"The Philosophy of the Plays of Shakspeare Unfolded" from Delia Bacon. American writer of plays and short stories (1811-1859).

Nathaniel Hawthorne’s The Birthmark offers a sharp lens through which to examine power, purity, and personal identity. Scientist and spiritual idealist, Aylmer, is obsessed with “correcting” the only flaw he perceives in his wife Georgina, the imprint of a small red hand on her pale cheek. For Alymer, this one “imperfection” reaches deep into Georgina’s heart, a sign of sin, decay, and mortality. It is the natural that must be overcome with science. Drawing on Hawthorne’s tragic fiction, (...) this paper questions the influence of stigma, power dynamics, and mind-body dualism in constructing disability identity within the framework of medical and spiritual practices of care. Whether in the role of a spiritual leader, chaplain, or medical professional, people providing care must first address ableism and perceptions of normalcy in relation to their own identity and calling before offering professional advice to disabled people seeking guidance or support. It is only as professional fields adopt a posture marked by courageous humility that healing practices will promote the flourishing of all people, including those with disabilities. (shrink)

This essay provides an interpretation of Nathaniel Hawthorne's short story 'My Kinsman, Major Molineux.' It argues that in this story Hawthorne is presenting a tale of social transformation from the pre-modern to the modern society in the form of the protagonist Robin's experiences on coming from the backwoods to the city. Here Robin sees things he has never seen before and is transformed in terms of his religious attitudes as well as in terms of his simple individual,rural (...) independence. Robin ends up joining the urban mob in its humiliation of the gentleman figure of Major Molineux. The new urban world of the 19th Century is sympathetic neither to rural simplicty nor to gentlemanly dignity. (shrink)

Illuminating innovatively the dialectic by which “sign” is induced “to signify” requires an analysis of the inferrer-entailed symbolics constituting “signified,” a process particularly observable during relative, purposeful re-signification, particularly at high-visibility sites. Because Nathaniel Hawthorne focused intently his romantic-dramatic oeuvre on cynosural women, because of his affinity for allegorical signification, and especially for his tangibility to feminist themes and axiologies of virtue transcending even the highly reformist nineteenth century, he is here chosen an interpretation-open “carrier wave” for that (...) research. Climactically and consonant thematically, also instructive is Umberto Eco’s unnamed, eponymous “Rose” for being an antiphrastic sign with a truth of its own signifying at least (like Hawthorne’s Puritan-oblique Hester Prynne) divergence from male/hieratic hermeneutics; at most (like Apuleius’s metaphysical Psyche, Hawthorne’s lodestar) ineffable, philosophical Good. As if to the generating premise, Eco wrote in The Name of the Rose, “Without an eye to read them[,] signs produce no concepts”; socially consequential signification-conditioned transformation, in that eye and toward those signifieds, symptomatic both historical and rhetorical, is here assayed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:James S. Mullican DETERMINISM, FATALISM, AND FREE WILL IN HAWTHORNE A recurrent theme in Nathaniel Hawthorne's writing is the relationship between fatalism and free will. His tales, romances, and notebooks contain explicit and implied references to man's freedom of choice and his consequent responsibility for his acts, as well as to "fatalities" that impel men to various courses of action. Much of the ambiguity in (...) class='Hi'>Hawthorne's fiction rests on this conflict between the notions of human freedom and responsibility on one hand and fatalism on the other. Although there is no question that this theme was important for Hawthorne, there is much disagreement concerning what Hawthorne himself believed. Critics have taken virtually every position on the spectrum between the poles of complete freedom and complete fatalism. That this disagreement exists should not be surprising. Hawthorne was an artist, not a philosopher or theologian; an important element of his technique, perhaps essential to his vision of life, was his ambiguity. His dual vision of the world, of matter and spirit, of evil and good, and his emphasis now of one, now of the other, engender disagreement concerning his view of life. His alternate fascination with and apparent rejection of Puritanism have led some to believe he was a predestinarían, others to hold that he was a "libertarian," and at least one critic to write that Hawthorne believed in a "modified predestination." Turner argued that Hawthorne's attitude toward reform led him to fatalistic thinking. Since reform movements touched only the surface manifestations of vice, such movements were useless, in Hawthorne's view. The logical conclusion of such a position, reasoned Turner, was fatalism. "Hence reform which would stir only the superficial outcroppings and would leave untouched the real causes underneath would be futile at best. And since the true sources of evil, so Hawthorne thought, lie largely beyond the reach of human efforts, fatalism was the certain end of his thinking." Turner saw evidence for fatalism 91 92Philosophy and Literature in Hawthorne's fiction also: "... there is a clear suggestion that the decisions [by Hester, Dimmesdale, Rappaccini, Ethan Brand, and Hollingsworth] have been inevitable, that the agent responsible is fate rather than Hawthorne's character." This critic concluded that Hawthorne was convinced that "the universe, including man and man's soul, is governed by inexorable law." Some critics have linked Hawthorne's beliefs regarding free will and fatalism to his attitude toward Calvinism. Schneider wrote, "... Hawthorne translated into empirical truths the essential doctrines of Calvinism.... From the popular doctrine of reform, he returned to the Puritan doctrine of divine sovereignty." Schneider suggested that Hawthorne purified the doctrines of the Puritans and returned them to their original purpose, salvation of the soul. "He recovered what Puritans professed but seldom practiced—the spirit of piety, humility, and tragedy in the face of the inscrutable ways of God." Cowley wrote that Hawthorne "believed in predestination, as the Calvinists did." Mills was of the opinion that Hawthorne was the most sympathetic to the Puritans of the writers of his day, but that Calvinist dogma was moderated and softened in Hawthorne: "He did not accept completely the Calvinist doctrine of predestination, nor did he emphasize the supreme sovereignty of God which was the driving force of Calvinism." Other critics have granted some measure of freedom to Hawthorne's characters. Arvin wrote, "... freedom of choice exists, but on so narrow a basis that, once exercised in the wrong direction, it is forever resigned." Fairbanks held that Hawthorne reserved to man the initial moral choice which set up the chain of necessity, and from that notion Fairbanks drew the conclusion that, "Though often called a fatalist, Hawthorne believed in free will." Schwartz, in an unpublished doctoral dissertation, argued from Hawthorne's life and from his writings that he rejected fatalism in favor of free will. Wagenknecht noted that Hawthorne refused "to accept foreordination and total depravity." Still other critics have emphasized a paradoxical element in Hawthorne 's writing, his acceptance of both horns of the dilemma. Waggoner wrote: "He saw man as immersed in a mystery in which responsibility is at odds with fate. His own natural tendency was to emphasize causation at the... (shrink)

An examination of how, in literature, silence and veiling are related to moral significance. The paper emphasizes Walter Benjamin’s essay on Goethe’s Elective Affiniites and Nathaniel Hawthorne’s “The Minister’s Black Veil” and poses the question of how the literary can possess moral meaning or effect when, as in these two works, silence and veiling appear as a means of refusing or denying intention. Benjamin’s and Hawthorne’s different critiques of the symbol are presented as the central issue around (...) which the possibility of moral meaning is decided as an intentionless act. Benjamin’s preservation of the moral is interpreted as the cause of the paradoxical and contradictory sources of the expressionless and its critical violence as well as the veiling and secrecy he identifies as forming the true work of art. Against this account, Hawthorne’s story is read as the refusal of any preceding secret as the basis of a moral claim and thus as the defining category of the work of art. (shrink)

The critical literary world has spent a wealth of thought and words on the question of Hawthorne himself: Where does he stand in his works? In history? In literary tradition? In this major new study, G. R. Thompson recasts the "Hawthorne question" to show how authorial presence in the writer's works is as much a matter of art as the writing itself. The Hawthorne who emerges from this masterful analysis is not, as has been supposed, identical to (...) the provincial narrator of his early tales; instead he is revealed to be the skillful manipulator of that narrative voice, an author at an ironic distance from the tales he tells. By focusing on the provincial tales as they were originally conceived--as a narrative cycle--Thompson is able to recover intertextual references that reveal Hawthorne's preoccupation with framing strategies and variations on authorial presence. The author shows how Hawthorne deliberately constructs sentimental narratives, only to deconstruct them. Thompson's analysis provides a new aesthetic context for understanding the whole shape of Hawthorne's career as well as the narrative, ethical, and historical issues within individual works. Revisionary in its view of one of America's greatest authors, The Art of Authorial Presence also offers invaluable insight into the problems of narratology and historiography, ethics and psychology, romanticism and idealism, and the cultural myths of America. (shrink)

Near the end of Nathaniel Hawthorne’s The Scarlet Letter, the Reverend Arthur Dimmesdale stands on the scaffold of shame and tears away his shirt to reveal something to the community. The narrator exclaims: “It was revealed! But it were irreverent to describe that revelation.”1 The actual manner in which this revelation is manifest is hidden, allowing readers to fill in the details. What is presumed, however, is that there indeed was some mark on the minister’s chest, and the (...) narrator provides three explanations, derived from eyewitnesses, as to how it came into existence. It was the result of Dimmesdale’s self-flagellation, or the effects of Chillingworth’s evil potions, or the seemingly supernatural transference .. (shrink)

Nathaniel Hawthorne’s short stories “The Birthmark” (1843) and “Rappaccini’s Daughter” (1844) encourage critical thinking about science and scientific research as forms of social power. In this collaborative activity, students work in small groups to discuss the ways in which these stories address questions of human experimentation, gender, manipulation of bodies, and the role of narrative in mediating perceptions about bodies. Students collectively adduce textual evidence from the stories to construct claims and present a mini-argument to the class, thereby (...) strengthening their skills in communication and cooperative interpretation of ethical dilemmas. This exercise is adaptable to shorter and longer periods of instruction, and it is ideal for instructors who collaborate across areas of expertise. (shrink)

This essay examines the theory of maternal impressions, the belief that a woman’s experiences or emotions during pregnancy could explain congenital disability or emotional/ behavior differences in her child and asks why this theory circulated as an explanation for disability seen at birth by both medical doctors and in literature for far longer than it did across the Atlantic. By presenting examples from nineteenth-century medical literature, popular fiction, maternal handbooks, and two canonical works of literature, Nathaniel Hawthorne’s The (...) Scarlet Letter and Harriet Jacobs’ Incidents in the Life of a Slave, I argue that maternal impressions worked to maintain anxiety for women, and particular white women, to ensure they felt responsible if anything was “wrong” with their child. Ultimately, I show how maternal impressions was both an ableist and racialized understanding of inheritance that wouldn’t be discarded until the emergence of eugenics in the early twentieth century. (shrink)

This overview of the "sister arts" of the nineteenth century by younger scholars in art history, literature, and American studies presents a startling array of perspectives on the fundamental role played by images in culture and society. Drawing on the latest thinking about vision and visuality as well as on recent developments in literary theory and cultural studies, the contributors situate paintings, sculpture, monument art, and literary images within a variety of cultural contexts. The volume offers fresh and sometimes extended (...) discussions of single works as well as reevaluations of artistic and literary conventions and analyses of the economic, social, and technological forces that gave them shape and were influenced by them in turn. A wide range of figures are significantly reassessed, including the painters Charles Willson Peale, Washington Allston, Thomas Cole, George Caleb Bingham, Fitz Hugh Lane, and Mary Cassatt, and such writers as James Fenimore Cooper, Nathaniel Hawthorne, Henry David Thoreau, and William Dean Howells. One overarching theme to emerge is the development of an American national subjectivity as it interacted with the transformation of a culture dominated by religious values to one increasingly influenced by commercial imperatives. The essays probe the ways in which artists and writers responded to the changing conditions of the cultural milieu as it was mediated by such factors as class and gender, modes of perception and representation, and conflicting ideals and realities. (shrink)

Musing in Florence in June of 1858, Nathaniel Hawthorne said of himself, "I am sensible that a process is going on--and has been, ever since I came to Italy--that puts me in a state to see pictures with less toil, and more pleasure, and makes me more fastidious, yet more sensible of beauty where I saw none before." This is a book devoted to the reflective analysis of the enterprise in which many of us, like Hawthorne, find (...) ourselves engaged: the cultivation of our taste. Charles Wegener writes for and from the standpoint of thoughtful amateurs, those who, loving the beautiful and the sublime, wish to become more fully the sort of person to whom these goods reliably disclose themselves. Here traditional aesthetic analysis is redirected to a search for the norms that tell us how we use our intelligence, our imagination, and our senses in becoming "more fastidious, yet more sensible," exploring such concepts as disinterestedness, catholicity, communicability, austerity, objectivity, and authority. Finally, Wegener discusses questions about the relation of our aesthetic lives to other activities, norms, and human goods, arguing that taste, far from being a mere grace or luxury, is a necessary expression of that freedom which is at once the fruit and the condition of all culture. "This book should be required reading for anyone concerned with aesthetic education, for this is exactly what it is about, and I have come across no more searching investigation of the topic."--Hugo Meynell, Journal of Aesthetic Education "Using the analysis of aesthetic experience found in Kant's Critique of Judgment as a point of departure, Wegener has written a remarkably intelligent book which presents meaningful encounter with art as the "discipline of taste and feeling. The book reads not simply as an exposition but as a conversation in which the author thoughtfully and meticulously explores with the reader those norms that structure and define aesthetic experience. . . . The book occupies an important place in contemporary aesthetic discussion."--M. Feder-Marcus, Choice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:714 BOOK REVIEWS learning; the Jesuits lean to the voluntarist. Possessed of a unitary academic model, he is really arguing for Aristotle's analogy of attribution. Apparently, no one of his 200 plus Jesuit contacts told him that Nastri prefer St. Thomas and his analogy of proper proportionality. The historian Daniel Boorstin spent 25 yeari!l writing his trilogy on The Americans. What emerges from this analysis? Boorstin points out that (...) Americans like ambiguity, that they function best amid flux; ambivalence becomes their proper medium. For this reason, I have accepted Nathaniel Hawthorne as our most central writer. He situates American questions within a landscape of chiaroscuro. The Jesuit experience in the United States belongs essentially to the same landscape. But today, as formerly, it remains a landscape of questions. McDonough, on the other hand, has too many certitudes, too many answers, too much high definition-what Henry Adams regards as "mere facts." Instead of illuminating the landscape from within, his study inevitably recedes into the larger ambiguity reserved for what Wallace Stevens has called, " Prologues to what is possible." Saint Paul University Ottawa, Ontario JOHN P. McINTYRE, S.J. The Dilemma of Freedom and Foreknowledge. By LINDA TRINKAUS ZAGZEBSKI. New York: Oxford University Press, 1991. viii + 215 pp. $29.95. As a Christian and a philosopher, Linda Trinkaus Zagzebski wants to understand why it is reasonable to affirm that we remain free despite God's infallible knowledge of our future acts. Moreover, she is not content simply to demonstrate that this affirmation involves no logical con· tradiction, for "reasonable people expect more" (p. 33) than a merely negative result. Hence the author sets herself the more ambitious task of working toward a positive solution that would explain why the compatibility of divine foreknowledge and human freedom is plausible and not a bare logical possibility. The hook sorts out recent opinions on the subject and sketches an original position that she hopes will advance the discussion. Zagzehski begins by constructing the most formidable version of the dilemma. Assuming that God is infallible and essentially omniscient, that the past has a kind of necessity that the future lacks ("accidental necessity"), and that this necessity can he transferred (in some sense) from the antecedent to the consequent of a conditional proposition, the dilemma may he stated as follows: BOOK REVIEWS (1) Necessarily, God believes at time t 1 that I will do S at t 3 if and only if I do S at t 3. (2) It is accidentally necessary at t 2 that God believes at t 1 that I will do S at t 3. (3) If (1) and (2) are true, then it is accidentally necessary at t 2 that I do Sat t 3. (4) It follows that it is accidentally necessary at t 2 that I do S at t 3. (5) But if it is accidentally necessary at t 2 that I do S at t 3, I do not do S at t 3 freely. (6) Therefore, I do not do S at t 3 freely. 715 Much of the first chapter is devoted to establishing that this form of the dilemma is more resistant to solution than any other, especially the so-called problem of future truth. Zagzebski goes on to evaluate three broad approaches to solving the dilemma. In Chapter 2 she takes up the " timelessness " solution. Its proponents, among whom the author numbers Boethius, Thomas Aquinas, Eleonore Stump, and Norman Kretzmann, negate premise (2) of the foreknowledge dilemma by contending that God is not in time. Zagzebski considers this an acceptable negative solution to the dilemma and sees in it the potential to ground a more comprehensive, positive solution. Nonetheless, she refrains from subscribing wholeheartedly to the timelessness solution because it confronts one with a dilemma at least as perplexing as the one it solves. She puts the problem this way: like the past, eternity is fixed, for it is constituted by a state of affairs about which we cannot do anything; therefore my future acts are determined no less by God's timeless knowledge than by God's foreknowing them in a strictly temporal sense. In Chapter 3, Zagzebski considers... (shrink)

Preface -- I. WELCOME TO THE WAR -- Introduction -- The war of the worldviews -- Who will be God? -- II. WORLDVIEWS IN PHILOSOPHY -- Introduction -- Thomas Aquinas -- The first battle front -- René Descartes -- John Locke -- Jean-Jacques Rousseau -- Karl Marx -- Ralph Waldo Emerson -- The second battle front -- Jeremy Bentham -- Charles Darwin -- Friedrich Nietzsche -- John Dewey -- Jean-Paul Sartre -- III. WORLDVIEWS IN LITERATURE -- Introduction -- The third (...) battle front -- William Shakespeare -- Nathaniel Hawthorne -- Mark Twain -- Ernest Hemingway & John Steinbeck -- IV. WORLDVIEWS IN CULTURE -- Pandora's machine -- Glossary -- List of images. (shrink)

abstract In this paper I consider the nature of the purported vice of moralism by examining two examples that, I suggest, exemplify this vice: the first from Nathaniel Hawthorne's The Scarlet Letter; the second from David Owen's account of his experience as European negotiator between the warring parties in the former Yugoslavia. I argue that in different ways both these examples show the kind of human weakness or failure that is involved in the most extreme version of moralism, (...) a weakness that involves an inability to see or acknowledge those one seeks to judge as real, morally accountable, human beings. (shrink)

Providing the most thorough coverage available in one volume, this comprehensive, broadly based collection offers a wide variety of selections in four major genres, and also includes a section on film. Each of the five sections contains a detailed critical introduction to each form, brief biographies of the authors, and a clear, concise editorial apparatus. Updated and revised throughout, the new Fourth Edition adds essays by Margaret Mead, Russell Baker, Joan Didion, Annie Dillard, and Alice Walker; fiction by Nathaniel (...) Hawthorne, Ursula K. LeGuin, Anton Chekov, James Joyce, Katherine Mansfield, F. Scott Fitzgerald, William Faulkner, Alice Walker, Louise Erdrich, Donald Barthelme, and James McPherson; poems by John Donne, Robert Browning, Walt Whitman, Edwin Arlington Robinson, e.e. cummings, Langston Hughes, W.H. Auden, Philip Levine, and Louise Gluck; and plays by August Wilson, Marsha Norman, Wendy Wasserstein, and Vaclav Havel. The chapter devoted to film examines the relation of film to literature and gives the complete screenplay for Citizen Kane plus close analysis of a scene from the film. With its innovative structure, comprehensive coverage, and insightful and stimulating presentation of all kinds of literature, this is an anthology readers will turn to again and again. (shrink)

abstract In this paper I consider the nature of the purported vice of moralism by examining two examples that, I suggest, exemplify this vice: the first from Nathaniel Hawthorne's The Scarlet Letter; the second from David Owen's account of his experience as European negotiator between the warring parties in the former Yugoslavia. I argue that in different ways both these examples show the kind of human weakness or failure that is involved in the most extreme version of moralism, (...) a weakness that involves an inability to see or acknowledge those one seeks to judge as real, morally accountable, human beings. (shrink)

2015 Reprint of 1953 Edition. Full Facsimile of the original edition. Not reproduced with Optical Recognition Software. In attempting to clarify the spirit of conservatism, Kirk turns his attention to three broad fields-political philosophy, religious thought, and imaginative literature. Following Burke, whom he calls the first truly modern conservative thinker, he studies the work of John Adams, Walter Scott, Calhoun, Fenimore Cooper, Tocqueville, Nathaniel Hawthorne, Benjamin Disraeli, Cardinal Newman, George Santayana, and T.S. Eliot and others. Vigorously written, the (...) book represents conservatism as an ideology born of sound intellectual traditions. (shrink)

The Color Purple problematizes tradition-bound origin myths and political discourse in the hope of creating and addressing an Afro-American nation constituted by a rich, complex, and ambiguous culture. But rather than using patriarchal language and logics of power to describe the emergence of a postpatriarchal Afro-American national consciousness, Celie’s narrative radically resituates the subject’s national identity within a mode of aesthetic, not political, representation. These discursive modes are not “naturally” separate, but The Color Purple deliberately fashions such a separation in (...) its attempt to represent a national culture that operates according to “womanist” values rather than patriarchal forms.5 While political language is laden with the historical values and associations of patriarchal power, aesthetic discourse here carries with it a utopian force that comes to be associated with the spirit of everyday life relations among women. 5. Walker, In Search of Our Mothers’ Gardens , p. xi. “Womanist” is a neologism of Walker’s invention. Much more than an idiosyncratic translation of “feminist” into a black/third-world female tradition, the term describes the “woman” in a range of personal and social identities: “Usually referring to outrageous, audacious, courageous or willful behavior. Wanting to know more and in greater depth than is considered ‘good’ for one…. Also: A woman who loves other women, sexually and/or nonsexually…. Sometimes loves individual men, sexually and/or nonsexually…. Traditionally universalist, as in … ‘the colored race is just like a flower garden, with every color flower represented.’ ” In calling the new nationalist epistemology imaged and advocated in The Color Purple an “aesthetic/symbolic” logic, I mean to honor the careful historical and categorical distinctions that operate in the novel and in Walker’s critical work around it. Central to her practice is a delegitimation of traditionally patriarchal-racist political practices, institutions, and language. Lauren Berlant is assistant professor of English at the University of Chicago. She is currently working on Nathaniel Hawthorne’s readings of the cultural/sexual politics of national identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, George (...) Eliot, Jean-Auguste Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture. The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement, I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino, consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eudora Welty House & GardenJessica RussellIf the past year had one theme, it would have been the gift of friendship. How heartening to reunite with fellow admirers of Eudora Welty on the grounds of her family home as our flagship events made their post-pandemic returns. Even so, among staff, 2022 brought challenges that, while unexpected, served to deepen our commitment to our mission and each other. Moreover, for every (...) achievement to follow in this report, there is a friendship to thank—whether with the Eudora Welty Foundation, our colleagues at the Mississippi Department of Archives & History (MDAH), individual volunteers, or community partners too numerous to list—each one a treasured marvel. For, in Eudora Welty's words, "as is true of all friendships, it might not have happened—and it did."Although we were saddened to say goodbye to our dear friend and former director Lauren Rhoades, to our delight she has returned time and again, as a volunteer, a guest, and even a guest speaker. Most impactful, Rhoades now supports sites like ours in an official capacity as the new director of grants at the Mississippi Arts Commission, where she connects arts-based organizations with potential funding opportunities. In this role, Rhoades informed the Eudora Welty Foundation about the Building Fund for the Arts Grant, to which they successfully applied. Because of this very grant, we can make perhaps our biggest announcement of 2022, which is that the Eudora Welty Foundation will break ground on the much-needed community arts building behind our Visitor Center. The report in this volume by the Foundation, which is supervising construction, contains more details on this exciting development.After Rhoades's departure, I had the great honor of transitioning to director. By December, we welcomed Lauren Claret to fill my former role as Garden Projects Specialist, ending a lengthy staff shortage. We even grew our team, adding Mary Atchley as a part-time Visitor Center Associate to handle our gift shop and ticket sales. All the while, my seasoned colleagues, Special Projects Coordinator Rachel Lott, and Education Specialist Jennifer [End Page 189] Rose, continued to shine in their respective roles: Lott coordinates volunteers and plans exhibits, events, and social media. Rose leads educational programs for students of all ages, in groups large and small, onsite and away.With such a small team, our museum depends heavily on volunteers to lead house tours and maintain the Welty garden, and recruiting new volunteers is our greatest need as we look ahead to 2023. We saw a precipitous drop in volunteers at the onset of the pandemic. Although visitation has started a noticeable rise, volunteer numbers have not yet picked up. (On that note, if you or someone you know is interested in becoming a Welty House volunteer, please email [email protected].) To each of our house docents and Cereus Weeders, we say a heartfelt "thank you."Fortunately, we had the support of two interns last fall. Victoria Richard (Millsaps College, via the Eudora Welty Foundation) led Welty House tours and updated our digital plant records database with an emphasis on the rose collection. Meanwhile, Nikki Maxwell (University of Southern Mississippi, via MDAH) worked primarily off-site with the MDAH Eudora Welty Collection, noting the numerous references to gardening in the recently unsealed Welty family papers.The annual teachers' CEU workshop took place virtually in February of 2022, comparing the works of Welty and Poe. Michael Pickard, Associate Professor of English and Creative Writing at Millsaps College, and Millsaps College Professor emerita Suzanne Marrs, led the course, and they will do so again on February 24, 2023—this time in person at the Eudora Welty House & Garden Visitor Center—comparing the work of Welty and Nathaniel Hawthorne. Thanks to support from MDAH and the Eudora Welty Foundation, teachers may attend the 2023 workshop at no charge.The in-person return of the Mississippi Book Festival in 2022 made for an exciting weekend in late August, when museum staff treated 110 festival panelists to private tours of the Welty House and Garden. We spent the next day seeing old friends, and making new ones, as 500 fellow book lovers visited our booth at the... (shrink)

The scarlet “A” that the protagonist of Nathaniel Hawthorne's seventeenth‐century novel is forced to pin to her dress symbolizes the shame and social disgrace that she endures for conceiving a child out of adultery. In Scarlet A: The Ethics, Law, & Politics of Ordinary Abortion, Katie Watson argues that abortion is our era's scarlet letter: a mark of stigma that is invisible yet no less shameful, causing unnecessary cultural silences around what is a remarkably common practice. In this (...) brilliant new book, Watson draws on legal proceedings, bioethics literature, and personal experience; offers cultural and literary analysis; and uses her unique vantage point as a lawyer, bioethicist, and medical educator to develop a thought‐provoking and thoroughly fresh perspective on one of the most divisive moral issues of our time. (shrink)

This contribution to the Common Knowledge symposium on enmity argues that there is more to the problem of enmity than understanding, preventing, and resolving it: one must also recover from it and from its effects. Drawing on a psychoanalytic theory of shame that discriminates between narcissistic injuries that are enduring and those that can be overcome, this essay proposes a reading of Hester Prynne's transformation in The Scarlet Letter as a series of recognitions informed by her emotional relations to her (...) estranged husband, her lover, their daughter, and her fellow women. Nathaniel Hawthorne's heroine is condemned by her community for her adultery and suffers in silence for seven years before her shame erupts as anger at the men she had idealized and now recognizes as having betrayed her long before she deceived one of them. Only when she understands that the marriage arranged by her father to a man of his own age took advantage of her youth and legal powerlessness does she begin to redistribute blame for this sexual abuse. Refusing to serve the interests of her hated husband, she is able to forgive herself and eventually becomes a source of healing for other injured women. (shrink)

The principal authors whose fiction is drawn upon in this fine book are James Fenimore Cooper, Nathaniel Hawthorne, Herman Melville, Mark Twain, Ernest Hemingway, and William Faulkner. This book, which is clear and straightforward in its presentations, is obviously useful for providing graphic illustrations for, and heightening interest in, political science courses. The openness of students to engaging stories is thereby put to salutary use by a political scientist who always has something instructive to say about the often-familiar (...) fiction that she discusses. (shrink)

This paper suggests that late nineteenth-century definitions of self-mutilation, a new category of psychiatric symptomatology, were heavily influenced by the use of self-injury as a rhetorical device in the novel, for the literary text held a high status in Victorian psychology. In exploring Dimmesdale’s “self-mutilation” in The Scarlet Letter in conjunction with psychiatric case histories, the paper indicates a number of common techniques and themes in literary and psychiatric texts. As well as illuminating key elements of nineteenth-century conceptions of the (...) self, and the relation of mind and body through ideas of madness, this exploration also serves to highlight the social commentary implicit in many Victorian medical texts. Late nineteenth-century England, like mid-century New England, required the individual to help himself and, simultaneously, others; personal charity and individual philanthropy were encouraged, while state intervention was often presented as dubious. In both novel and psychiatric text, self-mutilation is thus presented as the ultimate act of selfish preoccupation, particularly in cases on the “borderlands” of insanity. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to reconsider (...) the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

Do epistemic requirements vary along with facts about what promotes agents' well-being? Epistemic instrumentalists say 'yes', and thereby earn a lot of contempt. This contempt is a mistake on two counts. First, it is incorrectly based: the reasons typically given for it are misguided. Second, it fails to distinguish between first- and second-order epistemic instrumentalism; and, it happens, only the former is contemptible. -/- In this book, Nathaniel P. Sharadin argues for rejecting epistemic instrumentalism as a first-order view not (...) because it suffers extensional failures, but because it suffers explanatory ones. By contrast, he argues that epistemic instrumentalism offers a natural, straightforward explanation of why being epistemically correct matters. What emerges is a second-order instrumentalist explanation for epistemic authority that is neutral between competing first-order epistemic theories. -/- Epistemic Instrumentalism Explained will be of interest to researchers and advanced students working in epistemology, ethics, and philosophy of mind. (shrink)

Recent developments in the semantics of natural language seem to lead to a genuine synthesis of ideas from linguistics and logic, producing novel concepts and questions of interest to both parent disciplines. This book is a collection of essays on such new topics, which have arisen over the past few years. Taking a broad view, developments in formal semantics over the past decade can be seen as follows. At the beginning stands Montague's pioneering work, showing how a rigorous semantics can (...) be given for complete fragments of natural language by creating a suitable fit between syntactic categories and semantic types. This very enterprise already dispelled entrenched prejudices concerning the separation of linguistics and logic. Having seen the light, however, there is no reason at all to stick to the letter of Montague's proposals, which are often debatable. Subsequently, then, many improvements have been made upon virtually every aspect of the enterprise. More sophisticated grammars have been inserted (lately, lexical-functional grammar and generalized phrase structure grammar), more sensitive model structures have been developed (lately, 'partial' rather than 'total' in their com position), and even the mechanism of interpretation itself may be fine-tuned more delicately, using various forms of 'representations' mediating between linguistic items and semantic reality. In addition to all these refinements of the semantic format, descriptive coverage has extended considerably. (shrink)

Twentieth-century developments in logic and mathematics have led many people to view Euclid’s proofs as inherently informal, especially due to the use of diagrams in proofs. In _Euclid and His Twentieth-Century Rivals_, Nathaniel Miller discusses the history of diagrams in Euclidean Geometry, develops a formal system for working with them, and concludes that they can indeed be used rigorously. Miller also introduces a diagrammatic computer proof system, based on this formal system. This volume will be of interest to mathematicians, (...) computer scientists, and anyone interested in the use of diagrams in geometry. (shrink)

What ought one to do, epistemically speaking, when faced with a disagreement? Faced with this question, one naturally hopes for an answer that is principled, general, and intuitively satisfying. We want to argue that this is a vain hope. Our claim is that a satisfying answer will prove elusive because of non-transparency: that there is no condition such that we are always in a position to know whether it obtains. When we take seriously that there is nothing, including our own (...) minds, to which we have assured access, the familiar project of formulating epistemic norms is destabilized. In this paper, we will show how this plays out in the special case of disagreement. But we believe that a larger lesson can ultimately be extracted from our discussion: namely, that non-transparency threatens our hope for fully satisfying epistemic norms in general. (shrink)

The Morality of Spin explores the ethics of political rhetoric crafted to persuade and possibly manipulate potential voters. Based on extensive insider interviews with leaders of Focus on the Family, one of the most powerful Christian right organizations in America, Nathaniel Klemp asks whether the tactic of tailoring a message to a particular audience is politically legitimate or amounts to democratic malpractice. Klemp’s nuanced assessment, highlighting both democratic vices and virtues of the political rhetoric, provides a welcome contribution to (...) recent scholarship on deliberative democracy, rhetoric, and the growing empirical literature on the American Christian right. (shrink)

Patient preference predictors (PPPs) promise to provide medical professionals with a new solution to the problem of making treatment decisions on behalf of incapacitated patients. I show that the use of PPPs faces a version of a normative problem familiar from legal scholarship: the problem of naked statistical evidence. I sketch two sorts of possible reply, vindicating and debunking, and suggest that our reply to the problem in the one domain ought to mirror our reply in the other. The conclusion (...) is thus conditional: if we think the problem of naked statistical evidence is a serious problem in the legal domain, then we should be concerned about the symmetrical problem for PPPs. (shrink)

Patient preference predictors aim to solve the moral problem of making treatment decisions on behalf of incapacitated patients. This commentary on a case of an unrepresented patient at the end of life considers 3 related problems of such predictors: the problem of restricting the scope of inputs to the models (the “scope” problem), the problem of weighing inputs against one another (the “weight” problem), and the problem of multiple reasonable solutions to the scope and weight problems (the “multiple reasonable models” (...) problem). Each of these problems poses challenges to reliably implementing patient preference predictors in important, high-stakes health care decision making. This commentary also suggests a way forward. (shrink)

Epistemic instrumentalists face a puzzle. In brief, the puzzle is that if the reason there is to believe in accord with the evidence depends, as the instrumentalist says it does, on agents’ idiosyncratic interests, then there is no reason to expect that this reason is universal. Here, I identify and explain two strategies instrumentalists have used to try and solve this puzzle. I then argue that we should find these strategies wanting. Faced with the failure of these strategies, I articulate (...) a heretofore neglected solution on behalf of instrumentalism. (shrink)

Under what conditions are two utterances utterances of the same word? What are words? That these questions have not received much attention is rather surprising: after all, philosophers and linguists frequently appeal to considerations about word and sentence identity in connection with a variety of puzzles and problems that are foundational to the very subject matter of philosophy of language and linguistics.1 Kaplan’s attention to words is thus to be applauded. And there is no doubt that his discussion contains many (...) useful insights. Nevertheless, we find his picture deeply flawed for a variety of crosscutting reasons. Our aim in this paper is to further advance an understanding of the nature of words, both by remedying the problems with Kaplan’s account, and also by achieving a suitable perspective on what the metaphysical investigation of word identity can hope to achieve. Our discussion divides into four parts. In Part One, we examine and critique Kaplan’s discussion of a contrast integral to his own account: that between the type-token and the stage-continuant conceptions of words. In Part Two, we present three constraints on any account of words and two further themes in Kaplan’s discussion central to his conception of words – the role of repetition and the constitutive authority of intentions. While these ideas have laudable motivations, we argue they are far from the best way of making good on the insights that drive them. The final two sections take a skeptical turn. In Part Three, we express doubt about Kaplan’s presumption of the importance of what he calls ‘common currency names’, thus raising a suspicion that he may be in pursuit of chimera. Finally, in Part Four, we express pessimism about whether interesting answers to question above will be forthcoming, and suggest that the legitimacy of our word ontology need not depend on the availability of such answers. Along the way, we tease apart a number of metaphysical questions in the vicinity of the topic of word individuation – questions that are often not disentangled – and consider how the discussion of the previous parts bears on them.. (shrink)

In several articles, Mumma has presented a formal diagrammatic system Eu meant to give an account of one way in which Euclid's use of diagrams in the Elements could be formalized. However, largely because of the way in which it tries to limit case analysis, this system ends up being inconsistent, as shown here. Eu also suffers from several other problems: it is unable to prove several wide classes of correct geometric claims and contains a construction rule that is probably (...) computationally intractable and that may not even be decidable. (shrink)

Humean promotionalists about reasons think that whether there is a reason for an agent to ϕ depends on whether her ϕ-ing promotes the satisfaction of at least one of her desires. Several authors have recently defended probabilistic accounts of promotion, according to which an agent’s ϕ-ing promotes the satisfaction of one of her desires just in case her ϕ-ing makes the satisfaction of that desire more probable relative to some baseline. In this paper I do three things. First, I formalize (...) an argument, due to Jeff Behrends and Joshua DiPaolo, to the effect that Mark Schroeder’s and Stephen Finlay’s probabilistic accounts of promotion cannot be correct. Next, I extend this argument to a recent alternative offered by D. Justin Coates and show how Coates’ attempt to avoid the argument by introducing a distinction between ‘intrinsic’ and ‘extrinsic’ probability doesn’t help. Finally, I suggest an alternative way of understanding promotion in terms of increase in degree of fit between the causal upshot of an action and the content of a desire. I show how this view, disjunctively paired with probabilism about promotion, solves the problems with previous accounts. (shrink)

Epistemic consequentialism has been charged with ignoring the epistemic separateness of propositions and with (thereby) allowing trade-offs between propositions. Here, I do two things. First, I investigate the metaphor of the epistemic separateness of propositions. I argue that either (i) the metaphor is meaningfully unpacked in a way that is modeled on the moral separateness of persons, in which case it doesn’t support a ban on trade-offs or (ii) it isn’t meaningfully unpacked, in which case it really doesn’t support a (...) ban on trade-offs. Second, I consider the strategy of arguing against the trade-off permitting conception of epistemic rationality that is central to epistemic consequentialism on the basis of our intuitive verdicts about the permissibility of trade-offs in cases. I argue the execution of this strategy suffers a methodological mistake that, once corrected, vitiates the probative value of those intuitive verdicts. Hence the conclusion: the separateness of propositions provides no support for a ban on trade-offs, and an influential independent argument for such a ban is flawed. (shrink)

According to extant versions of epistemic instrumentalism, epistemic reasons are instrumental reasons. Epistemic instrumentalism is unpopular. I think it’s just misunderstood. Rather than saying epistemic reasons are instrumental reasons, epistemic instrumentalists should only say that if there is an epistemic reason, there is also an instrumental reason. This is the view I call ecumenical epistemic instrumentalism. In this paper, I first motivate, next sketch, and finally highlight the advantages of this version of epistemic instrumentalism.