Moving deftly among literary and visual arts, as well as the modern critical canon, Christopher Prendergast's book explores the meaning and value of representation as both a philosophical challenge (What does it mean to create an image that "stands for" something absent?) and a political issue (Who has the right to represent whom?). _The Triangle of Representation_ raises a range of theoretical, historical, and aesthetic questions, and offers subtle readings of such cultural critics as Raymond Williams, Paul de Man, (...) Edward Said, Walter Benjamin, and Hélène Cixous, in addition to penetrating investigations of visual artists like Gros, Ingres, and Matisse and significant insights into Proust and the onus of translating him. Above all, Prendergast's work is a striking display of how a firm grounding in theory is essential for the exploration of art and literature. (shrink)

This companion volume to The Sacred Mirror is an anthology of teachings on how nondual spiritual realization and psychology work in the specialized relationship between therapist and client and in ordinary personal relationships"--Provided by publisher.

This paper examines the concept of medical necessity as it relates to mental health care rationing, arguing that the normal functioning model of medical necessity is insufficient because it fails to cohere with an important aim and function of mental health care, which is to provide support for individuals in abusive or otherwise difficult personal relationships.

In Utopophobia: On the Limits (If Any) of Political Philosophy, David Estlund defends against utopophobia in political philosophy. Estlund claims that it is no defect in a theory of justice if it sets a high standard that has little chance of being achieved by any society. The book does not, however, give similar permission to argue for unrealistically optimistic political proposals. Going beyond Estlund, I consider the possibility that some utopian thinking is warranted not just in the context of formulating (...) a theory of justice, but in the practical context, too. Sometimes theorizers ought to argue for and pursue political proposals that seem unrealistically optimistic. (shrink)

Advances in the understanding of Ras oncoprotein function suggest novel points for anti‐tumor intervention. First, upstream‐acting guanine nucleotide exchange factors and SH2/SH3 domain‐containing adaptor proteins that link Ras with growth factor receptor tyrosine kinases have recently been characterized. Second, work on downstream‐acting Ras effector functions including the Ras GTPase‐activating protein (p120GAP) and the Raf kinase has revealed direct biochemical interactions that are functionally required for oncogenic Ras signalling. We summarize progress in these areas and discuss the potential for novel applications (...) to anti‐cancer chemotherapy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Playing Attention":Contemporary Aesthetics and Performing Arts Audience EducationMonica Prendergast (bio)IntroductionThe spectator is an essential element of the kind of play we call aesthetic.1We all watch television. We all go to the movies. Some of us also attend live performances such as plays, concerts, operas, dance recitals, poetry or prose readings, and so on. What are the differences to be found among these experiences? The audience experience of television (...) or film is a shared one, although a more fragmented sharing in the case of television, as it is with live arts events. We are aware that we are not alone in viewing a show, that it is a collective event. But we also realize that our presence does not really matter (aside from boosting ratings or adding to box office profits) and that the performance will continue with or without us. We may exit or enter the room or auditorium at will and never offend the actors, because their presence is "mediatized" and we are not sharing the same time or space with them.2 Attending a live performance is otherwise; our presence is a key element of the event and definitely can and does make a significant difference both for ourselves and for the performers. Although the size and qualities of the event and audience may alter this assertion — a huge stadium rock concert is arguably a more mediatized live performance than a small folk club date — it still holds true that presence is one of the most important qualities of audience in live performance.If we can accept that audience presence is central to performance, then it follows that aesthetic education in the performing arts needs to pay some attention to this phenomenon. In a First World culture that is currently over-saturated with mediatized performance, the future health and vitality of live performance is endangered if educators neglect to address the challenges and processes involved in being an audience for the performing arts in arts education curricula. This essay explores how aesthetic/arts education may [End Page 36] assist young people to grow in awareness and understanding of the essential role that is played by audience in attending performance. In examining the work of four contemporary aesthetic philosophers — Hans-Georg Gadamer, Paul Ricoeur, Paul Thom, and James O. Young — I focus on the areas of spectatorship, attention, interpretation, and evaluation/criticism as important qualities of audience-in-performance. I will then offer a possible curriculum framework for audience education in the performing arts that is performative in form and nature; that is, creative, experiential, emergent, and open question-driven.Both classical and contemporary aesthetic philosophy tends to ignore the performing arts in general and audience-in-performance in particular.3 Plato derides performance as anti-reason and Aristotle salvages it by focusing on the audience's experience of catharsis in tragedy, but this fascinating debate gets lost over time as philosophers get caught up in questions around the definition and nature of art. Examinations of audience in aesthetics tend to assume an audience engaged in the more reflective, contemplative, and individual activity of viewing a work of visual art, reading a poem, or appreciating beauty in general. Discussions of performing arts deal with the text of a play or the score of a musical piece as the primary aesthetic object, with performances of these texts or scores considered somehow secondary, less-definable therefore less worthy of serious philosophic consideration.4 Although a number of aesthetic philosophers have taken up performance and audience issues in more recent years, especially regarding issues around "authentic" performance of music on original instruments, the experience of audience-in-performance remains understudied.5 Others, such as Nick Zangwill, try to negate the audience altogether as being a relatively insignificant part of an aesthetic event and argue that the central focus of aesthetics should be on the artist and the creation of artworks.6Fortunately, there have been a few voices in the field that do attend more closely to performing arts in general and audience in particular, or whose work can be effectively applied to this distinct type of aesthetic event. In the next section I will describe... (shrink)

Philosophy is not a theory but an activity. My interest in aesthetic philosophy and performance theory has offered me the opportunity to engage with the recent work of political philosopher Charles Taylor and performance theorist Jill Dolan.2 As I read these studies, I see interesting and potentially useful contributions to be drawn from their philosophical investigations toward the beginning moments of a new philosophy of drama education that is rooted in the collective creation of socially imagined performative utopias. It is (...) through this process that I arrive at the understanding that the very nature of the dramatic education process embodies and defines socially committed moral values of active and.. (shrink)

The 1982–1983 period marked the end of Argentina’s last dictatorship, one of the most brutal in history, and a difficult time of transition for the country from dictatorship to democracy following defeat in the 1982 Falklands/malvinas War. Using the theoretical framework of critical discourse analysis, which approaches media as constructing rather than mirroring social reality and driven by the interests behind them, this article explores representations of Argentina’s last dictator, Leopoldo Galtieri, within broader discourses on nationalism in three newspapers that (...) supported the regime. The methodological framework of the study is mixed, combining qualitative elements of the discourse-historical approach with corpus tools for an investigation into collocations and metaphors employed. Findings suggest that linguistic and discursive features used in relation to Galtieri change over the course of the year, reflecting shifting discourses on nationalism and Argentina’s period of socio-political crisis. (shrink)