This article provides current Schwartz Values Survey data from samples of business managers and professionals across 50 societies that are culturally and socioeconomically diverse. We report the society scores for SVS values dimensions for both individual- and societallevel analyses. At the individual- level, we report on the ten circumplex values sub- dimensions and two sets of values dimensions. At the societal- level, we report on the values dimensions of embeddedness, hierarchy, mastery, affective autonomy, intellectual autonomy, egalitarianism, and harmony. For each (...) society, we report the Cronbach' s? statistics for each values dimension scale to assess their internal consistency as well as report interrater agreement analyses to assess the acceptability of using aggregated individual level values scores to represent country span sp. (shrink)

This volume brings together some of the most important and influential recent writings on knowledge of oneself and of one's own thoughts, sensations, and experiences. The essays give valuable insights into such fundamental philosophical issues as personal identity, the nature of consciousness, the relation between mind and body, and knowledge of other minds. Contributions include "Introduction" by Gilbert Ryle, "Knowing One's Own Mind" by Donald Davidson, "Individualism and Self-Knowledge" and "Introspection and the Self" by Sydney Shoemaker, "On the Observability of (...) the Self" by Roderick M. Chisholm, "Introspection" by D. M. Armstrong, "The First Person" by G. E. M. Anscombe, "On the Phenomeno-Logic of the I" by Hector-Neri Casta((n-))eda, "The Problem of the Essential Indexical" by John Perry, "Self-Identification" by Gareth Evans, and "The First Person--and Others" by P. F. Strawson. The only reader of its kind, Self-Knowledge fills a major gap in the history of philosophy and will be an accessible addition to a wide range of courses. (shrink)

The publication of 'Vision and Difference' marked a milestone in the development of modern art history. Its introduction of a feminist perspective into this largely male-oriented discipline made shockwaves that are still felt forcefully today. Drawing upon feminist cultural theory previously little applied to the visual arts, Griselda Pollock offers concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only provides a feminist (...) re-reading of the work of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but also re-inserts into art history their female contemporaries - women artists such as Berthe Morisot and Mary Cassatt. Casting her critical eye over the contemporary art scene, Pollock discusses the work of women artists such as Mary Kelly and Yve Lomax, highlighting the problems of working in a culture where the feminine is still defined as the object of the male gaze. Now published with a new introduction by Griselda Pollock, 'Vision and Difference' remains as powerful and as essential reading as ever for all those seeking not only to understand the history of the feminine in art but also to develop new strategies for representation for the future. (shrink)

This paper aims to identify the inflection point in financial discourse, the moment of explosion and unpredictability in the 2007–2008 economic crisis, through an analysis of metaphors, and its relation to the concept of jumps in finance. The corpus is formed by articles dating from 2007–2008 published in The Wall Street Journal and related to the movements of the Standard & Poor’s 500 index of the United States. For the purposes of this paper, two texts are analysed: “Traders in Lehman, (...) AIG held out hope – Friday”, and the speech “Four questions about the financial crisis” by Ben S. Bernanke. What is of particular interest is the transformation of unpredictability to predictability, as incorporated in this type of discourse to indicate a predetermined chain of events, chosen from a wide spectrum of possibilities. The theoretical framework draws on Juri Lotman’s views on the concepts of explosion, unpredictability, inflection point and predictability. (shrink)

In Generations and Geographies in the Visual Achallenge of Arts: Feminist Readings the challenge of contemporary feminist theory encounters the provocation of the visual arts made by women in the twentieth century. The major issue is difference: sexual, cultural and social. The book points to the singularity of each artist's creative negotiation of time and historical and political circumstance. Griselda Pollock calls attention to the significance of place, location and cultural diversity, connecting issues of sexuality to those of nationality, (...) imperialism, migration, diaspora and genocide. (shrink)

Some influence of Chaucer’s The Clerk’s Tale, also known as the story of the patient Griselda, on Shakespeare, and particularly on The Winter’s Tale, has long been recognized. It seems, however, that the matter deserves further attention because the echoes of The Clerk’s Tale seem scattered among a number of Shakespeare’s plays, especially the later ones. The experimental nature of this phenomenon consists in the fact that Griselda-like characters do not strike the reader, especially perhaps the Renaissance reader, (...) as good protagonists of a tragedy, or even a problem comedy. The Aristotelian conception of the tragic hero does not seem to fit Griselda because there is no “tragic fault” in her: she is completely innocent. It was thus a bold decision on the part of Shakespeare to use this archetype as a corner stone of at least some of his plays. (shrink)

Bracha Ettinger is an Israeli-born Paris-based artist, analyst and feminist theorist who has produced over the last decade a major theoretical intervention through a tripartite practice. This article offers an expository introduction and overview of core aspects of her theoretical contribution while relating it to major trends in feminist and general cultural theory of subjectivity, hysteria, memory, trauma and the aesthetic. Organized in several parts, each section addresses the developing vocabulary, terminology and significance of her work. With core concepts are (...) Matrix, metramorphosis, trans-subjectivity, co-poïesis, co-emergence and co-affection, Ettinger’s theory opens out beyond the blind spots of advanced feminist thought. From its independent and original theorization of subjectivity-as-encounter and an-other sexual difference, Bracha Ettinger challenges our attempts to think about femininity associated with the work of Julia Kristeva and Luce Irigaray. Linked to, but distinct from, the philosophical speculations of Deleuze and Levinas, this work creates a transferential theoretical space for Jewish and feminine difference, sexuality, subjectivity and the traumatic residues of modern catastrophe that has major repercussions for cultural, aesthetic, ethical, political and psychoanalytic theory. (shrink)

This paper proposes a conversation between Charlotte Salomon and Edvard Munch that is premised on a reading of Charlotte Salomon’s monumental project of 784 paintings forming a single work Leben? oder Theater? as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Drawing on both Mieke Bal’s critical concept of “preposterous history” and my own project of “the virtual feminist museum” (...) as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche. (shrink)

This article takes as its provocation Marx's intriguing statement about the disjunction between the flowering of Greek art and the underdeveloped stage of social and economic development made as an epilogue to the Introduction to the Grundrisse in order to ask what are the relations between that which has been considered art and what Marx calls `production as such'. In the elaborated conditions of contemporary capitalist societies, we can ask: Is art still being made? To examine this question I juxtapose (...) what Bauman has called `thinking sociologically' with a proposition that art thinks aesthetically. So how can art historians deal with that challenge of thinking aesthetic practices both socially and historically? I track a genealogy of art historians who have attempted to think socially about artistic practices. This leads into a section about the necessity for both sociological and aesthetic education if we are to avoid totalitarianism or free-market individualism. Finally, thinking sociologically, by taking as a case study the work of Aby Warburg, I explore the technological conditions of art historical production itself particularly in relation to photography and the way this shapes our access to the image. Warburg represents the possibility of another model for art historical thinking about the image as Kulturwissenschaft, a parallel to Sozialwissenschaft in its ambition and relation to the great intellectual revolutions c.1905. Like Marx, Warburg questioned the continuity of the imaginary space of art thinking in the age of technological industrialism. Where art is now, where art history is, are not just sociological questions to which Marx might offer a dismal answer. I conclude that what is necessary is a constructive conversation between thinking sociologically and thinking aesthetically, knowing synthetically and knowing for oneself — curricular issues made more intense by the shared conditions in which all intellectual production is being transformed in contemporary sites of intellectual practice, the university, by `production as such' leading thought to risk the same fate as art in contemporary society, as Marx hypothesized. As a final thought, I suggest that in contemporary art work that confronts trauma and catastrophe, often using new technologies as aesthetic processes, we may find a counter-argument. (shrink)

In 2018, the Bauman Institute and the Centre for Cultural Analysis, Theory & History, both based at the University of Leeds, initiated a transdisciplinary programme to assess the legacies of Zygmunt Bauman, whose prolific writings we felt to be profoundly relevant to the multiple challenges of the 21st century. In this special issue of Thesis Eleven, we are marking just over three years since the death of Zygmunt Bauman by bringing together some of the contributions to that programme in order (...) to revisit, elaborate, and crucially to extend his intellectual archive. Taking Bauman’s revision of contemporary social realities as a point of departure, each of the participants in this special issue re-examine – critically but also generously – the many questions Bauman asked, tried to answer, and imbued on the way with new and sometimes shocking insights. This paper surveys those contributions by way of introducing the special issue. (shrink)

El presente trabajo intentará aproximarse críticamente a la revisión del concepto del “poder” en relación a los valores del hombre, a partir de las teorías desarrolladas por tres maestros universales clásicos de las ciencias sociales y psicoanalíticas como fueron Max Weber, Sigmund Freud y Hans Kelsen. Nuestra hipótesis consiste en afirmar que los aportes teóricos de estos tres autores conservan su validez hasta la actualidad y enriquecen las tesis derivadas del “nuevo paradigma científico” con respecto a las actuales formas de (...) organización del “poder” en redes. Sobre todo en lo que respecta a su doble abordaje acerca del “poder”: el análisis de sus estructuras y el origen de los valores que lo sustentan desde sus bases antropológicas. Al concluir se reflexiona acerca de la validez de este pensamiento para la historia moderna de América Latina. (shrink)

Vico adopta una base científica en su teoría antropológica sobre el paso primigenio de los hombres a bestias y de bestias a hombres, conformando a su explicación sobre los "sali nitri" y la formación de los gigantes ciertos conocimientos científicos de su época, pertenecientes tanto a la medicina como a la alquimia, y asumiendo diversas tesis coprológicas típicas de la farmacología tradicional En esta explicación evolucionista viquiana se aprecia en parte vestigios de la tradición alquimista.Vico adopts a scientific basis in (...) his anthropological theory regarding the primeval step from men to beasts and from beasts to men, shaping to his own theory of the "sali nitri" and the origin of giants certain aspects of scientific knowledge of his age, which pertain as much to medicine as to alchemy, and assuming various coprological theses typical of traditional pharmacology. In this Vichian evolutionist explanation certain vestiges of the alchemist tradition can be recognized. (shrink)

El modelo de desarrollo de “crecimiento con equidad” planteado por la Concertación, tras 18 años de gobierno muestra sus primeras señales de agotamiento. Los éxitos alcanzados en materia económica, de política fiscal y transición política tras la dictadura militar, no han conducido a la equidad. A través de un análisis crítico de los datos político-económicos y sociales disponibles, la autora plantea que los fantasmas del subdesarrollo: estructura productiva basada en productos primarios, mala calidad de la educación, injusta distribución de ingresos (...) y baja inversión en ciencia y tecnología merodean a Chile amenazando con quedarse. Chile cuenta con una extraordinaria situación patrimonial a raíz de las millonarias ganancias obtenidas de las ventas del cobre, pero choca con una clase política temerosa de tomar decisiones de cambio estructural al modelo político y renuente a emprender las necesarias reformas económicas para pasar a la segunda etapa del desarrollo con mayor valor agregado. (shrink)