The article considers the changing position of women and the family from the Second World War until today using the UK as its example. It offers a theoretical perspective by setting out to examine the possibility that the rise of second-wave feminism both reflected and spearheaded an aspect of demographic transition to non-replacement populations. It considers the tension between the formation of ‘sexual difference’ to enable reproduction and what it calls the ‘engendering of gender’ in lateral relations which are indifferent (...) to procreation. With the achievements of feminism as a political vanguard and the demographic transition as its socioeconomic base, women were no longer defined by the family; their definition ceased to depend on procreation. The article proposes that the new use of the term ‘gender’ entered the political arena to become a key concept of feminism to indicate non-procreative sexuality and sexual relations that need not be heterosexual or biologically procreative. Judith Butler’s well-known suggestion that ‘gender’ troubles the status quo in a revolutionary manner cannot be sustained. Rather than disturbing the universe, the advent of ‘gender’ reflects the transition to a new demographic order. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Trauma, Recognition, and the Place of LanguageJuliet Mitchell (bio)Definitions of trauma abound within the psychoanalytic discipline. My own definition is going to be simple. A trauma, whether physical or psychical, must create a breach in a protective covering of such severity that it cannot be coped with by the usual mechanisms by which we deal with pain or loss. The severity of the breach is such that even (...) if the incident is expected, the experience cannot be foretold. We cannot thus make use of anxiety as a preparatory signal. The death of a sick relative, the amputation of a diseased limb may be consciously known about in advance, but if they are to be described as traumatic then the foreknowledge was useless. In trauma we are untimely ripped.Whether it is as childhood seduction, infantile abuse, shell shock, or war violence, or as a preoccupation with the place of neoteny and the trials of human birth, trauma is continually posited as the hypothetical “origin” of psychic states. However, although “trauma” is crucial to psychoanalytic theory, trauma in itself is not really the focus of its analysis. Freud proposed a “biological bedrock” on which psychic states were formed, but this bedrock was not the object of psychoanalytic inquiry. I suggest that what emerges as a motif in the many retheorizings of psychoanalysis time and again, as another “bedrock,” is trauma. One might call it an “experiential bedrock.” As with biology, it is crucial—but as the area of another mode of inquiry. Psychoanalysis is equipped to contribute to the understanding of the reaction to trauma, not to the trauma itself.In a colloquial context we tend to look from the perspective of the observer and label a range of difficult or tragic occurrences “traumatic.” Instead, I want to define trauma from the perspective of the person who experiences it. This means both that the same event will not always be traumatic for different people, and that the experience of different events, if they are experienced as trauma, will be the same whatever the event and whoever the sufferer. It was essentially for this reason that Freud eventually disagreed with the rich findings of Otto Rank, who proposed the trauma of birth as the origin of mankind’s neurosis. Trauma is the great equalizer. What differentiates us, since we were all born? Furthermore, what appears to be the trauma from the observer’s perspective may, from the viewpoint of the psychic response of the recipient, only be the catalyst that brings to the surface an experience which, were it not for this later event, might not in itself have been traumatic (or vice versa). Even so extreme an experience as the Holocaust may not breach the defenses of a particular individual. The catalytic event in the present triggers an earlier occurrence which becomes traumatic only by virtue of its retrospectively endowed meaning.Probably all animate matter can be traumatized; it would seem likely that the response to the breach in the human defensive system takes place at a generalizable psychosocial level. Recognition and language are interactional social processes; without another person neither a psyche nor language is possible. Object relations analysts, notably D. W. Winnicott, whom Max Hernandez addresses in his paper in this issue, have devoted their work to aspects of the psyche, Lacanians to language. To me the fields are interdependent and gain from being looked at together, both in their practice and in the theories that can [End Page 121] be applied to them. When we have a physical trauma it is common for an immediate aftereffect to be some uncertainty about words; even the ability to spell correctly can temporarily disappear. There are undoubtedly physiological explanations for this. But I shall argue that there are psychological parallels. Every patient whom I would regard as having had some relevant form of trauma had a specific relationship to language, and it is this that concerns me. In addition, Max Hernandez describes the breach in the defenses caused by the anal rape of a patient when he was a young boy. But neither the patient’s symptom nor his complaint on coming to a therapist for treatment pertains to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 197-201 [Access article in PDF] An Interview with Donald Mitchell and James Wiseman The 2002 Fred Streng Book Award has been given to Donald W. Mitchell and James Wiseman for their edited collection, The Gethsemani Encounter: A Dialogue on the Spiritual Life by Buddhist and Christian Monastics. Donald W. Mitchell is professor of comparative philosophy at Purdue University and a member of (...) the editorial advisory board of Buddhist-Christian Studies. James Wiseman is a member of the Benedictine community of St. Anselm's Abbey in Washington, D.C., and is an associate professor of theology at the Catholic University of America. Following is an edited interview with both.DONALD MITCHELL How long have Buddhist and Christian monastics been in dialogue? In 1978 the Benedictine Confederation founded what is now named the Monastic Interreligious Dialogue (MID) in order to develop intermonastic dialogue, especially with Buddhism. MID has been in dialogue with Buddhism in Europe, Asia, Australia, and North America. Numerous MID spiritual exchanges and hospitality programs have taken place between Buddhist and Christian monastics over the years. How did the Dalai Lama get involved? His Holiness the Dalai Lama met with Thomas Merton in 1968, and from then on has been interested in Christian monasticism. He first got involved with MID when several of their members spoke with him at an East-West conference at the Naropa Institute in Boulder, Colorado, in 1981. This was the beginning of a series of intermonastic hospitality exchanges, with Tibetan Buddhist monks and nuns visiting Christian monasteries in the United States and Christian monastics being hosted at Tibetan Buddhist sites in India. Years later, at the Parliament of World's Religions in 1993, MID hosted a Buddhist-Christian dialogue on "Emptiness and Kenosis." The Dalai Lama took part in the dialogue and afterward told MID that he felt its dialogue with Buddhism had matured to the point [where] it would be helpful to have a weeklong retreat dialogue on the spiritual life in Buddhism and Christianity. Where did Gethsemani enter the picture? The Dalai Lama asked if it would be possible to hold the spiritual dialogue at Gethsemani Abbey, home of his friend Thomas Merton. In 1994 MID sent a delegation [End Page 197] to Dharamsala to discuss the proposal in more depth with the Dalai Lama. An agreement was reached to hold a retreat dialogue at Gethsemani Abbey with Buddhist and Christian teachers of spirituality coming from around the world. You're not a monk. How did you get involved? Good question. A year later, Sister Mary Margaret Funk, executive director of MID, met with me to request that I help organize the encounter as a lay advisor to MID. MID had used my book, Spirituality and Emptiness: The Dynamics of Spiritual Life in Buddhism and Christianity, to prepare for the Parliament dialogue on kenosis and emptiness. I agreed to help with inviting the Buddhist participants, crafting the program, and editing the proceedings. What developments in the dialogue have you seen occurring over the years? Many developments. As you can imagine, the Gethsemani Encounter in 1996 was itself a spiritual experience. As Ewert Cousins put it, there seemed to be two treasure boxes—Buddhism and Christianity—set before us in a spiritual atmosphere that enabled us to appreciate the gems of spiritual living shared by the participants. So the encounter itself brought the dialogue to a new stage of trust, understanding, and appreciation. This development can be seen in the fact that Buddhist participants suggested a project be undertaken to produce a Buddhist commentary on the Rule of St. Benedict. The result is Benedict's Dharma: Buddhists Reflect on the Rule of Saint Benedict, edited by Patrick Henry and published by Riverhead Books in 2001. What else? A small group of American Buddhist leaders and MID members met in 1999 to discuss the possibility of holding a Gethsemani Encounter II. It was decided to bring the dialogue ahead by focusing on one of the major topics that came up again and again at Gethsemani I—namely, the... (shrink)

The question naturally arises: Is public art inherently violent, or is it a provocation to violence? Is violence built into the monument in its very conception? Or is violence simply an accident that befalls some monuments, a matter of the fortunes of history? The historical record suggests that if violence is simply an accident that happens to public art, it is one that is always waiting to happen. The principal media and materials of public art are stone and metal sculpture (...) not so much by choice as by necessity. “A public sculpture,” says Lawrence Alloway, “should be invulnerable or inaccessible. It should have the material strength to resist attack or be easily cleanable, but it also needs a formal structure that is not wrecked by alterations.”12 The violence that surrounds public art is more, however, than simply the ever-present possibility of an accident—the natural disaster or random act of vandalism. Much of the world’s public art—memorials, monuments, triumphal arches, obelisks, columns, and statues—has a rather direct reference to violence in the form of war or conquest. From Ozymandias to Caesar to Napoleon to Hitler, public art has served as a kind of monumentalizing of violence, and never more powerfully than when it presents the conqueror as a man of peace, imposing a Napoleonic code or a pax Romana on the world. Public sculpture that is too frank or explicit about this monumentalizing of violence, whether the Assyrian palace reliefs of the ninth century b.c., or Morris’s bomb sculpture proposal of 1981, is likely to offend the sensibilities of a public committed to the repression of its own complicity in violence.13 The very notion of public art as we receive it is inseparable from what Jürgen Habermas has called “the liberal model of the public sphere,” a dimension distinct from the economic, the private, and the political. This ideal realm provides the space in which disinterested citizens may contemplate a transparent emblem of their own inclusiveness and solidarity, and deliberate on the general good, free of coercion, violence, or private interests.14 12. Lawrence Alloway, “The Public Sculpture Problem,” Studio International 184 : 124.13. See Leo Bersani and Ulysse Dutoit, “The Forms of Violence,” October, no. 8 : 17-29, for an important critique of the “narrativization” of violence in Western art and an examination of the alternative suggested by the Assyrian palace reliefs.14. Habermas first introduced this concept in The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. Thomas Burger and Frederick Lawrence . First published in 1962, it has since become the focus of an extensive literature. See also Habermas’s short encyclopedia article, “The Public Sphere,” trans. Sara Lennox and Frank Lennox, New German Critique 1 : 49-55, and the introduction to it by Peter Hohendahl in the same issue, pp. 45-48. I owe much to the guidance of Miriam Hansen and Lauren Berlant on this complex and crucial topic. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Service Professor of English and art at the University of Chicago. His recent book is Iconology: Image, Text, Ideology. (shrink)

In eleven first-rate essays, the normative thought of C. S. Peirce is not just exegetically exhumed from out of a sprawled corpus, a challenging task in its own right, but actually resuscitated to new life to address contemporary concerns. The goal of this collection is stated simply by de Waal and Skowronski in their introduction. Because there are “an increasing number of people . . . beginning to look at what Peirce has to offer more generally to contemporary esthetics and (...) moral philosophy . . . this volume will prove a valuable starting point for this [interest]” . While this volume is valuable and a successful contribution to Peirce studies, it is by no means a starting point for this kind of elaboration .. (shrink)

It is strange to write for the pages of this journal a statement which will not come under the eye of its founding editor, Sheldon Sacks. For nearly five years everything that appeared in Critical Inquiry—articles, critical responses, editorial comments—was a matter of painstaking and passionate concern to Shelly Sacks. With a flow of questions and suggestions and a talent for unabashed cajolery, he generated articles and rejoinders to those articles. He worked tirelessly in editorial consultation and correspondence with contributors, (...) especially young writers, helping them to discover the best way of giving form to their ideas. Among the essays submitted to this journal he searched eagerly, even anxiously, for those which seemed, in his words, "right for C.I." What was right for C. I. was never, for Shelly Sacks, a cut-and-dried choice. In his own intellectual life, in his teaching and writing, he delighted in arguing important general questions: theories of representation in the arts, points of possible intersection between linguistic science and literary criticism, the interplay of social forces and cultural expressions. Not surprisingly, in reconnoitering for Critical Inquiry, he found special satisfaction in identifying writers who shared his passion for reexamining fundamental topics in the intellectual disciplines. If such writers made their case forcefully, so much the better: in choosing an essay for publication he assessed its capacity to stimulate interesting counterargument. At no time, however, did Shelly Sacks confuse his own beliefs with the nature of intellectual discourse. As an editor he was hospitable to writers whose premises he questioned and whose conclusions he deplored. Nor did Shelly attempt to achieve a spurious catholicity by following a quiet quota system designed to give each major line of interpretation—deconstructionist, Marxist, psychoanalytic, what have you—an occasional airing in Critical Inquiry. For Shelly each article stood on its own ground: if its author dealt responsibly and freshly with an interesting problem, that was enough. And, along with his commitment to theoretical inquiry, he responded warmly to the personal, the offbeat, the idiosyncratic. He regarded the feature Artists on Art, for example, as a central element in our design. As an editor Sheldon Sacks was above all a shaper. He labored to find and suggest connections in the phenomena of intellectual life. Even the construction of a table of contents for a typical Critical Inquiry issue became for him an opportunity to influence the reader's experience of what we offered. The eminence of an author or the allure of a title were put to one side as Shelly sought to orchestrate, through placement, a kind of intellectual counterpoint from one essay to another. Unheard melodies, doubtless, for many of us, but for Shelly real and sustaining. In this valedictory note we have spoken of Sheldon Sacks' editorial accomplishment—in our friendly view, a very distinguished one—rather than of the personal qualities which made working alongside him an exhilarating experience. We should report, however, that for more than half the life of this journal Shelly was ill and knew that the time available to him was likely to be relatively brief. Faced with this diminishing perspective, he did not—indeed it is more accurate to say he could not—moderate his involvement with the life of this journal. At his death, as at the launching of this enterprise, he held to the high ambition that Critical Inquiry encourage comeliness, vigor, and continuity in the discourse of our time. The appropriate "critical response" to this great loss is that Sheldon Sacks’ editorial colleagues, and our publisher, the University of Chicago Press, pledge whatever talents and energies we possess to the continuing life of the journal he imagined and brought into being. (shrink)

In its comprehensive overview of Alain Locke's pragmatist philosophy this book captures the radical implications of Locke's approach within pragmatism, the critical temper embedded in Locke's works, the central role of power and empowerment of the oppressed and the concept of broad democracy Locke employed.

Multilevel research strategies characterize contemporary molecular inquiry into biological systems. We outline conceptual, methodological, and explanatory dimensions of these multilevel strategies in microbial ecology, systems biology, protein research, and developmental biology. This review of emerging lines of inquiry in these fields suggests that multilevel research in molecular life sciences has significant implications for philosophical understandings of explanation, modeling, and representation.

We are big fans of propositions. But we are not big fans of the proposed by Mitchell et al. The authors ignore the critical role played by implicit, non-inferential processes in biological cognition, overestimate the work that propositions alone can do, and gloss over substantial differences in how different kinds of animals and different kinds of cognitive processes approximate propositional representations.

Let κ be a cardinal which is measurable after generically adding ${\beth_{\kappa+\omega}}$ many Cohen subsets to κ and let ${\mathcal G= ( \kappa,E )}$ be the κ-Rado graph. We prove, for 2 ≤ m < ω, that there is a finite value ${r_m^+}$ such that the set [κ] m can be partitioned into classes ${\langle{C_i:i (...) G}$ in ${\mathcal G}$ such that ${[\mathcal{G} ^\ast ] ^m\cap C_i}$ is monochromatic. It follows that ${\mathcal{G}\rightarrow (\mathcal{G} ) ^m_{<\kappa/r_m^+}}$ , that is, for any coloring of ${[ \mathcal {G} ] ^m}$ with fewer than κ colors there is a copy ${\mathcal{G} ^{\prime}}$ of ${\mathcal{G}}$ such that ${[\mathcal{G} ^{\prime} ] ^{m}}$ has at most ${r_m^+}$ colors. On the other hand, we show that there are colorings of ${\mathcal{G}}$ such that if ${\mathcal{G} ^{\prime}}$ is any copy of ${\mathcal{G}}$ then ${C_i\cap [\mathcal{G} ^{\prime} ] ^m\not=\emptyset}$ for all ${i 2 we have ${r_m^+ > r_m}$ where r m is the corresponding number of types for the countable Rado graph. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Motion and Mercutio in Romeo and JulietDaryl W. PalmerThere is nothing permanent that is not true, what can be true that is uncertaine? How can that be certaine, that stands upon uncertain grounds? 1It is by now a commonplace in modern scholarship that drama, particularly Tudor drama, poses questions, rehearses familiar debates, and even speculates about mere possibilities. 2 In 1954, Madeleine Doran spelled out some of the ways (...) in which debate "affected the structure of Elizabethan drama." 3 In turn, Joel B. Altman, having eloquently extended Doran's examination, concludes that "the plays functioned as media of intellectual and emotional exploration for minds that were accustomed to examine the many sides of a given theme, to entertain opposing ideals, and by so exercising the understanding, to move toward some fuller apprehension of truth that could be discerned only through the total action of the drama." 4 Altman points to Henry Medwall's Fulgens and Lucres (c. 1490) as an exemplar of this practice. Although the interlude instructs and entertains, "the center of interest has shifted from demonstration to inquiry. The action develops not from an abstract assertion, but from a specific question: who is the nobler man, Cornelius or Gaius?" 5 By the time William Shakespeare began to write his plays, inquiry was an essential part of dramatic construction. So Juliet asks, "What's in a name?" 6 Hamlet opens with the question: "Who's [End Page 540] there?" (1.1.1), and achieves a kind of apotheosis in the figure of its hero: "To be, or not to be, that is the question..." (3.1.55). Everyone recognizes these familiar questions, and we know (or think we know) how to describe the most viable answers. I want to suggest, however, that this familiarity has dulled our appreciation of the drama's interrogative range. As a way of resisting this tendency, I want to argue that Shakespeare's Romeo and Juliet takes up an ancient conversation about motion, a dialog that originates with the pre-Socratics. This is not to say that the play is ultimately about motion. It obviously engages a panoply of thematic materials. I have simply chosen, in this limited space, to concentrate on the way the playwright stages his questioning as a kind of fencing lesson. My goal is to produce neither a "reading" of the play nor an allegory of philosophy, but rather to recollect the ways in which Shakespeare's drama qualifies and extends an ancient interrogative tradition. In so doing, I follow Stanley Cavell who maintains "that Shakespeare could not be who he is—the burden of the name of the greatest writer in the language, the creature of the greatest ordering of English—unless his writing is engaging the depth of the philosophical preoccupations of his culture." 7Some of the most venerable documents of Western philosophy fix on the problem of motion. If we go back more than 2,300 years, we come upon Plato's Theaetetus, in which Socrates explains a "first principle" to the title character, namely that "the universe really is motion and nothing else." 8 A kind of history lesson in ontology and epistemology, this tentative explanation has its origins in Heraclitus or Empedocles or Protagoras or some combination of the aforementioned. Perhaps the most famous expression of this ideal comes from Heraclitus: "You cannot step twice into the same river, for other waters and yet others go ever flowing on." 9 More to the point is the following declaration from the same philosopher: "Everything flows and nothing abides; everything gives way and nothing stays fixed." 10 In this spirit, Protagoras declares, "All matter is in a state of flux." 11 Such precedents provide the backdrop for Socrates in the Theaetetus as he summarizes: "The point is that all these things are, as we were saying, in motion, but there is a quickness or slowness in their motion" (Thea, 156c). In this historical spirit, he identifies "a tradition from the ancients, who hid their meaning from the common herd in poetical figures, that Oceanus and Tethys, the source of all things, are flowing streams and nothing is at rest" (Thea, 180d–e).To... (shrink)

This study investigated the performance of boys with psychopathic tendencies and comparison boys, aged 9 to 17 years, on two tasks believed to be sensitive to amygdala and orbitofrontal cortex func- tioning. Fifty-one boys were divided into two groups according to the Psychopathy Screening Device (PSD, P. J. Frick & R. D. Hare, in press) and presented with two tasks. The tasks were the gambling task (A. Bechara, A. R. Damasio, H. Damasio, & S. W. Anderson, 1994) and the Intradimensional/ (...) Extradimensional (ID/ED) shift task (R. Dias, T. W. Robbins, & A. C. Roberts, 1996). The boys with psychopathic tendencies showed impaired performance on the gambling task. However, there were no group differences on the ID/ED task either for response reversal or extradimensional set shifting. The implications of these results for models of psychopathy are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Motion and Mercutio in Romeo and JulietDaryl W. PalmerThere is nothing permanent that is not true, what can be true that is uncertaine? How can that be certaine, that stands upon uncertain grounds? 1It is by now a commonplace in modern scholarship that drama, particularly Tudor drama, poses questions, rehearses familiar debates, and even speculates about mere possibilities. 2 In 1954, Madeleine Doran spelled out some of the ways (...) in which debate "affected the structure of Elizabethan drama." 3 In turn, Joel B. Altman, having eloquently extended Doran's examination, concludes that "the plays functioned as media of intellectual and emotional exploration for minds that were accustomed to examine the many sides of a given theme, to entertain opposing ideals, and by so exercising the understanding, to move toward some fuller apprehension of truth that could be discerned only through the total action of the drama." 4 Altman points to Henry Medwall's Fulgens and Lucres (c. 1490) as an exemplar of this practice. Although the interlude instructs and entertains, "the center of interest has shifted from demonstration to inquiry. The action develops not from an abstract assertion, but from a specific question: who is the nobler man, Cornelius or Gaius?" 5 By the time William Shakespeare began to write his plays, inquiry was an essential part of dramatic construction. So Juliet asks, "What's in a name?" 6 Hamlet opens with the question: "Who's [End Page 540] there?" (1.1.1), and achieves a kind of apotheosis in the figure of its hero: "To be, or not to be, that is the question..." (3.1.55). Everyone recognizes these familiar questions, and we know (or think we know) how to describe the most viable answers. I want to suggest, however, that this familiarity has dulled our appreciation of the drama's interrogative range. As a way of resisting this tendency, I want to argue that Shakespeare's Romeo and Juliet takes up an ancient conversation about motion, a dialog that originates with the pre-Socratics. This is not to say that the play is ultimately about motion. It obviously engages a panoply of thematic materials. I have simply chosen, in this limited space, to concentrate on the way the playwright stages his questioning as a kind of fencing lesson. My goal is to produce neither a "reading" of the play nor an allegory of philosophy, but rather to recollect the ways in which Shakespeare's drama qualifies and extends an ancient interrogative tradition. In so doing, I follow Stanley Cavell who maintains "that Shakespeare could not be who he is—the burden of the name of the greatest writer in the language, the creature of the greatest ordering of English—unless his writing is engaging the depth of the philosophical preoccupations of his culture." 7Some of the most venerable documents of Western philosophy fix on the problem of motion. If we go back more than 2,300 years, we come upon Plato's Theaetetus, in which Socrates explains a "first principle" to the title character, namely that "the universe really is motion and nothing else." 8 A kind of history lesson in ontology and epistemology, this tentative explanation has its origins in Heraclitus or Empedocles or Protagoras or some combination of the aforementioned. Perhaps the most famous expression of this ideal comes from Heraclitus: "You cannot step twice into the same river, for other waters and yet others go ever flowing on." 9 More to the point is the following declaration from the same philosopher: "Everything flows and nothing abides; everything gives way and nothing stays fixed." 10 In this spirit, Protagoras declares, "All matter is in a state of flux." 11 Such precedents provide the backdrop for Socrates in the Theaetetus as he summarizes: "The point is that all these things are, as we were saying, in motion, but there is a quickness or slowness in their motion" (Thea, 156c). In this historical spirit, he identifies "a tradition from the ancients, who hid their meaning from the common herd in poetical figures, that Oceanus and Tethys, the source of all things, are flowing streams and nothing is at rest" (Thea, 180d–e).To... (shrink)

Mill, J. S. Bentham.--Whewell, W. Bentham.--Watson, J. Bentham.--Hart, H. L. A. Bentham.--Parekh, B. Bentham's justification of the principle of utility.--Peardon, T. Bentham's ideal republic.--Hart, H. L. A. Bentham on sovereignty.--Burns, J. H. Bentham's critique of political fallacies.--Mitchell, W. C. Bentham's felicific calculus.--Roberts, D. Jeremy Bentham and the Victorian administrative state.

Kenneth Burke is, at long last, beginning to get the attention he de- serves. Among anthropologists, sociologists, psychologists, and rhetori- cians his "dramatism" is increasingly recognized as something that must at least appear in one's index, whether one has troubled to understand him or not. Even literary critics are beginning to see him as not just one more "new critic" but as someone who tried to lead a revolt against "narrow formalism" long before the currently fashionable explosion into the "extrinsic" (...) had been dreamed of. I have recently heard him called a structuralist-before-his-time-and what could be higher praise than that! But in almost everything said about his literary criticism, there is an air of condescension that is puzzling. The tone seems usually to echo that of Rene Wellek , who, as Burke himself laments , "almost overwhelms me with praise," referring to "men of great gifts, nimble powers of combination and association, and fertile imagination," but then deplores Burke's irresponsibility, repudiates his critical judgments, condemns his general method without bothering to look closely at it, and in general makes him look like some sort of idiot savant-a buffoon with a high IQ.Wayne C. Booth received the Phi Beta Kappa Christian Gauss Award in 1962 for his book The Rhetoric of Fiction. His most recent works, A Rhetoric of Irony and Modern Dogma and the Rhetoric of Assent, appeared this year. His contributions to Critical Inquiry include "Irony and Pity Once Again: Thais Revisited" , "M.H. Abrams: Historian as Critic, Critic as Pluralist" , "THE LIMITS OF PLURALISM: 'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "CRITICAL RESPONSE: Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter and W.J.T. Mitchell: "EDITORS' NOTE: Sheldon Sacks 1930-1979". (shrink)

MORRIS: But come back to that other kind of fiction, in which the author himself is involved with his works, not merely in writing something for other people but in writing what seems to be necessary to his conscious existence, to his sense of well-being. For such a writer, when he finished with something he finishes with it; he is not left with continuations that he can go on knitting until he runs out of yarn. This conceit reflects my own (...) experience as a writer, relying on the sap that keeps rising, the force that drives the flower, as Dylan Thomas put it. It is plantlike. We put it in the sun and when it doesn't grow, we take it and put it in another room. I don't think of repotting the plant. The plant must make its own way. BOOTH: I like the organic metaphor, but I keep wanting to come back to particular cases to see how you actually work, in literal detail. Even the organic novelist obviously still has the matter of collecting notes, starting a novel, having it fail to go. Let me put a simple question, and move out from there. How many actual novels, whether they ever reach fruition or not, do you have "growing" at a given time? MORRIS: You don't mean simultaneously? BOOTH: I mean actual notes that exist in some kind of manuscript form, starts on a novel, something you are actually working on. MORRIS: It is so unusual for me to have more than one or two things in mind at once that I don't find this a fruitful question. Wright Morris's work as a novelist, essayist, and photographer is examined by prominent critics in Conversations with Wright Morris; the collection, edited by Robert E. Knoll, was published in the spring of 1977 by the University of Nebraska Press. "The Writing of Organic Fiction" is a chapter in that book. Wayne C. Booth's other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" ,"Irony and Pity Once Again: Thais Revisited" , "M.H. Abrams: Historian as Critic, Critic as Pluralist" , “'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , and, with Robert E. Streeter, W.J.T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

This study explores the impact of participation in a series of moral case deliberations (MCD) on the moral craftsmanship (MCS) of Dutch prison staff. Between 2017–2020, ten MCDs per team were implemented in three prisons (i.e., intervention group). In three other prisons (i.e., control group) no MCDs were implemented. We compared the intervention and control group using a self-developed questionnaire, administered before (pre-measurement) and after the series of MCDs (post-measurement). Results After the MCDs, participants scored significantly higher on 7 of (...) the 70 items related to MCS. On some items there were significant impact differences between the various professional disciplines. Discussion Possible explanations for a relatively low impact are discussed. A shorter and validated questionnaire is needed in order to further study the MCS of professionals and the impact of Ethics Support Services (ESS). Conclusions There was a positive development on some elements of MCS after participation in a series of MCDs. (shrink)

What I am calling for is not as radically new as it may sound to ears that are still tuned to positivist frequencies. A very large part of what we value as our cultural monuments can be thought of as metaphoric criticism of metaphor and the characters who make them. The point is perhaps most easily made about the major philosophies. Stephen Pepper has argued, in World Hypotheses,1 that the great philosophies all depend on one of the four "root metaphors," (...) formism, mechanism, organicism, and contextualism, and they are great precisely because they have so far survived the criticism of rival metaphors. Each view of the totality of things claims supremacy, but none has been able to annihilate the others. They all thus survive as still plausible, pending further criticism through further philosophical inquiry. In this view, even the great would-be literalists like Hobbes and Locke are finally metaphorists—simply committed to another kind of metaphor, one that to them seems literal. Without grossly oversimplifying we could say that the whole work of each philosopher amounts to an elaborate critique of the inadequacy of all other philosophers' metaphors. What is more, the very existence of a tradition of a small group of great philosophies is a sign that hundreds of lesser metaphors for the life of mankind have been tested in the great philosophical—that is, critical—wars and found wanting. · 1. World Hypotheses: A Study in Evidence . In Concept and Quality: A World Hypothesis , Pepper suggests that "the purposive act" is a fifth root metaphor. Wayne C. Booth's is the author of, among other works, Critical Understanding: The Powers and Limits of Pluralism. His contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , "M. H. Abrams: Historian as Critic, Critic as Pluralist" , "'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W. J. T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

Mad about it they still were, in 1926, when Hemingway's splendid spoofing appeared in The Sun Also Rises. But it was not everybody who had been responsible. It was mainly Anatole France, abetted by his almost unanimously enthusiastic critics. And of all his works, the one that must have seemed to fit the formula best was Thaïs, already a quarter of a century old when Jake Barnes learned of irony and pity. It is not a bad formula for the effect (...) of Thaïs, as formulas go. It is at least as useful—and at least as misleading—as "pity and fear" for tragedy. There is, however, a surprising difference. If I tell you the story of any classical tragedy, even in very brief form, you will know at once why someone might talk about that story using the terms "pity" and "fear." But if I tell you of the priest who lost his soul converting the prostitute, you will not be able to predict any determinate reaction—except perhaps that the story will have for everyone a slight bit of ironic wonder at the grand reversal. In other words, a teller will be able to turn such material almost any direction he chooses, making it into a tragedy, a comedy, a farce, a celebration of God's wonder and mystery—or a tale playing with pity and irony. Wayne C. Booth's most recent books are A Rhetoric of Irony and Modern Dogma and the Rhetoric of Assent. He is now completing a book on critical warfare and critical pluralism . A version of one chapter from that book, "M.H. Abrams: Historian as Critic, Critic as Pluralist," will appear in the Spring issue of Critical Inquiry. Other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" , "Ten Literal ‘Theses’" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

When M. H. Abrams published a defense, in 1972, of "theorizing about the arts,"1 some of his critics accused him, of falling into subjectivism. He had made his case so forcefully against "the confrontation model of aesthetic criticism," and so effectively argued against "simplified" and "invariable" models of the art work and of "the function of criticism," that some readers thought he had thrown overboard the very possibility of a rational criticism tested by objective criteria. In his recent reply to (...) these critics,2 Abrams concentrates almost entirely on whether his critical pluralism is finally a skeptical relativism. He does not even mention his great historical works, The Mirror and the Lamp and Natural Supernaturalism, and he has nothing to say about how his pluralistic theories would be applied to the writing of history. But then, surprising as it seems once we think about it, neither of the two histories has much about his method either. What is the true achievement of these aggressive raids into our past, and how does Abrams see them in relation to other possible histories of the same subjects? Knowing in advance that he has agreed to reply to my nudging, I should like both to propose that everyone has—with Abrams' own encouragement—understated the importance of what he has done and to ask: What kind of pluralist is he? · 1. "What's the Use of Theorizing about the Arts," In Search of Literary Theory, ed. Morton Bloomfield , pp. 3-54. · 2. "A Note on Wittgenstein and Literary Criticism," ELH 41 : 541-54. Wayne C. Booth's other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , >"Preserving the Exemplar: Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: “Sheldon Sacks 1930-1979”. (shrink)

At first thought, our question of the day seems to be "about the text itself." Is there, in all texts, or at least in some texts, what Abrams calls "a core of determinate meanings," "the central core of what they [the authors] undertook to communicate"? Miller has seemed to find in the texts of Nietzsche a claim that there is not, that "the same text authorizes innumerable interpretations: There is no 'correct' interpretation. . . . reading is never the objective (...) identifying of a sense but the importation of meaning into a text which has no meaning 'in itself.'" Abrams claims that Miller cannot report on Nietzsche's deconstructionist claims without violating them: Miller seems to claim that he has found something that Nietzsche's text really says, not something that Miller himself merely brought to it. Is this objection a quibble or a clincher?1 · 1. See my "M.H. Abrams: Historian as Critic, Critic as Pluralist," Critical Inquiry 2 : 411-45, and Abrams' reply, "Rationality and Imagination in Cultural History," pp. 447-64, esp. 456-58. Wayne C. Booth's other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

BackgroundClinical Ethics Support (CES) services are offered to support healthcare professionals in dealing with ethically difficult situations. Evaluation of CES is important to understand if it is indeed a supportive service in order to inform and improve future implementation of CES. Yet, methods to measure outcomes of CES are scarce. In 2014, the European Moral Case Deliberation Outcomes Instrument (Euro-MCD) was developed to measure outcomes of Moral Case Deliberation (MCD). To further validate the instrument, we tested it in field studies (...) and revised it. This paper presents the Euro-MCD 2.0 and describes the revision process.MethodsThe revision process comprised an iterative dialogue among the authors as Euro-MCD-project team, including empirical findings from six Euro-MCD field-studies and input from European experts in CES and theory. Empirical findings contained perceptions and experiences of MCD outcomes among healthcare professionals who participated in MCDs in various settings in Norway, Sweden and the Netherlands. Theoretical viewpoints on CES, literature on goals of CES and MCD and ethics theory guided the interpretation of the empirical findings and final selection of MCD outcomes.ResultsThe Euro-MCD 2.0 Instrument includes three domains: Moral Competence, Moral Teamwork and Moral Action. Moral Competence consists of items about moral sensitivity, analytical skills and virtuous attitude. Moral Teamwork includes open dialogue and supportive relationships and Moral Action refers to moral decision-making and responsible care. During the revision process, we made decisions about adding and reformulating items as well as decreasing the number from 26 to 15 items. We also altered the sentence structure of items to assess the current status of outcomes (e.g. ‘now’) instead of an assumed improvement over time (e.g. ‘better’) and we omitted the question about perceived importance.ConclusionsThe Euro-MCD 2.0 is shorter, less complex and more strongly substantiated by an integration of empirical findings, theoretical reflections and dialogues with participants and experts. Use of the Euro-MCD 2.0 will facilitate evaluation of MCD and can thereby monitor and foster implementation and quality of MCD. The Euro-MCD 2.0 will strengthen future research on evaluation of outcomes of MCD. (shrink)

Morin’s identification of inner speech with self-awareness is problematic. Taylor’s description of her experience before, during, and after her stroke and operation is also problematic; it is at times confusing and difficult to comprehend conceptually. Rather than being global, her deficits in self-awareness seem piecemeal. She describes self-awareness that exists independent of inner speech. I offer interpretations of her experience alternative to those of Morin and Taylor.