former. Postmodern analysis [End Page 148] reveals what these dualisms exclude, distort, or obscure, and provides flexibility for research from a variety of perspectives. Braidotti describes it as a "new kind of theoretical style"15 in terms of thinking, design, and analysis of research, a style... (shrink)

This paper seeks to discern the Kierkegaardian echoes present in the writings of the French philosopher Jean-François Lyotard. While these thinkers share a number of commonalities such as their resistance to categorisation and their imaginative and complex writing styles, Lyotard’s engagement with Kierkegaard has been largely dismissed as inconsequential. However, a modest yet consistent device invoked by Lyotard is Kierkegaard’s paradox of faith from Fear and Trembling. While these references to Kierkegaard read as terse blips in Lyotard’s texts, this (...) paper argues that the Kierkegaardian echoes that can be heard in Lyotard’s writings are crucial for a deeper understanding of Lyotard’s ethical turn. Rather than being insignificant, Lyotard’s direct as well as second-hand engagement with Kierkegaard has profound effects on his philosophy of the differend. By exploring Lyotard’s enigmatic, yet brief appeals to the paradox of faith, this paper shows that Lyotard strikes a chord with Kierkegaard by using the paradox of faith as an intertextual reference to a critique of Hegelian mediation and for discussing the ethical dilemmas inherent to one of the most shocking and incomprehensible events of the twentieth century, Auschwitz. (shrink)

This paper is concerned with the deployment and the transformation of Gramsci’s notion of hegemony and the purpose it serves. I argue that, in its travel from Rome to London, this notion acquired something like a truth-value. In London the notion yielded what I call ‘hegemony thinking’: a distinctive style of thinking that focused on strategy to carry out effective political interventions. To demonstrate my claim I trace the Marxism Today discussion on the crisis of the Left and strategy in (...) the UK. In particular, I look at the engagements of the late historian Eric Hobsbawm and the cultural theorist Stuart Hall with Gramsci’s work, and examine the appropriation of the coordinates of hegemony by the entrepreneur and Blair policy advisor Geoff Mulgan. (shrink)

It is widely known that one of the projects that was most preoccupying the late, and much regretted, Alexander Kazhdan in his latter years was a study of Byzantine literature that would bring this field into the modern era. For far too long Byzantine literature, he asserted, had been encased in the strait-jacket imposed by Krumbacher's magisterial Geschichte. Byzantinists were constrained by a Handbuch mentality whose bonds had been confirmed by the three volumes that replaced Krumbacher's single tome: Beck on (...) ‘Theologische Literatur’ and ‘Volksliteratur’ and Hunger on high-style secular literature. However humane the tone might appear at times in these reference works (Hunger's contributions being particularly noteworthy), nothing could disguise the fact that these books were taxonomic catalogues. Byzantium's literary output was categorised by genre, genres largely imposed by modern historians and not necessarily recognisable to any Byzantine: authors were disposed under a series of at times arbitrary divisions and it was virtually impossible to have a sense of any individual's total output; Psellos was perhaps the most notoriously splintered example. Furthermore, the content of these catalogues was resolutely pragmatic: names, dates, works, editions, contents. Qualitative assessments were eschewed, there was little interpretation of literary movements. (shrink)

Why, after fifty years of fossil fuelled “brown growth” and steadfast refusal to join international agreements on carbon reduction did South Korea prioritize “green growth” as an overarching national initiative in 2008? Our principal aim is to explain Korea’s ambitious pursuit of GG since that time. We argue that Korean-style environmentalism is best understood as an extension of the long-held philosophy of developmentalism amongst the policy-making elite. We first examine the origins and specify the central tenets of this new philosophy (...) that we term developmental environmentalism. We then discuss the motivations that led the policymakers to embrace developmental environmentalism, and the means by which GG was translated into swift and sustained policy action. While the empirical focus of this article is Korea, we conclude by tentatively proposing an analytical framework that might explain why some countries are more likely than others to initiate a sustained shift towards GG. (shrink)

This paper examines how Charlotte Brontë's belief in phrenology influences the narration of her novel Jane Eyre. Phrenology was a nineteenth-century belief that the shape of the skull could give information about a person's temperament. Phrenologists speculated that the brain was split into separate parts, or faculties, that defined the individual's ability to feel a particular emotion. A bump on the skull implied that the faculty underneath that part of the skull was bigger, so the individual was more inclined to (...) feel that emotion. By placing Jane Eyre within the historical context of the rise of phrenology, I explore the ways in which Brontë's phrenological representation of Jane's mind informs and parallels the autodiegetic narration of Jane Eyre. My analysis focuses on moments when Jane draws attention to the fact that she is a first-person narrator telling the story of her own past experiences. I argue that these moments are comparable to those when Jane’s experiencing-self is fractured into phrenological faculties. Concomitantly, I seek to trace how Jane's narration changes as she moves between the locations of Thornfield, the Moor House, and Ferndean. I suggest that the shifts in narration draw attention to these locations as metaphors for varying degrees of restriction on Jane's faculties. Through an application of nineteenth-century psychological studies, I conclude that Brontë uses her narration style to criticize phrenologists who promote an unnaturally restrictive control of the faculties. (shrink)

Spatial experience in childhood is a factor in the development of spatial abilities. In this study, we assessed whether American and Faroese participants’ (N = 246, Mage = 19.31 years, 151 females) early spatial experience and adult spatial outcomes differed by gender and culture, and if early experience was related to adult performance and behavior. Participants completed retrospective reports on their childhood spatial experience, both large-scale (permitted childhood range size) and small-scale (Lego play). They also completed assessments of their current (...) large-scale spatial behavior (navigational strategy) and small-scale ability (mental rotation task, MRT). We replicated earlier results showing better MRT performance among males and more reliance by males on orientation navigational strategies, although males and females reported similar ranges as children. However, there were cross-cultural differences, with Faroese having larger childhood ranges, less reliance on route strategies, better MRT scores, and a smaller gender difference in MRT. Larger permitted childhood ranges were associated with reduced use of route strategies for navigation in adulthood, and greater Lego play in childhood predicted better MRT performance as adults. There was also some evidence supporting relationships across spatial scales, with more Lego play predicting an orientation style of navigation and larger childhood ranges predicting better performance on the MRT, although the latter was not independent of country. In sum, we observed an association in both cultures between large-scale childhood experience and large-scale behavior in adulthood, small-scale experience in childhood and adult small-scale performance, and some associations between experience and behavior across spatial scales. (shrink)

This book documents the impact of Stephen Harris’s works in Aboriginal education, Aboriginal learning styles, domains of language use and bilingual-bicultural education. It provides a summary and critique of Stephen Harris's key ideas, particularly those on bilingual-bicultural education. This book also profiles the man, his background, his beliefs and talents. It showcases contributions and personal reflections from Stephen’s family, wife, close colleagues, and many of those influenced by his work. This festschrift explores the professional life and work of Stephen (...) Harris as an educator and anthropologist who worked in the Northern Territory of Australia. (shrink)

Elizabeth Anscombe was one of the most gifted and productive philosophers of the decades following the Second World War. Her writings present challenges to readers: some of them are very difficult to comprehend while others seem philosophically-minded yet situated outside of philosophy as such. There are also the issues of whether she had a philosophical method and of the influence of Wittgenstein on the manner of her approach. A summary and estimate of Anscombe’s enduring contributions is presented before exploring (...) the style and aims of her philosophical work. Then two of her writings on religion are examined and their implications for her attitude to philosophy considered. (shrink)

Global supply chains often distribute value inequitably among the Global North and South. This perpetuates poverty and contributes to indecent work in raw material-producing countries, thus creating challenges to sustainable development. For decades, corporate social responsibility, social entrepreneurship, and sustainable business model innovations have aimed to distribute value more equitably across global value chains, for instance via fair trade, alternative trade, and direct trade. This article examines a novel and hitherto understudied innovation for equitable value distribution in global supply chains: (...) “value chain profit sharing.” We draw on interview and archival data from two cases of social entrepreneurs working in the coffee sector to develop a generalized model. One of the model's key features is that the entrepreneur pays suppliers in multiple installments that reflect market conditions (as opposed to a single lump sum based on prediction). We show how this can increase value creation, appropriation, and equitable distribution. Although our research suggests that this model may be highly contingent on leaders' skills, resources, sense of place, and accountability to suppliers, we find no evidence that its applications are limited to specific countries or sectors. Our research further extends extant theory by showing how “value chain profit sharing” may relieve some of the tensions often associated with sustainable business models, including distributing value to suppliers while maintaining financial solvency; creating value while pursuing a social mission; providing benefits to suppliers without curtailing their market opportunities; responding to market conditions while maintaining commitments to suppliers; and scaling without diluting benefits. It thereby contributes to the literatures on sustainable business model innovations, equitable value distribution in global supply chains, novel application of revenue-sharing contracts, and innovative methods of profit sharing. It furthermore provides actionable guidance for social entrepreneurs, corporate social responsibility practitioners, and supplier cooperatives aiming to achieve more equitable value distribution and sustainable supply chains. (shrink)

The risk of executing innocent persons is a decisive objection to the institution of capital punishment in the United States. Consequentialist arguments for the death penalty are inconclusive at best; the strongest justification is a retributive one. However, this argument is seriously undercut if a significant risk of executing the innocent exists. Any criminal justice system carries the risk of punishing innocent persons, but the punishment of death is unique and requires greater precautions. Retributive justifications for the death penalty are (...) grounded in respect for innocent victims of homicide; but accepting serious risks of mistaken executions demonstrates disrespect for innocent human life. United States Supreme Court decisions of the 1990’s illustrate the existence of serious risk and suggest some explanations for it. (shrink)

Grosz gives a critical overview of Lacan's work from a feminist perspective. Discussing previous attempts to give a feminist reading of his work, she argues for women's autonomy based on an indifference to the Lacanian phallus.

Face perception, perhaps the most highly developed visual skill in humans, is mediated by a distributed neural system in humans that is comprised of multiple, bilateral regions. We propose a model for the organization of this system that emphasizes a distinction between the representation of invariant and changeable aspects of faces. The representation of invariant aspects of faces underlies the recognition of individuals, whereas the representation of changeable aspects of faces, such as eye gaze, expression, and lip movement, underlies the (...) perception of information that facilitates social communication. The model is also hierarchical insofar as it is divided into a core system and an extended system. The core system is comprised of occipitotemporal regions in extrastriate visual cortex that mediate the visual analysis of faces. In the core system, the representation of invariant aspects is mediated more by the face-responsive region in the fusiform gyrus, whereas the representation of changeable aspects is mediated more by the face-responsive region in the superior temporal sulcus. The extended system is comprised of regions from neural systems for other cognitive functions that can be recruited to act in concert with the regions in the core system to extract meaning from faces. (shrink)

Marking a ground-breaking moment in the debate surrounding bodies and "body politics," Elizabeth Grosz's Space, Time and Perversion contends that only by resituating and rethinking the body will feminism and cultural analysis effect and unsettle the knowledges, disciplines and institutions which have controlled, regulated and managed the body both ideologically and materially. Exploring the fields of architecture, philosophy, and--in a controversial way--queer theory, Grosz shows how these fields have conceptually stripped bodies of their specificity, their corporeality, and the vestigal (...) traces of their production as bodies. Her tour de corpe investigates the work of Michel Foucault, Teresa de Lauretis, Gilles Deleuze, Judith Butler and Alphonso Lingis. Grosz considers their work by examining the ways in which the functioning of bodies transforms understandings of space and time, knowledge and desire. Begining with an exposition of the epistemological implications of bodily and sexual difference, Grosz examines the effects such knowledge have on the reception of meaning. She looks at the relationship between the knowledge of difference and the way that knowledge validates, affirms, avows and valorizes subjects. Grosz then extends this analysis to an investigation of the relationship between space, time, bodies and the spatial "arts" such as architecuture, urban planning and geography. In the last section, Grosz moves toward a radical consideration of bodies and their relationship to transgression and perversity. Controversially showing the ways in which "queer" theory fails to offer a truly transformative conception of bodies and their politics, Grosz finds "queer" a reactive category "which sees itself in opposition to a straight norm and thus defines itself in terms of this norm." Consequentially, "queer" theory inherits the acceptance of an entire range of sexual practices, without "asking what they share and without taking into account the profound tension that may exist among these practices." Grosz's Space, Time and Perversity is a diverse and incisive collection of essays from a renowned feminist philosopher. (shrink)

A new resolution of the mind-body problem that reconciles materialism and idealism.

Introduction: Depression, biology, aggression -- Underbelly -- The biological unconscious -- Bitter melancholy -- Chemical transference -- The bastard placebo -- The pharmakology of depression.

Though emotion conveys memory benefits, it does not enhance memory equally for all aspects of an experience, nor for all types of emotional events. In this review, I outline the behavioral evidence for arousal's focal enhancements of memory and describe the neural processes that may support those focal enhancements. I also present behavioral evidence to suggest that these focal enhancements occur more often for negative experiences than for positive ones. This result appears to arise because of valence-dependent effects on the (...) neural processes recruited during episodic encoding and retrieval, with negative affect associated with increased engagement of sensory processes, and positive affect leading to enhanced recruitment of conceptual processes. (shrink)

Background The opioid epidemic has enabled rapid and unsurpassed use of big data on people with opioid use disorder to design initiatives to battle the public health crisis, generally without adequate input from impacted communities. Efforts informed by big data are saving lives, yielding significant benefits. Uses of big data may also undermine public trust in government and cause other unintended harms. Objectives We aimed to identify concerns and recommendations regarding how to use big data on opioid use in ethical (...) ways. Methods We conducted focus groups and interviews in 2019 with 39 big data stakeholders who had interest in or knowledge of the Public Health Data Warehouse maintained by the Massachusetts Department of Public Health. Results Concerns regarding big data on opioid use are rooted in potential privacy infringements due to linkage of previously distinct data systems, increased profiling and surveillance capabilities, limitless lifespan, and lack of explicit informed consent. Also problematic is the inability of affected groups to control how big data are used, the potential of big data to increase stigmatization and discrimination of those affected despite data anonymization, and uses that ignore or perpetuate biases. Participants support big data processes that protect and respect patients and society, ensure justice, and foster patient and public trust in public institutions. Recommendations for ethical big data governance offer ways to narrow the big data divide, enact shared data governance, cultivate public trust and earn social license for big data uses, and refocus ethical approaches. Conclusions Using big data to address the opioid epidemic poses ethical concerns which, if unaddressed, may undermine its benefits. Findings can inform guidelines on how to conduct ethical big data governance and in ways that protect and respect patients and society, ensure justice, and foster patient and public trust in public institutions. (shrink)

In typical statistical learning studies, researchers define sequences in terms of the probability of the next item in the sequence given the current item (or items), and they show that high probability sequences are treated as more familiar than low probability sequences. Existing accounts of these phenomena all assume that participants represent statistical regularities more or less as they are defined by the experimenters—as sequential probabilities of symbols in a string. Here we offer an alternative, or possibly supplementary, hypothesis. Specifically, (...) rather than identifying or labeling individual stimuli discretely in order to predict the next item in a sequence, we need only assume that the participant is able to represent the stimuli as evincing particular similarity relations to one another, with sequences represented as trajectories through this similarity space. We present experiments in which this hypothesis makes sharply different predictions from hypotheses based on the assumption that sequences are learned over discrete, labeled stimuli. We also present a series of simulation models that encode stimuli as positions in a continuous two‐dimensional space, and predict the next location from the current location. Although no model captures all of the data presented here, the results of three critical experiments are more consistent with the view that participants represent trajectories through similarity space rather than sequences of discrete labels under particular conditions. (shrink)

The vivid, dramatic images of distant stars and galaxies taken by the Hubble Space Telescope have come to define how we visualize the cosmos. In their immediacy and vibrancy, photographs from the Hubble show what future generations of space travelers might see should they venture beyond our solar system. But their brilliant hues and precise details are not simply products of the telescope's unprecedented orbital location and technologically advanced optical system. Rather, they result from a series of deliberate decisions made (...) by the astronomers who convert raw data from the Hubble into spectacular pictures by assigning colors, adjusting contrast, and actively composing the images, balancing the desire for an aesthetically pleasing representation with the need for a scientifically valid one. In Picturing the Cosmos, Elizabeth A. Kessler examines the Hubble's deep space images, highlighting the remarkable resemblance they bear to nineteenth-century paintings and photographs of the American West and their invocation of the visual language of the sublime. Drawing on art history and the history of science, as well as interviews with astronomers who work on the Hubble Heritage Project, Kessler traces the ways that the sublime, with its inherent tension between reason and imagination, not only forms the appearance of the images, but also operates on other levels. The sublime informs the dual expression—numeric and pictorial—of digital data and underpins the relevance of the frontier for a new era of exploration performed by our instruments rather than our bodies. Through their engagement with the sublime the Hubble images are a complex act of translation that encourages an experience of the universe as simultaneously beyond humanity's grasp and within the reach of our knowledge. Strikingly illustrated with full-color images, this book reveals the scientific, aesthetic, and cultural significance of the Hubble pictures, offering a nuanced understanding of how they shape our ideas—and dreams—about the cosmos and our places within it. (shrink)

This book explores the tradition of the 'science of man' in French medicine of the era 1750-1850, focusing on controversies about the nature of the 'physical-moral' relation and their effects on the role of medicine in French society. Its chief purpose is to recover the history of a holistic tradition in French medicine that has been neglected because it lay outside the mainstream themes of modern medicine, which include experimental, reductionist, and localistic conceptions of health and disease. Professor Williams also (...) challenges existing historiography, which argues that the 'anthropological' approach to medicine was a short-term by-product of the leftist politics of the French Revolution. This work argues instead that the medical science of man long outlived the Revolution, that it spanned traditional ideological divisions, and that it reflected the shared aim of French physicians, whatever their politics, to claim broad cultural authority in French society. (shrink)