Propagation of novel linguistic terms is an important aspect of language use and language change. Here, we test how social network size influences people's likelihood of adopting novel labels by examining hashtag use on Twitter. Specifically, we test whether following fewer Twitter users leads to more varied and malleable hashtag use on Twitter, because each followed user is ascribed greater weight and thus exerts greater influence on the following user. Focusing on Dutch users tweeting about the terrorist attack in Brussels (...) in 2016, we show that people who follow fewer other users use a larger number of unique hashtags to refer to the event, reflecting greater malleability and variability in use. These results have implications for theories of language learning, language use, and language change. (shrink)

La figure diabolisée du chat dans la littérature japonaise évolue sans cesse au cours de l’époque médiévale, et nous prenons ici l’exemple d’un chat-monstre nommé nekomata. L’un des exemples littéraires les plus connus se trouve dans les Heures oisives, ouvrage écrit vers 1330 par Yoshida Kenkô. Il semble cependant que le terme nekomata soit apparu un siècle plus tôt, comme le montre l’entrée du 2 août 1233 dans le Journal de la lune brillante de Fujiwara no Teika, l’un des plus (...) grands poètes de son temps. Nous analyserons donc ce texte de première importance pour comprendre les origines de cette figure littéraire, puis tenterons de comprendre le sens de l’expression nekomata. The demonized figure of the cat in Japanese literature evolved constantly during medieval times, and here we take the example of a monster cat named nekomata. One of the best-known literary examples is found in Tsurezure-gusa, written around 1330 by Yoshida Kenkô. However, it seems that the term nekomata appeared a century earlier, as can be seen from the August 2, 1233 entry in Meigetsu-ki, the diary of Fujiwara no Teika, one of the greatest poets of his time. We will examine this important text for a better understanding of the history of the monster cat and reflect on the meaning of the term nekomata. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Iris Murdoch once observed: 'philosophy is often a matter of finding occasions on which to say the obvious'. What was obvious to Murdoch, and to all those who read her work, is that Good transcends everything - even God. Throughout her distinguished and prolific writing career, she explored questions of Good and Bad, myth and morality. The framework for Murdoch's questions - and her own conclusions - can be found here.

Dooley provides background information for each of the interviews, along with a thorough index.

Iris Marion Young (1949-2006) was one of the most influential and innovative political theorists of her generation who had a significant impact on a wide range of topics such as democratic theory, feminist theory, and justice. She bridged many longstanding divides among political theorists, engaging in Continental and critical theory, but also insisting on the importance of normative argument: her corpus stands as a testament to the fruitfulness of engaging in both abstract theory and the 'real world' of everyday (...) politics. This volume spans the several decades of her work, illustrating her intellectual development over time through three major areas of innovation: Gender: Maintaining that gender is both conceptually and politically meaningful, Young theorized gender in terms of structures that, in combination, position different people we call "women" in different ways, such that some women have some structures in common, without all women sharing all gendered structures in common. Justice: Young's early writings on a critical theory of justice evolved in her later and posthumously published works where she developed an account of justice that brought together her theorization of structure with her concern to respond to contemporary claims of injustice. The Politics of Difference: Young rejected universal and abstract theories of justice and maintained that justice instead required attending to the experiences of people marked by difference. (shrink)

Iris Murdoch was one of the great philosophers and novelists of the twentieth century and The Sovereignty of Good is her most important and enduring philosophical work. She argues that philosophy has focused, mistakenly, on what it is right to do rather than good to be and that only by restoring the notion of ‘vision’ to moral thinking can this distortion be corrected. This brilliant work shows why Iris Murdoch remains essential reading: a vivid and uncompromising style, a (...) commitment to forceful argument, and a courage to go against the grain. With a foreword by Mary Midgley. (shrink)

Iris Murdoch once observed: 'philosophy is often a matter of finding occasions on which to say the obvious'. What was obvious to Murdoch, and to all those who read her work, is that Good transcends everything - even God. Throughout her distinguished and prolific writing career, she explored questions of Good and Bad, myth and morality. The framework for Murdoch's questions - and her own conclusions - can be found here.

Iris Murdoch was one of the great philosophers and novelists of the twentieth century and The Sovereignty of Good is her most important and enduring philosophical work. She argues that philosophy has focused, mistakenly, on what it is right to do rather than good to be and that only by restoring the notion of ‘vision’ to moral thinking can this distortion be corrected. This brilliant work shows why Iris Murdoch remains essential reading: a vivid and uncompromising style, a (...) commitment to forceful argument, and a courage to go against the grain. With a foreword by Mary Midgley. (shrink)

In this classic work of feminist political thought, Iris Marion Young challenges the prevailing reduction of social justice to distributive justice.

Written over a span of more than two decades, the essays by Iris Marion Young collected in this volume describe diverse aspects of women's lived body experience in modern Western societies. Drawing on the ideas of several twentieth century continental philosophers--including Simone de Beauvoir, Martin Heidegger, Luce Irigaray, Julia Kristeva, and Maurice Merleau-Ponty--Young constructs rigorous analytic categories for interpreting embodied subjectivity. The essays combine theoretical description of experience with normative evaluation of the unjust constraints on their freedom and opportunity (...) that continue to burden many women. The lead essay rethinks the purpose of the category of "gender" for feminist theory, after important debates have questioned its usefulness. Other essays include reflection on the meaning of being at home and the need for privacy in old age residences as well as essays that analyze aspects of the experience of women and girls that have received little attention even in feminist theory--such as the sexuality of breasts, or menstruation as punctuation in a woman's life story. Young describes the phenomenology of moving in a pregnant body and the tactile pleasures of clothing. While academically rigorous, the essays are also written with engaging style, incorporating vivid imagery and autobiographical narrative. On Female Body Experience raises issues and takes positions that speak to scholars and students in philosophy, sociology, geography, medicine, nursing, and education. (shrink)

In her long-awaited Responsibility for Justice, Young discusses our responsibilities to address "structural" injustices in which we among many are implicated, often by virtue of participating in a market, such as buying goods produced in sweatshops, or participating in booming housing markets that leave many homeless.

The idea of perfection.--On God and Good.--The sovereignty of good over other concepts.

Iris Murdoch's moral philosophy has long influenced contemporary ethics, yet it has not, in general, received the kind of sustained critical attention that it deserves. "Existentialists and Mystics" and "Metaphysics as a Guide to Morals" provide new access to most of Murdoch's philosophical writings and make possible a deeper appreciation of her contribution to current thought. After assessing the recent critical reception of Murdoch's thought, this review places her moral philosophy in the context of contemporary trends in ethics by (...) tracing her influence on the work of Charles Taylor, highlights the distinctive features of her moral philosophy, and suggests future directions for Murdochian ethics. (shrink)

The essay theorizes the responsibilities moral agents may be said to have in relation to global structural social processes that have unjust consequences. How ought moral agents, whether individual or institutional, conceptualize their responsibilities in relation to global injustice? I propose a model of responsibility from social connection as an interpretation of obligations of justice arising from structural social processes. I use the example of justice in transnational processes of production, distribution and marketing of clothing to illustrate operations of structural (...) social processes that extend widely across regions of the world. The social connection model of responsibility says that all agents who contribute by their actions to the structural processes that produce injustice have responsibilities to work to remedy these injustices. I distinguish this model from a more standard model of responsibility, which I call a liability model. I specify five features of the social connection model of responsibility that distinguish it from the liability model: it does not isolate perpetrators; it judges background conditions of action; it is more forward looking than backward looking; its responsibility is essentially shared; and it can be discharged only through collective action. The final section of the essay begins to articulate parameters of reasoning that agents can use for thinking about their own action in relation to structural injustice. a Footnotesa Thanks to David Alexander, Daniel Drezner, David Owen, and Ellen Frankel Paul for comments on an earlier version of this essay. Thanks to David Newstone for research assistance. (shrink)

This latest work from one of the world's leading political philosophers will appeal to audiences from a variety of fields, including philosophy, political science, women's studies, ethnic studies, sociology, and communications studies.

Muḥammad Mahdī ibn Abī Z̲arr Narāqī, -1794 or 1795. Jāmiʻ al-saʻādāt - Criticism and interpretation; Islamic ethics.

The acclaimed author of The Good Apprentice draws on the entire history of philosophy--and particularly on Plato and Kant--to formulate her own model of morality and demonstrate how thoroughly it is bound up with our daily lives. "An utterly absorbing book".--The Wall Street Journal.

Cognitive Science, Volume 46, Issue 3, March 2022.

A collection of the author's most influential essays and short works includes her critique of existentialism, her two dialogues on art and religion, key texts on the continuing importance of the sublime, the concept of love, and more.

Feminist social theory and female body experience are the twin themes of Iris Marion Young's twelve outstanding essays written over the past decade and brought together here. Her contributions to social theory raise critical questions about women and citizenship, the relations of capitalism and women's oppression, and the differences between a feminist theory that emphasizes women's difference and one that assumes a gender-neutral humanity. Loosely following a phenomenological method of description, Young's essays on female embodiment discuss female movement, pregnancy, (...) clothing, and the breasted body. In an introduction that situates her work in the context of shifts in feminist theory and politics over the past decade, Young emphasizes the rootedness of her theorizing in a dedicated and seasoned political activism. (shrink)

Kit Fine and Robert Adams have independently introduced a distinction between two ways in which a proposition might be true with respect to a world. A proposition is true at a world if it correctly represents the world. A proposition is true in a world, if it exists in that world and correctly represents it. In this paper, I clarify this distinction between outer and inner truth, defend it against recent charges of unintelligibly and argue that outer truth tracks counterfactual (...) possibility while inner truth tracks counter-actual possibility. This connection allows us to clarify the relationship between possibility, possible actuality and the thesis of serious actualism, which is the thesis that nothing could have had a property without existing. I show that this undermines serious actualists' scruples against reading sentences like `Even if Socrates had not existed, he might have' as expressing true and genuinely de re propositions about Socrates. More generally, the connection I draw provides the serious actualist with a justification for treating actually existing but contingent objects differently from how he treats merely possible objects. (shrink)

This paper defends a conceptualist answer to the question how objects come by their modal properties. It isolates the controversial metaphysical assumptions that are needed to get ontological conceptualism off the ground, outlines the conceptualist answer to the question and shows that conceptualism is not in as bad a shape as some critics have maintained.

This article discusses the importance of social interaction for the development of the representations for symbolic communication. We suggest that there is no need to distinguish between different representational systems emerging at different stages of development. Instead, we propose that representations are rich right from the beginning of a child’s life, and that they are driven mainly by acting and interacting in the physical and social world. The more variety in a child’s interactional experience (i.e., synchrony, sequentiality, and prediction), the (...) more enriched and abstracted the representations become. We review literature providing evidence for the ways in which infants’ development toward symbolic communication benefits from repeated social (inter)action and consider some implications for computational approaches. (shrink)

Some philosophical positions maintain that some aspect of reality depends on human practices, cognitive attitudes or sentiments. This paper presents a framework for understanding such positions in a way that renders them immune to a number of natural but allegedly devastating objections.

The pregnant subject has a unique experience of her body. The dichotomy between self and other, self and world, breaks down. She can experience a positive narcissism and sense of process. Some conceptualizations and practices of contemporary medicine, however, can alienate the pregnant subject from this bodily experience. Keywords: Embodiment, Split Subjectivity CiteULike Connotea Del.icio.us What's this?

This is the text of The Lindley Lecture for 2003, given by Iris Marion Young, an American philosopher.

In a longitudinal naturalistic study, we observed German mothers interacting with their infants when they were 3 and 6 months old. Pursuing the idea that infants’ attention is socialized in everyday interactions, we explored whether eye contact is reinforced selectively by behavioral modification in the input provided to infants. Applying a microanalytical approach focusing on the sequential organization of interaction, we explored how the mother draws the infant’s attention to herself and how she tries to maintain attention when the infant (...) is looking at her. Results showed that eye contact is reinforced by specific infant-directed practices: interrogatives and conversational openings, multimodal stimulation, repetition, and imitation. In addition, these practices are contingent on the infant’s own behavior. By comparing the two data points, we showed how the education of attention evolves hand-in-hand with the developing capacities of the infant. Keywords: multimodal input; eye contact; interactional adaptation; ecology of attention; social learning. (shrink)

This article presents a weak system of intuitionistic second-order arithmetic, WKV, a subsystem of the one in S.C. Kleene, R.E. Vesley [The Foundations of Intuitionistic Mathematics: Especially in Relation to Recursive Functions, North-Holland Publishing Company, Amsterdam, 1965]. It is then shown that some statements of real analysis, like a version of the Heine–Borel Theorem, and some statements of logic, e.g. compactness of classical proposition calculus, are equivalent to the Fan Theorem in this system.

Reasoning may help solving problems and understanding personal experiences. Ruminative reasoning, however, is inconclusive, repetitive, and usually regards negative thoughts. We asked how reasoning as manifested in oral autobiographical narratives might differ when it is ruminative versus when it is adaptive by comparing two constructs from the fields of psychotherapy research and narrative research that are potentially beneficial: innovative moments (IMs) and autobiographical reasoning (AR). IMs captures statements in that elaborate on changes regarding an earlier personal previous problem of the (...) narrator, and AR capture the connecting of past events with other parts of the narrator’s life or enduring aspects of the narrator. A total ofN= 94 university students had been selected from 492 students to differ maximally on trait rumination and trait adaptive reflection, and were grouped as ruminators (N= 38), reflectors (N= 37), and a group with little ruminative and reflective tendencies (“unconcerned,”N= 19). Participants narrated three negative personal experiences (disappointing oneself, harming someone, and being rejected) and two self-related experiences of more mixed valence (turning point and lesson learnt). Reflectors used more IMs and more negative than positive autobiographical arguments (AAs), but not more overall AAs than ruminators. Group differences were not moderated by the valence of memories, and groups did not differ in the positive effect of narrating on mood. Trait depression/anxiety was predicted negatively by IMs and positively by AAs. Thus, IMs are typical for reflectors but not ruminators, whereas the construct of AR appears to capture reasoning processes irrespective of their ruminative versus adaptive uses. (shrink)

Critics of a politics of difference have misidentified these social movements as asserting an identity politics of recognition. Most of these movements are better understood as resisting unjust structural inequalities. Inclusive democratic process involves paying specific attention to group differences in order to transform preferences and maximize social knowledge.

When Black Feminist Thought by Patricia Hill Collins was published in 1990, reviewers called it "remarkable", "rich and valuable", and proclaimed, "with the publication of this book, Black feminism has moved to a new level". Now, in Fighting Words, Collins expands and extends the discussion of the "outsider within" presented in her earlier work, investigating how effectively Black feminist thought confronts the injustices African American women currently face. Collins takes on a broad range of issues -- poverty, mothering, white supremacy (...) and Afrocentrism, the resegregation of American society by race and class, the ideas of Sojourner Truth and how they can serve as a springboard for more liberating social theory. Contrasting social theories that support unjust power relations of race, class, gender, and nation with those that challenge inequalities, Collins investigates why some ideas are granted the status of "theory" while others remain "thought". "It is not that elites produce theory while everyone else produces mere thought", she writes. "Rather, elites possess the power to legitimate the knowledge that they define as theory as being universal, normative, and ideal". Collins argues that because African American women and other historically oppressed groups seek economic and social justice, their social theories may emphasize themes and work from assumptions that are different from those of mainstream American society, generating new angles of vision on injustice. Collins also puts such oppositional social theory to the test: while the words of these theories may challenge injustice, do the ideas make a difference in the lives of the people they claim to represent? Throughout,Collins provides an essential understanding of how "outsiders" resist mainstream perspectives, and what the mainstream can learn from such "outsiders". Historically situated yet transcending the specific, Fighting Words provides a new interpretive framework for both thinking through and overcoming social injustice. (shrink)