Argues that materialism, specifically eliminative materialism, is dependent on the immaterial language and immaterial experiential realm for its meaning. The mind/body dualism has been a bane to psychology. Eliminative Materialists eliminate the immaterial mind from study, thereby rejecting the dualism. However, in assuming biology reveals everything about human experience, eliminative materialists are faced with a presupposed dualism: biological language, which is supposed to replace any psychological language, is necessarily correlated with and dependent upon meaning in the psychological language. Further, the (...) nature of identity between the biological and psychological is either meaningless tautology or a dualism of explanatory realms. 2012 APA, all rights reserved). (shrink)

In his second appearance to Aeneas in Aeneid 4 Mercury drives the hero to flee Carthage with a false allegation that Dido is planning an attack, capping his warning with an infamous sententia about the mutability of female emotion. Building on a previous suggestion that Mercury's first speech to Aeneas is modelled on Athena's admonishment of Telemachus at the opening of Odyssey 15, this article proposes that Mercury's second speech as well is modelled on Athena's warning, in which the goddess (...) uses misdirection about Penelope's intentions and a misogynistic gnōmē about the changeability of women's affections to spur Telemachus’ departure from Sparta. After setting out how Virgil divides his imitation of Athena's speech verbally and thematically between Mercury's two speeches, the discussion turns to why both Athena and Mercury adopt these deceptive tactics. The speeches are shown to be culminations of the poets’ similar approaches to creating doubt and foreboding around the queens’ famed capacities for using δόλος. Common features in the ensuing hasty departures of Telemachus and Aeneas further confirm Virgil's use of Odyssey 15 in devising Aeneas’ escape from Carthage. (shrink)

A new three-parameter extension of the generalized-exponential distribution, which has various hazard rates that can be increasing, decreasing, bathtub, or inverted tub, known as the Marshall-Olkin generalized-exponential distribution has been considered. So, this article addresses the problem of estimating the unknown parameters and survival characteristics of the three-parameter MOGE lifetime distribution when the sample is obtained from progressive type-II censoring via maximum likelihood and Bayesian approaches. Making use of the s-normality of classical estimators, two types of approximate confidence intervals are (...) constructed via the observed Fisher information matrix. Using gamma conjugate priors, the Bayes estimators against the squared-error and linear-exponential loss functions are derived. As expected, the Bayes estimates are not explicitly expressed, thus the Markov chain Monte Carlo techniques are implemented to approximate the Bayes point estimates and to construct the associated highest posterior density credible intervals. The performance of proposed estimators is evaluated via some numerical comparisons and some specific recommendations are also made. We further discuss the issue of determining the optimum progressive censoring plan among different competing censoring plans using three optimality criteria. Finally, two real-life datasets are analyzed to demonstrate how the proposed methods can be used in real-life scenarios. (shrink)

The question, what makes a clinician a healer? may evoke the image of a devoted physician paying a critically important home visit at the end of a long day or the image of an astute nurse—steadfast, empathic, anticipating the patient's needs before they become apparent to others. But health care is no longer provided by lone doctors or nurses. In the modern health care system, multiple professionals must work together to provide safe and effective care. The moral nature of healing (...) has not changed. But what is required of clinicians to facilitate healing has. To be a healer today, a clinician must be a good team player. Medical students have opened our eyes to this new reality. Building on their observations, we articulate a view that, over and above the role of teamwork in providing technically appropriate care and preventing errors, health care requires teamwork to promote healing. Being a good team player is now a moral imperative because it makes an essential contribution to healing. (shrink)

In several experiments of survival analysis, the cause of death or failure of any subject may be characterized by more than one cause. Since the cause of failure may be dependent or independent, in this work, we discuss the competing risk lifetime model under progressive type-II censored where the removal follows a binomial distribution. We consider the Akshaya lifetime failure model under independent causes and the number of subjects removed at every failure time when the removal follows the binomial distribution (...) with known parameters. The classical and Bayesian approaches are used to account for the point and interval estimation procedures for parameters and parametric functions. The Bayes estimate is obtained by using the Markov Chain Monte Carlo method under symmetric and asymmetric loss functions. We apply the Metropolis–Hasting algorithm to generate MCMC samples from the posterior density function. A simulated data set is applied to diagnose the performance of the two techniques applied here. The data represented the survival times of mice kept in a conventional germ-free environment, all of which were exposed to a fixed dose of radiation at the age of 5 to 6 weeks, which was used as a practice for the model discussed. There are 3 causes of death. In group 1, we considered thymic lymphoma to be the first cause and other causes to be the second. On the base of mice data, the survival mean time of mice of the second cause is higher than the first cause. (shrink)

Literary scholars are generally suspicious of the concept of universals: there are presently no candidates for literary universals that a high proportion of literary scholars would accept as valid. This paper reports results from a content analysis of patterns of characterization in folktales from 48 culture areas, aimed at identifying patterns of characterization that apply across regions of the world and levels of cultural complexity. The search for these patterns was guided by evolutionary theory and the findings are consistent with (...) previous research on patterns of altruism, sex differences in mate preferences, sex differences in reproductive strategy, and differing emphases on male and female physical attractiveness. World literature, especially originally oral literature, represents a vast and neglected repository of information that researchers can use to more precisely map the contours of human nature. (shrink)

Although the desirability for Italian princes and those who emulated their social practices to construct rooms specifically dedicated to the performance of music was specified by Paolo Cortesi in his treatise De cardinalatu at the beginning of the sixteenth century, the identification of these dedicated spaces and in particular of the repertories performed within them is fraught with difficulty. Beginning with Isabella d'Este's various studioli, this chapter considers what can be reconstructed about the provision of such rooms within the (...) class='Hi'>ducal palace in Mantua. In so doing, it draws upon inventories, archival documents and the iconography of a number of decorative schemes, finishing with the work of the architect Giovan Battista Bertani, to suggest what can be determined about the shape and internal disposition of the rooms themselves. (shrink)

Ces dernières années, des musées d’art contemporain sont apparus partout dans le monde occidental et au-delà. Le nombre de ce genre de musées augmente en permanence. Le touriste d’aujourd’hui, qui se rend dans une grande ville, s’attend à y trouver un musée d’art contemporain, de la même manière qu’il s’attend à y trouver un restaurant italien ou un cinéma. Dans la plupart des cas, ces attentes sont confirmées. Dans le pire des cas, le touriste va apprendre que le (...) class='Hi'>musée d’art contemporain est encore en construction et qu’il sera ouvert l’année suivante. Quoi qu’il en soit, cette acceptation si facile de la notion de « musée d’art contemporain » par la culture d’aujourd’hui n’est pas sans importance. Traditionnellement, le musée d’art constituait un endroit dans lequel l’art du passé était collecté, conservé et montré au beau milieu de la vie contemporaine. Mais que signifie construire un musée d’art contemporain ? Que signifie « muséographier » la contemporanéité elle-même?Museums of contemporary art have appeared everywhere in the Western world and beyond in recent years, and they are constantly increasing in number. Any tourist visiting a major city today expects to find a museum of contemporary art, just as they expect to find an Italian restaurant or a cinema. In most cases, this is indeed what they find. At the very least, tourists will find that the city’s museum of contemporary art is still under construction and will open the following year. Whatever the case, the ready acceptance of the “museum of contemporary art” in today’s culture is significant. Traditionally, an art museum was a place where the art of the past could be collected, curated and displayed right in the heart of the contemporary world. But what does creating a museum of contemporary art really mean? In other words, what does it mean “to make a museum exhibit” of contemporaneity itself? (shrink)

Describes what the author sees as a suppression of the feminine in Western culture, technology, and philosophy and opens a feminist postmodern space from which fresh differences may emerge. This title explores underdeveloped themes in American and Canadian feminism. It offers a deconstruction of the phallocentric dichotomies of nature and culture.

Cet article porte sur les dynamiques muséales dans le contexte de la construction identitaire. À travers l’étude en Namibie des différents types de musées qui maillent le territoire, deux types de fonctionnement se dégagent. Le premier est unifiant et centralisateur, représenté par le musée national, média qui affiche dans l’espace public la représentation officielle de la nation dite « arc-en-ciel ». Ce fonctionnement est traditionnel aux musées, dominant et structurellement centralisé. Le second modèle, diversifiant et territorialisé, se manifeste dans (...) les dispositifs muséaux mis en place par les nombreuses communautés namibiennes. Modèle territorial et omnicentrique, il s’appuie sur la vision que les communautés ont d’elles-mêmes. Ces deux types de fonctionnement constituent aujourd’hui les deux axes du maillage muséal du territoire national namibien et participent au modèle orchestral de la communication.This article investigates the dynamics of museums in the context of identity building. A study in Namibia on the different types of museums scattered across the country brings out two different patterns. The first is unifying and centralising and represented by the national museum, which publicly promotes the official representation of Namibia as a “rainbow nation”. This, the traditional pattern for museums, is dominant and structurally centralised. The second pattern, which tends towards diversification and a territorial focus, is seen in the museums established by the many different communities in Namibia. This territorial and omnicentric pattern stems from the way communities perceive themselves. These two patterns have become the two main strands in the fabric of Namibia’s museums and are integral to the way communication is orchestrated. (shrink)

Les musées contemporains sont en pleine mutation, ils passent du statut de « temples de l’art et de la culture » à celui de pourvoyeurs d’activités culturelles et ludiques. Censés instruire, ils s’engagent dans la voie controversée de plaire en vue d’exister, le but ultime étant de drainer le plus de « clients » possible pour assurer la continuation. Et dans la mouvance, ils n’hésitent pas à s’exporter au même titre que les enseignes commerciales vers des cités-nations à la recherche (...) d’une « présence » sur la mappemonde globalisée. Le Louvre-Abou Dabi est un exemple saillant de cette tendance mondialisée, tout comme Guggenheim, il devient un jalon mobile de l’art et de la culture. Dans cette phénoménologie de « l’existence par l’architecture », les œuvres architecturales deviennent des objets-outils de notoriété et de communication, plus inhérents au marketing qu’à la culture. Mais quelle part d’intérêt va pour les collections dans ce nouveau statut du musée ou le bâtiment est à lui seul un gage d’existence et de contemporanéité ? Et dans quelle mesure, la part de responsabilité publique qui incombe aux musées dans le développement culturel de la collectivité, risque-t-elle d’être compromise par les lois du marché?Contemporary museums are rapidly evolving from “temples of art and culture” to providers of cultural and recreational activities. Although supposed to be instructive, they are embarking on a controversial policy of pleasing the public in order to exist, the ultimate aim being to draw as many “customers” as possible to secure their future. And in pursuing these aims, they have been exporting themselves, just like any commercial brand, to nation-cities seeking a “place” on the globalised map. The Abu Dhabi Louvre is a striking example of this global trend, as is the Guggenheim, which has now become a movable landmark in the arts and culture landscape. This phenomenon of “existence through architecture” is turning architectural works into objects as well as tools to enhance communication and notoriety, a development that has more to do with marketing than with culture. But given this new status, where the building itself guarantees the museum’s existence and contemporaneity, how much interest is there in its collections? And to what extent is every museum’s share of public responsibility for collective cultural development likely to compromised by “market forces”? (shrink)

The article proves that the term mouseion used by Plato in Phaedrus 278b cannot mean “sanctuary/shrine of the Muses” here, but it probably refers to the cicadas chirping under the plane tree of which Socrates speaks earlier in the dialogue (259b-c). Such an interpretation is consistent with our knowledge of the early stage of development of the concept of mouseion, and also with its use elsewhere in Plato’s dialogue (267b). It should therefore be concluded that the cult of the Muses (...) at the Ilissus, known from late testimonies, did not come from the classical era and appeared under the influence of reading Plato’s dialogue. Plato’s testimony should also not be raised as an important argument in disputes regarding the relationship of the nymphs and the Muses and the early identification of the Muses with water. (shrink)

Nous comparons ici deux expositions de musées français sur l’immigration : Repères et D’Isère et du Maghreb Mémoires d’immigrés. Notre analyse muséologique montre en quoi le monde des musées participe activement au débat de société récurrent en France sur ce thème ; chaque exposition défendant sa vision de l’immigration par ses modalités d’écriture muséographique.This article compares two exhibitions on immigration in French museums: Repères [Landmarks] and D’Isère et du Maghreb : Mémoires d’immigrés [Memories of immigration – from the Isère and (...) from the Maghreb]. Our analysis shows how the world of museums actively contributes to the recurrent debate on immigration in French society, with each exhibition putting forward a view of immigration through the design choices made. (shrink)

Quel regard les musées de société posent-ils sur les sociétés ? Le musée fait partie des institutions structurantes d’une société, notamment par son rôle de création et de partage de savoir : en ce sens, il est à la fois miroir d’une société et lien critique. Préoccupés par les enjeux contemporains tels que la diversité culturelle, la numérisation, la mondialisation, le développement des activités culturelles ou encore le développement durable, les musées de société doivent sans cesse s’adapter, créer et (...) innover en jonglant avec les paradoxes inhérents à toutes civilisations. À travers des exemples français et québécois, cet article présentera un point de vue critique sur les défis et les enjeux des transformations opérant au sein des musées de société, que ce soit au niveau du discours tenu sur la diversité culturelle, de la mise en muséographie de l’autre, de la mise en valeur du patrimoine matériel et immatériel ou encore de l’engouement grandissant des visiteurs. Du fait de sa mission et de part sa dynamique, le musée de société ne serait-il pas le point de bascule qui permet d’offrir une lecture intégrée des sociétés ? Si oui, quel monde souhaite-t-il construire? De quel monde souhaite-t-il être témoin?How do social museums view societies? Museums are one of the main structural elements of any society, in particular because of their role in creating and sharing knowledge: in this sense, they are both a mirror and a critique of society. Because of their concern for contemporary issues such as cultural diversity, digitisation, globalisation, the development of cultural activities and even sustainable development, social museums have to constantly adapt, create and innovate while dealing with the inherent paradoxes of any society. Through examples from France and Quebec, this article offers a critical perspective on the issues and challenges arising from current developments in social museums, from discourses on cultural diversity, designing exhibitions on other cultures and ways of presenting the material and immaterial heritage, to the increasingly popularity of these museums among the public. Given their mission and their dynamics, could the social museum be a tipping point in the advent of an integrated interpretation of society? If so, what kind of world does it aim to build? What is the world it aims to reflect? (shrink)

Dans la période actuelle où prolifère la création artistique, mais aussi, où s’accélèrent les mutations et où tout devient consommation ; dans cette immense casse qu’est la postmodernité, les musées sélectionnent les éléments matériels ou immatériels jugés suffisamment significatifs pour mériter d’être conservés et transmis aux générations futures, comme le témoignage de la culture d’une époque. Nous défendons que dans le domaine de l’art contemporain, les musées jouent un rôle essentiel, sublime, qui confère à l’œuvre une aura extraordinaire. Dès lors, (...) la problématique essentielle est d’ordre épistémologique. Par-delà le débat enflammé auquel se livrent les défenseurs ou les détracteurs de l’art contemporain officiel, deux questions essentielles demeurent, celle des processus par lesquels l’institution muséale construit la vérité esthétique, et celle des processus par lesquels les artistes accèdent à l’espace sacralisant du musée.In our time of proliferating artistic creation, but also of accelerating change and an all-pervading consumer culture, museums are trawling though the vast, sprawling breaker’s yard of post-modernism to select the material or immaterial items they consider significant enough to be preserved for future generations as reflections of the culture of our time. We argue that in the field of contemporary art, museums have an essential role that adds an aura of the sublime to works of art. The essential question then becomes epistemological. Over and above the impassioned debates between those for and those against what is officially labelled as contemporary art, two essential questions remain: what are the processes through which the museum as an institution constructs aesthetic truth, and what are the processes whereby artists attain the sacrament of a museum exhibition? (shrink)

For decades, presidents of the Association of American Geographers have written insightful columns in the AAG Newsletter. One of the most popular sections of the newsletter, these columns illustrate the changes and consistencies of geography over the past thirty-four years. They offer an insight into the past of the geography discipline and a broader perspective on the future. Previously inaccessible even to most professional geographers, the Presidential Columns will now be available in Presidential Musings from the Meridian: Reflections of the (...) Nature of Geography. (shrink)

In Virgil’s Eclogues the Muses Pierides are always represented as authors of the poems, like in the Gallus papyrus from Qaṣr Ibrîm. Their presence in passages allusive to the verses of the papyrus and the employ of the epithet by Prop. 2, 10 and 2, 13 in texts rich of references to Gallus suggest that the word Pierides was already in Gallus’ poetry and perhaps in the lacuna at v. 6 of the papyrus.

Cet article est la première édition d’une épigramme votive gravée sur l’une des pièces majeures du Musée diachronique de Larissa, une stèle à relief remployée pour servir de chapiteau à l’époque byzantine où l’on voit neuf Muses faire cortège autour d’une divinité placée dans une grotte qui pourrait être identifiée avec Apollon. L’inscription et le relief sont incomplets et posent quelques difficultés d’interprétation. Nous avançons des hypothèses de reconstitution du texte, complétées par un premier commentaire iconographique, et essayons de (...) replacer cet objet dans son ancien contexte monumental, archéologique, culturel et religieux : une dédicace du peuple aux Piérides semble être liée à la fondation d’un culte des Muses à Larissa par un citoyen riche qui, en échange de sa générosité, espère pouvoir obtenir une prêtrise. (shrink)

The musings are based upon Kashmiri Shaivist Abhinavagupta’s concept of Santa Rasa (10th Century AD) and my Advait beliefs stemmed from the Upanishads.

This collection, by one of the most challenging of contemporary thinkers, asks the question: why are there several arts and not just one? This question focuses on the point of maximal tension between the philosophical tradition and contemporary thinking about the arts: the relation between the plurality of the human senses and sense or meaning in general. Throughout the five essays, Nancy's argument hinges on the culminating formulation of this relation in Hegel's Aesthetics and The Phenomenology of Spirit - art (...) as the sensible presentation of the Idea. He considers the emergence of art as presentation rather than representation and looks at the contemporary situation of art, and the question of whether art today is still art. Other essays provide intricate and compelling readings of Caravaggio's Death of the Virgin and an analysis of a traced hand in the grotto of Lascaux as the essential mimetic gesture. (shrink)