In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Christian Art of Dying: Learning from Jesus by Allen VerheyMandy Rodgers-GatesThe Christian Art of Dying: Learning from Jesus By Allen Verhey GRAND RAPIDS: WILLIAM B. EERDMANS, 2011. 423 PP. $30.00When Allen Verhey, my former adviser, learned that I would be writing this review, he warned me (with characteristic modesty) that I ought to be careful to critique something about his book, or people might become suspicious. It (...) seems fitting now that this piece is being published after his death, which gives me permission to praise the book without reserve.Over the last few decades, the topic of death and dying has garnered renewed interest among Christian ethicists, and Verhey has been at the center of these conversations. Such conversations have brought into focus the reality that death is not merely the cessation of a life lived well (the “true” subject of ethics) but also that “dying well” is a legitimate subject within ethics. Dying offers unique opportunities for practicing virtues and for loving God, self, and neighbor, and care for the dying and grieving represents an important test of the faithfulness of Christian communities.After beginning with his own assessment of death in the modern West—acknowledging the benefits and triumphs of medicine, along with the pitfalls of medicalized death and the failure of the Church to resist medicalization—Verhey moves to the heart of his book: a retrieval of the Ars Moriendi tradition. Verhey engages a fifteenth-century abridged manual on the art of dying that appeared within the wider genre, one accompanied by wood-block prints (whose images appear alongside Verhey’s text). Placing the little book within its historical context, Verhey describes the view of death presented in it, a “commendacion” of death. He then moves on to the Ars Moriendi’s presentation of temptations faced by the dying person (“Moriens”), the virtues required, and questions, instructions, and prayers for the dying. Along the way, Verhey offers some of his own analysis; but he reserves the bulk of his critique and reformulations for the third section of his book, “Toward a contemporary Ars Moriendi.”Verhey’s articulation of a contemporary Ars Moriendi begins with a “commendacion” of life, in contrast to the medieval commendation of death. He demonstrates how the lens of Jesus’s resurrection serves to illuminate a proper Christian view of death: life is a good—though not the ultimate good—and death and suffering per se ought not to be considered good. At the same time, we need not fear death. Death and suffering are not the greatest evils, and [End Page 191] sometimes they must be risked or accepted “for the sake of God’s cause in the world” (215). Taking its cue from the Ars Moriendi tradition of remembering Jesus, the next chapter traces some of the details of the Passion narratives, including the seven final words of Jesus, and comments on these as they pertain to a modern context of dying. This remembering is then brought to bear on a contemporary retelling of the virtues necessary for dying well—again, relying upon and yet transforming the earlier tradition in nuanced ways. Verhey’s final section, on Christian communities’ care for the dying, includes sustained reflection on the practices of those communities and the resources they offer, focusing particularly on prayer. It offers critiques and additions—for example, recognizing the value of increased silence at funerals, “instead of rushing to fill the silence of death with our words” (348).Verhey’s engagement with the Ars Moriendi literature offers a creative and exemplary use of tradition for a contemporary concern. Our age—one that often refuses to face death—is brought into conversation with another era, when people took their dying seriously. At the same time, Verhey is free with his critique of the tradition and the need to reshape it, primarily on theological grounds. The strength of this book, like all his work, lies in its attention to scripture and its theological nuance and depth. At the same time, he knew and understood people, and that knowledge and pastoral concern are evident throughout. Ultimately, he accomplishes what he expresses in the introduction: “I hope... (shrink)

In this paper I apply an old problem of Quine's (the inscrutability of reference in translation) to a new style of theory about mental content (causal/nomological/informational accounts of meaning) and conclude that no "naturalization" of content of the sort currently popular can solve Quine's "gavagai" enigma. I show how failure to solve the problem leads to absurd conclusions not about one's own mental life, but about the non-mental world. I discuss various ways of attempting to remedy the accounts so as (...) to avoid the problem and explain why each attempt at solving the problem would take the information theorists further from their self-assigned task of "naturalizing" semantics. (shrink)

One of the signal developments in contemporary criticism over the past several years has been the ascendancy of the colonial paradigm. In conjunction with this new turn, Frantz Fanon has now been reinstated as a global theorist, and not simply by those engaged in Third World or subaltern studies. In a recent collection centered on British romanticism, Jerome McGann opens a discussion of William Blake and Ezra Pound with an extended invocation of Fanon. Donald Pease has used Fanon to open (...) an attack on Stephen Greenblatt’s reading of the Henriad and the interdisciplinary practices of the new historicism. And Fanon, and published interpretations of Fanon, have become regularly cited in the rereading of the Renaissance that have emerged from places like Sussex, Essex, and Birmingham.1My intent is not to offer a reading of Fanon to supplant these others, but to read, even if summarily, some of these readings of Fanon. By focusing on successive appropriations of this figure, as both totem and text, I think we can chart out an itinerary through contemporary colonial discourse theory. I want to stress, then, that my ambitions here are extremely limited: what follows may be a prelude to a reading of Fanon, but does not even begin that task itself.2 1. See Jerome McGann, “The Third World of Criticism,” in Rethinking Historicism: Critical Readings in Romantic History, ed. Marjorie Levinson et al., pp. 85-107, and Donald Pease, “Toward a Sociology of Literary Knowledge: Greenblatt, Colonialism, and the New Historicism,” in Consequences of Theory, ed. Barbara Johnson and Jonathan Arac.2. A properly contextualized reading of Fanon’s Black Skin, White Masks, the text to which I most frequently recur, should situate it in respect to such germinal works as Jean-Paul Sartre’s Réflexions sur la question Juive, Dominique O. Mannoni’s Psychologie de la colonisation, Germaine Guex’s La Névrose d’abandon, as well as many lesser known works. But this is only to begin to sketch out the challenge of rehistoricizing Fanon. Henry Louis Gates, Jr. is coeditor of Transition, a quarterly review, and the author of Figures in Black and The Signifying Monkey, which received an American Book Award. (shrink)

Highlights popular debates about the contribution of reflection to teacher education and emphasizes the role of the mentor in facilitating teachers' professional development. Each chapter is concerned with exploring the concept of reflection and considering its contributions to teacher education.

When someone hosts a party, when governments choose an aid program, or when assistive robots decide what meal to serve to a family, decision‐makers must determine how to help even when their recipients have very different preferences. Which combination of people’s desires should a decision‐maker serve? To provide a potential answer, we turned to psychology: What do people think is best when multiple people have different utilities over options? We developed a quantitative model of what people consider desirable behavior, characterizing (...) participants’ preferences by inferring which combination of “metrics” (maximax, maxsum, maximin, or inequality aversion [IA]) best explained participants’ decisions in a drink‐choosing task. We found that participants’ behavior was best described by the maximin metric, describing the desire to maximize the happiness of the worst‐off person, though participant behavior was also consistent with maximizing group utility (the maxsum metric) and the IA metric to a lesser extent. Participant behavior was consistent across variation in the agents involved and tended to become more maxsum‐oriented when participants were told they were players in the task (Experiment 1). In later experiments, participants maintained maximin behavior across multi‐step tasks rather than shortsightedly focusing on the individual steps therein (Experiment 2, Experiment 3). By repeatedly asking participants what choices they would hope for in an optimal, just decision‐maker, and carefully disambiguating which quantitative metrics describe these nuanced choices, we help constrain the space of what behavior we desire in leaders, artificial intelligence systems helping decision‐makers, and the assistive robots and decision‐makers of the future. (shrink)

Originally published in 1923, this title is a critical examination of Freud’s theory of psychoanalysis. A contemporary of Freud, the author sets out to evaluate his theories in a scientific manner, searching for evidence. The result is a rather scathing review of where this is lacking.

What importance does “race” have as a meaningful category in the study of literature and the shaping of critical theory? If we attempt to answer this question by examining the history of Western literature and its criticism, our initial response would probably be “nothing” or, at the very least, “nothing explicitly.” Indeed, until the past decade or so, even the most subtle and sensitive literary critics would most likely have argued that, except for aberrant moments in the history of criticism, (...) race has not been brought to bear upon the study of literature in any apparent way. Since T. S. Eliot, after all, the canonical texts of the Western literary tradition have been defined as a more or less closed set of works that somehow speak to, or respond to, “the human condition” and to each other in formal patterns of repetition and revision. And while most critics acknowledge that judgment is not absolute and indeed reflects historically conditioned presuppositions, certain canonical works do seem to transcend value judgments of the moment, speaking irresistibly to the human condition. The question of the place of texts written by the Other in the proper study of “literature,” “Western literature,” or “comparative literature” has, until recently, remained an unasked question, suspended or silenced by a discourse in which the canonical and the noncanonical stand as the ultimate opposition. In much of the thinking about the proper study of literature in this century, race has been an invisible quantity, a persistent yet implicit presence.This was not always the case, we know. By mid-nineteenth century, “national spirit” and “historical period” had become widely accepted categories within theories of the nature and function of literature which argued that the principal value in a great work of literary art resided in the extent to which these categories were reflected in that work of art Montesquieu’s De l’esprit des lois considered a culture’s formal social institution as the repository of its “guiding spirit,” while Giambattista Vico’s principi di una scienza nuova read literature against a complex pattern of historical cycles. Friedrich and August von Schlegel managed rather deftly to bring “both national spirit and historical period” to bear upon the interpretation of literature, as W. Jackson Bate has shown. But it was Hippolyte-Adolphe Taine who made the implicit explicit by postulating “race, moment, and milieu” as positivistic criteria through which any work could be read and which, by definition, any work reflected. Taine’s History of English Literature was the great foundation upon which subsequent nineteenth-century notions of “national literatures” would be constructed. Henry Louis Gates, Jr. is professor of English, comparative literature, and African studies at Cornell University. He has edited several books and has written Figures in Blood and The Signifying Monkey. (shrink)

Perhaps only Tar Baby is as enigmatic and compelling a figure from Afro-American mythic discourse as is that oxymoron, the Signifying Monkey.3 The ironic reversal of a received racist image of the black as simianlike, the Signifying Monkey—he who dwells at the margins of discourse, ever punning, ever troping, ever embodying the ambiguities of language—is our trope for repetition and revision, indeed, is our trope of chiasmus itself, repeating and simultaneously reversing in one deft, discursive act. If Vico and Burke, (...) or Nietzsche, Paul de Man, and Harold Bloom, are correct in identifying “master tropes,” then we might think of these as the “master’s tropes,” and of signifying as the slave’s trope, the trope of tropes, as Bloom characterizes metalepsis, “a trope-reversing trope, a figure of a figure.” Signifying is a trope that subsumes other rhetorical tropes, including metaphor, metonymy, synecdoche, and irony, and also hyberbole, litotes, and metalepsis. To this list, we could easily add aporia, chiasmus, and catachresis, all of which are used in the ritual of signifying.The black tradition has its own subdivisions of signifying, which we could readily identify with the typology of figures received from classical and medieval rhetoric, as Bloom has done with his “maps of misprision.” In black discourse “signifying” means modes of figuration itself. When one signifies, as Kimberly W. Benston puns, one “tropes-a-dope.” The black rhetorical tropes subsumed under signifying would include “marking,” “loud-talking,” “specifying,” “testifying,” “calling out”, “sounding,” “rapping,” and “playing the dozens.”4 3. On Tar Baby, see Ralph Ellison, “Hidden Man and Complex Fate: A Writer’s Experience in the United States,” Shadow and Act, p. 147, and Toni Morrison, Tar Baby. On the black as quasi-simian, see Jean Bodin, Method for the Easy Comprehension of History, trans. Beatrice Reynolds, p. 105; Aristotle Historia Animalium 606b; Thomas Herbert, Some Years Travels, pp. 16-17; and John Locke, An Essay Concerning Human Understanding, 8th ed., 2 vols., 2:53.4. Geneva Smitherman defines these and other black tropes and then traces their use in several black texts. Smitherman’s work, like that of Claudia Mitchell-Kernan and Abrahams, is especially significant for literary theory. See Smitherman, Talkin and Testifyin: The Language of Black America, pp. 101-66. See also nn. 13 and 14 below. (shrink)

Since the Supreme Court upheld the partial birth abortion ban in 2007, more U.S. abortion providers have begun performing intraamniotic digoxin injections prior to uterine dilation and evacuations. These injections can cause medical harm to abortion patients. Our objective is to perform an in-depth bioethical analysis of this procedure, which is performed mainly for the provider’s legal benefit despite potential medical consequences for the patient.

The extremely well-known holiday television special Rudolph the Red Nosed Reindeer is deconstructed to expose an underlying philosophical paradigm towards people, especially children, with disabilities that is mechanistic and utilitarian. This paradigm includes a static and over-determined view of any disability a person may have, and can be erroneously supported by a philosophy of “radical freedom.” Examples of this philosophy of disability as applied to the K-12 realm of special education are also provided, showing how the lessons learned from the (...) children’s movie are mirrored in the static conceptualization of the notion of disability in the general society and educational system. (shrink)

Le pédagogue Antoine de La Garanderie (1920-2010) laisse un héritage intellectuel particulièrement riche et stimulant. Le rayonnement de sa pensée au cours des trois dernières décennies, tant en France qu'à l'étranger, et son influence sur les pratiques pédagogiques, formatives, voire thérapeutiques, font de lui l'une des figures marquantes de notre culture contemporaine. Cet ouvrage explore trois grands champs de réflexion et de recherche : le premier concerne la validité et la pertinence, au plan épistémologique, des recherches qu'il a conduites, désignées (...) sous le terme générique de " Gestion mentale ", et en référence à d'autres courants de pensée ; le second aborde l'orientation générale des expérimentations pédagogiques ou didactiques auxquelles ces recherches ont donné lieu et dont il convient d'évaluer la portée et la valeur, tant heuristiques que praxéologiques ; le troisième relève des fondements proprement anthropologiques où s'enracinent ses concepts et ses propositions et qu'il importe autant de dévoiler que de situer : sa foi en l'éducabilité, sa conception de l'évolution et du progrès. (shrink)