Provides the summaries of fourteen books released between 1993 and 1995. Some of the book topics are focused on morality, ethics, and moral philosophies. 2012 APA, all rights reserved).

Reviews the book, Animal models of human psychology: Critique of science, ethics, and policy by Kenneth J. Shapiro . The principle focus of most of this text is on the present-day use of animals in psychological research. In particular, Shapiro examines contemporary animal models of eating disorders, showing how psychology came to rely so heavily on animal models in the first place and how prevalent scientific attitudes about the use of animals in the laboratory have taken shape over the past (...) several decades. In addition, he traces the recent rise of the animal rights movement and highlights the several philosophies upon which it is based. Drawing upon certain historical and empirical analyses, as well as certain themes in contemporary sociology of knowledge, Shapiro attempts to navigate his reader through the twin minefields of impassioned rhetoric and insufficiently examined conceptual commitment to a better understanding of the core issues surrounding the role of animals in scientific psychological investigation. 2012 APA, all rights reserved). (shrink)

Reviews the book, Explanation and cognition by Frank C. Keil and Robert A. Wilson . The essays in this book address five basic questions about explanation as a large and natural part of our cognitive lives: How do explanatory capacities develop, are there kinds of explanation, do explanations correspond to domains of knowledge, why do we seek explanations and what do they accomplish, and how central are causes to explanation? The volume’s various authors also introduce and explore a number of (...) emerging perspectives on explanation from computer science, linguistics, and anthropology. 2012 APA, all rights reserved). (shrink)

Reviews the book, From soul to mind: The emergence of psychology, from Erasmus Darwin to William James by Edward S. Reed . Seeking to tell "a new story about the development of psychology," this lively and well-written history of psychology begins with the "realization that we do not actually know what constituted psychology in the eighteenth and nineteenth centuries" . Reed argues that because most historians of psychology devote the bulk of their attention to the work of theorists rather than (...) experimentalists, seldom examined the history and origins of ideas concerning what should and should not be counted as psychology, and pretty much refused to discuss ideas that were later proven to be mistaken, they have produced an overly narrow and fable-like picture of the early history of the discipline. In an attempt to remedy this on-going error in the historiography of psychology, Dr. Reed urges us to examine the historical, literary, and cultural context of the eighteenth and nineteenth centuries that gave birth to the development of the career of "being a psychologist." 2012 APA, all rights reserved). (shrink)

Reviews the book, Jerome Bruner: Language, culture, self by David Bakhurst and Stuart G. Shanker . The subject of this fine collection of essays is Jerome Bruner’s contribution to our contemporary understanding of the mind. As the editors note, although Bruner has typically “concerned himself with concrete and practical issues, such as education and, most recently, the law, he has always been an intensely theoretical thinker, a man fascinated by ideas” . It is for that reason that the editors and (...) contributors to this volume have chosen to focus exclusively on Bruner’s work as a “philosophical psychologist and philosopher of psychology” . 2012 APA, all rights reserved). (shrink)

Reviews the book, Minding minds: Evolving a reflexive mind by interpreting others by Radu J. Bogdan. Drawing on philosophical, psychological, and evolutionary perspectives, Bogdan analyzes the main phylogenetic and ontogenetic stages through which primates’ abilities to interpret other minds evolved and gradually created the opportunities and resources for mental reflexivity. 2012 APA, all rights reserved).

Reviews the book, The crucible of experience: R. D. Laing and the crisis of psychotherapy by Daniel Burston . Unlike his earlier book, which was more biographical and focused on R. D. Laing’s personal experiences, this book is devoted to examining the man’s contributions to contemporary psychotherapeutic theory and practice. This, of course, is no easy task as Laing is a notoriously unsystematic thinker, whose work often violated entrenched disciplinary expectations and challenged conventional sensibilities and assumptions. Despite such obvious obstacles, (...) however, Burston does an excellent job laying out Laing’s intellectual indebtedness to existentialism and phenomenology, as well as his lasting contributions to existential psychiatry. 2012 APA, all rights reserved). (shrink)

Reviews the book, The body by Donn Welton . Over the last century, the nature and meaning of human embodiment has emerged as one of the more significant areas of philosophical and psychological inquiry. From at least the time of Edmund Husserl, many thinkers in the Continental tradition have striven to re-conceptualize the body and its relationship to self and other in such a way as to avoid the pitfalls of more traditional, reductionistic attempts that view the body solely in (...) physical or biological terms. In this helpful volume, part of Blackwell’s Readings in Continental Philosophy series, Welton has brought together for the first time many of the foundational twentieth-century writings on the concept of embodiment. This book provides not only a cluster of theories articulated by philosophers seeking to move beyond the inherent limitations and contradictions of Modern philosophy, but also new appropriations and insights from psychoanalysis, social history, literary theory, and gender theory. 2012 APA, all rights reserved). (shrink)

Reviews the book, The mismeasure of desire: The science, theory, and ethics of sexual orientation by Edward Stein . It would hardly be overstating the matter to say that perhaps the single most hotly debated issue in both psychology and contemporary American culture is the nature and origins of human sexual desires. In opposition to the currently more widely accepted thesis that sexual orientation is determined at birth, philosopher and educator Edward Stein argues in this new book that much of (...) what we think we know about the origins of sexual desire is probably misguided and incomplete. Carefully examining a broad range of research on sexual orientation, Stein suggests that many of the most frequently cited findings are deeply flawed—not only methodologically but also in light of certain unquestioned philosophical assumptions and cultural stereotypes. Although the arguments in Stein’s book are more than a little likely to create controversy, and, indeed, some may well be found to be specious, his book is nonetheless a very welcome infusion of thoughtful philosophical and psychological thinking into the all-too-often muddled arena of contemporary academic and political debate. 2012 APA, all rights reserved). (shrink)

The Review was founded in 1961 to bring an existential and phenomenological approach to the understanding of human experience. With a primary focus on the psychotherapeutic endeavor, the Review publishes original essays and first translations from the fields of literature and philosophy, as well as from psychology and psychiatry proper. The Review has published essays by nearly every major figure in the world, including Viktor Frankl, Eugene Gendlin, Jacques Lacan, R.D. Laing, RolloMay, Maurice Merleau-Ponty, Jacob Needleman, Carl Rogers, and Jean-Paul (...) Sartre. In addition to continuing to publish original essays on a wide variety of general topics, in recent years the Review has published a series of special issues devoted to major figures in the field of existential psychology. 2012 APA, all rights reserved). (shrink)

This data includes information on authorship gender in Leiter Ranked, Unranked, and Interdisciplinary Philosophy Journals between 1900 & 2010.

The American Journal of Bioethics, Volume 11, Issue 10, Page 32-33, October 2011.

Authorship on publications has been described as a “meal ticket” for researchers in academic settings. Given the importance of authorship, inappropriate publication credit is a pertinent ethical issue. This paper presents an overview of authorship problems and policies intended to address them. Previous work has identified three types of inappropriate authorship practices: plagiarism, giving unwarranted credit and failure to give expected credit. Guidelines from universities, journals and professional organizations provide standards about requirements of authors and may (...) describe inappropriate practices; to a lesser extent, they provide guidance for determining authorship order. While policies on authorship may be helpful in some circumstances, they are not panaceas. Formal guidelines may not address serious power imbalances in working relationships and may be difficult to enforce in the face of particular departmental or institutional cultures. In order to develop more effective and useful guidelines, we should gain more knowledge about how students and faculty members perceive policies as well as their understanding of how policies will best benefit collaborators. (shrink)

Authorship Analysis (AA) is a natural language processing field that examines the previous works of writers to identify the author of a text based on its features. Studies in authorship analysis include authorship identification, authorship profiling, and authorship verification. Due to its relevance, to many applications in this field attention has been paid. It is widely used in the attribution of historical literature. Other applications include legal linguistics, criminal law, forensic investigations, and computer forensics. This (...) paper aims to provide an overview of the work done and the techniques applied in the authorship analysis domain. The examination of recent developments in this field is the principal focus. Many different criteria can be used to define a writer’s style. This paper investigates stylometric features in different author-related tasks, including lexical, syntactic, semantic, structural, and content-specific ones. A lot of classification methods have been applied to authorship analysis tasks. We examine many research studies that use different machine learning and deep learning techniques. As a means of pointing the direction for future studies, we present the most relevant methods recently proposed. The reviewed studies include documents of different types and different languages. In summary, due to the fact that each natural language has its own set of features, there is no standard technique generically applicable for solving the AA problem. (shrink)

Three experiments examined whether the mere priming of potential action effects enhances people’s feeling of causing these effects when they occur. In a computer task, participants and the computer independently moved a rapidly moving square on a display. Participants had to press a key, thereby stopping the movement. However, the participant or the computer could have caused the square to stop on the observed position, and accordingly, the stopped position of the square could be conceived of as the potential effect (...) resulting from participants’ action of pressing the stop key. The location of this position was primed or not just before participants had to stop the movement. Results showed that priming of the position enhanced experienced authorship of stopping the square. Additional experimentation demonstrated that this priming of agency was not mediated by the goal or intention to produce the effect. (shrink)

This book presents a counter-history to the relentless critique of the humanist subject and authorial agency that has taken place over the last fifty years. It is both an interrogation of that critique and the tracing of an alternative narrative from Romanticism to the twenty-first century which celebrates the agency of the artist as a powerful contribution to the well-being of community. It does so through arguments based on philosophical aesthetics and cultural theory interspersed with case histories of particular artists. (...) It also engages with a second issue that cannot be separated from the first. This is the question of what the role and purpose of art is in society. This has become particularly important since the 1990s because of the 'social turn' in art in which it is claimed that the only valid role for art was one that had explicit social consequences. This book argues that a political role for art is valuable, but not the only one that can be envisaged nor indeed is it the most obvious or most important. Art has other social roles both as a means to engender empathy and community, as well as to re-enchant a world bereft of meaning and reduced to material values. The book will appeal to practicing artists as well as scholars working in art history, philosophy, aesthetics, and curatorial studies. (shrink)

An historical review of authorship definitions and publication practices that are embedded in directions to authors and in the codes of ethics in the fields of psychology, sociology, and education illuminates reasonable agreement and consistency across the fields with regard to (a) originality of the work submitted, (b) data sharing, (c) human participants’ protection, and (d) conflict of interest disclosure. However, the role of the professional association in addressing violations of research or publication practices varies among these fields. Psychology (...) and sociology provide active oversight with sanction authority. In education, the association assumes a more limited role: to develop and communicate standards to evoke voluntary compliance. With respect to authorship credit, each association’s standards focus on criteria for inclusion as an author, other than on the author’s ability to defend and willingness to take responsibility for the entire work. Discussions across a broad range of research disciplines beyond the social sciences would likely be beneficial. Whether improved standards will reduce either misattribution or perceptions of inappropriate attribution of credit within social science disciplines will likely depend on how well authorship issues are addressed in responsible conduct of research education (RCR), in research practice, and in each association’s ongoing efforts to influence normative practice by specifying and clarifying best practices. (shrink)

The present article aims to show that the treatise On the Harmonization of the Opinions of the Two Sages the Divine Plato and Aristotle cannot have been written by al-FbwillryAdAdrr in the field of cosmology, for theological reasons.

Although the biographies known collectively as the Historia Augusta purport to have been written by six different biographers, it has often been thought that their similarities are so numerous that they must be the work of a single author. In this article I shall deal with a piece of linguistic evidence which supports this view. The two scholars who have treated the language of the H.A. in most detail, E. Wölfnin and E. Klebs, attempted to show that certain linguistic features (...) which are not spread evenly among the Scriptores point to multiplicity of authorship. (shrink)

Although the biographies known collectively as theHistoria Augustapurport to have been written by six different biographers, it has often been thought that their similarities are so numerous that they must be the work of a single author. In this article I shall deal with a piece of linguistic evidence which supports this view.The two scholars who have treated the language of theH.A.in most detail, E. Wölfnin and E. Klebs, attempted to show that certain linguistic features which are not spread evenly (...) among the Scriptores point to multiplicity of authorship. (shrink)

The experience of authorship arises when we feel that observed effects (e.g., the onset of a light) are caused by our own actions (e.g., pushing a switch). This study tested whether dysphoric persons’ authorship ascription can be modulated implicitly in a situation in which the exclusivity of the cause of effects is ambiguous. In line with the idea that depressed individuals’ self-schemata include general views of uncontrollability, in a subliminal priming task we observed that dysphoric (compared with nondysphoric) (...) participants experienced lower authorship of action effects when the self-concept was primed. Priming the potential effects of an action just prior to their occurrence, however, increased experiences of authorship in all participants and eliminated the effect of self-concept priming on dysphoric participants’ authorship experiences. These findings suggest that the human mental system seizes on a match between primed and actual action effect to establish a sense of authorship, even in a state of depression when persons have weak self-views of causing behavioral outcomes. r 2006 Elsevier Ltd. All rights reserved. (shrink)

In this essay brief sketches of three historical cases of unacknowledged authorship are offered to remind readers that unacknowledged authorship has been and still may be viewed in different ways given different contexts and purposes. Reflecting on these cases and many others that come to mind, it seems that the contemporary scene concerning unacknowledged authorship does not indicate a huge deterioration of research or publishing integrity. Following the brief historical journey, overviews of two contemporary cases are presented (...) to illustrate some difficulties that editors and publishers have today that those in earlier historic periods could not have had, as well as some suggested procedures for managing such difficulties. (shrink)

Sometimes researchers explicitly or implicitly conceive of authorship in terms of moral or ethical rights to authorship when they are dealing with authorship issues. Because treating authorship as a right can encourage unethical behaviours, such as honorary and ghost authorship, buying and selling authorship, and unfair treatment of researchers, we recommend that researchers not conceive of authorship in this way but view it as a description about contributions to research. However, we acknowledge that (...) the arguments we have given for this position are largely speculative and that more empirical research is needed to better ascertain the benefits and risks of treating authorship on scientific publications as a right. (shrink)

Did Roland Barthes, Michel Foucault, Jacques Derrida, or other "poststructuralist" theorists writing in the wake of May '68 come up with any good ideas about authorship and related topics in the philosophy of literature? The three volumes under review have a common point of departure in that broad question, but offer a number of contrasting responses to it. In what follows I describe and assess some of the various perspectives on offer in these 700 or so pages. The short (...) answer to my initial question comes at the end. Carla Benedetti's book was first published in 1999 in Milan as L'ombra lunga dell'autore: Indagine su una figura cancellata. Professor of Italian and Theory of Literature at the University of Pisa, and Recurrent Visiting Professor at NYU, she clearly shares some of Foucault's basic assumptions about authorship: "It is the reader or viewer who transforms the artist's selections, which in themselves may even be random or compelled, into subjective choices endowed with intentionality: that intentionality that is capable of providing meaning and artistic value to what we are viewing or reading" (p. 12). Benedetti contends that such attributions are a necessary part of the literary and artistic discursive formation of modernity, and she persuasively demonstrates that the author has not "disappeared," in spite of what Barthes and others may have thought or wished. According to Benedetti, authorialism, or the thesis that artistic value can only derive from original authorship, is the product of a modern ideology. She contends that a self-reflexive, late modernist train of thought generates a highly problematic relation to authorship and such related notions as genius, novelty, and creativity. More specifically, Benedetti finds a Batesonian double bind or paradoxical injunction in modernity's incessant demand for an extreme form of novelty. As soon as something innovative has been done, yet another innovation is desired. Not only does it become harder and harder to make a radically new move in the game, but the entire pursuit appears to be hopeless. Although Benedetti does not say so, the key thought was neatly captured by Oscar Wilde when he quipped: "Nothing is so dangerous as being too modern; one is apt to grow old-fashioned quite suddenly." To be old-fashioned is abhorrent, yet to try to obey the injunction to be "absolutely modern" is to risk becoming old-fashioned in a hurry, so failure seems inevitable. One of the constitutive myths of late modernity has it, then, that artistic activity must be recognized as authorless because it is impossible to create some sort of fundamentally novel work of lasting value. For those in the grip of this unsound thought, it seems necessary to conclude that the writer-no-longer-author must be recognized as an essentially uncreative epigone. Benedetti comments rather sweepingly, "All that poststructuralist thought speaks of, in its multifarious elaborations, is merely our supposed irreversible impossibility to create" (p. 202). She links Derrida's rejection of the possibility of decisive epistemological "ruptures" to the same late modernist mythology. Benedetti concludes her book by saying that the late modernist mythology conflates one kind of novelty with the new in general. This distinction sounds promising, but is not developed any further, and this reader was left wondering how the putative crippling error of a vast artistic dispensation could be revealed by means of a distinction between two kinds of newness. I also wonder whether her diagnosis probes deeply enough into the sources and nature of the modish sensibility that leads perversely to the Last Year in Marienbad syndrome. Not everyone is equally interested in trying to be dazzlingly innovative and fashionable; some who do have this inclination manage to produce excellent works of art; and many artists active in the period in question have not worked with the assumptions Benedetti criticizes. Whatever one thinks about Benedetti's Foucauldian premises about authorship, her book is highly informative, engaging, and replete with astute comments on a wide range of European literary and artistic movements and critical trends. With a keen eye for significant detail, she writes elegantly and discusses many fascinating examples, including interesting, lesser-known Italian ones. A variety of perspectives on authorship are presented.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Authorship oftheAbstract: AReply to John O. Nelson JeffBroome In "The Authorship of the Abstract Revisited," John O. Nelson argues for the once widely held view that Adam Smith was the author of the Abstract.1 Generally speaking, however, this view has not been seriously maintained since the 1938 reprinting of the Abstract by Keynes and Sraffa. There, in their introduction, Keynes and Sraffa argue that Adam (...) Smith was not the author ofthe Abstract, but rather Hume was.2 The central document from which the traditional view derived its authority comes in an early letter of Hume to Hutcheson (hereafter noted as Hl). It is worth quoting the passage in full. Writes Hume to Hutcheson, My Bookseller has sent to Mr. Smith a copy ofmy book, which I hope he has receiv'd, as well as your letter. I have not yet heard what he has done with the Abstract. Perhaps you have. I have got it printed in London; but not in the Works of the Learned; there having been an Article with regard to my Book, somewhat abusive, printed in that Work, before I sent up the Abstract.3 The once widely held view argues that Adam Smith is the Mr. Smith referred toin this passage, and therefore thatAdam Smith is the author of the Abstract. The argument proceeds: Smith at the time of Hl was a pupil of Hutcheson, and it was a habit of Hutcheson to have his promising students write abstracts of standard and contemporary works. It is then assumed that Adam Smith had written the Abstract, that Hutcheson was so impressed with it that he sent a copy to Hume, and that Hume in turn was so impressed that he arranged for its immediate publication, and, as seemingly mentioned in Hl, rewarded Smith with a presentation copy ofthe first two volumes ofhis Treatise. The Keynes and Sraffa thesis argues that the Mr. Smith in Hl cannot be Adam Smith, but rather must be John Smith of Dublin, "at the Philosopher's Head on the Blind Quay" (Abstract, xxiii). Their argument hinges on the conjecture that Hume was interested in an Irish editionofthe Treatise, andtherefore, Hume isaskingHutcheson's assistance in securing John Smith's help in this endeavour (Abstract, Volume XVII Number 2 95 JEFFBROOME xxii). The removal of Adam Smith as the Mr. Smith referred to in Hl consequently seems to explode theAdam Smith authorshiphypothesis. John Nelson first argued fifteen years ago against the Keynes/Sraffa thesis,4 challenging as unlikely the claim that the Mr. Smith in Hl must be John Smith ofDublin, and in the April 1991 issue of Hume Studies he reasserts his position more forcefully, arguing instead that it is impossible that "Mr. Smith" could be John Smith. Since the Mr. Smith of Hl is not John Smith, Nelson goes on to ask "who could he be except the Adam Smith ofthe traditional theory?"5 A closer examination ofeach view, Nelson's and Keynes/Sraffa's, reveals an assumption concerning an Irish publication of the Treatise that precludes any fully coherent resolution of the issue. I shall argue that the proper conclusion tobe drawn from Hl should be that the Mr. Smith is the Dublin publisher John Smith. On this point Keynes and Sraffa are correct; but against their thesis, I shall argue that Hume's purpose in referring toJohn Smith is not to see to his publishing an Irish edition of the Treatise (volumes 1 and 2, and the soon to be published volume 3), but rather to see to his publishing an Irish edition of the Abstract, in the hope that this would help to promote sales of the already publishedvolumes 1 and 2 ofthe Treatise. Thus, Hl should not be taken to decide the authorship ofthe Abstract, as Keynes and Sraffa, as well as John Nelson, argue. If anything, deciding the authorship of the Abstract should be made from Hume's personal copy of the Abstract, annotated in Hume's own hand, which is preserved in the British Museum. We notice in Hl that Hume asks two favours. The first is meant to draw upon Hutcheson's experience in publishing. Hume merely wants to know what... (shrink)

Co-authorship of papers is very common in most areas of science, and it has increased as the complexity of research has strengthened the need for scientific collaboration. But the fact that papers have more than an author tends to complicate the attribution of merit to individual scientists. I argue that collaboration does not necessarily entail co-authorship, but that in many cases the latter is an option that individual authors might not choose, at least in principle: each author might (...) publish in a separate way her own contribution to the collaborative project in which she has taken part, or papers could explicitly state what the contribution of each individual author has been. I ask, hence, why it is that scientists prefer to ‘pool’ their contributions instead of keeping them separate, if what they pursue in their professional careers (besides epistemic goals) is individual recognition. My answer is based on the view of the scientific paper as a piece of argumentation, following an inferentialist approach to scientific knowledge. A few empirical predictions from the model presented here are suggested in the conclusions. (shrink)

This article provides a short introduction to Friedrich Kittler’s 1980 essay ‘Authorship and Love’ by showing how it fits into the development of Kittler’s thought. The stark contrast between superficially similar scenes in Goethe’s Werther and Dante’s Divine Comedy, each of which is said to represent fundamentally different conceptualizations of authorship and love, is a revealing instance of Kittler's distinctive and polemical appropriation of French post-structuralism as well as of his subsequent switch from discourse analysis to media theory. (...) Ultimately, ‘Authorship and Love’ even points ahead to Kittler’s final work on music and mimesis in ancient Greece. (shrink)

Leibniz holds that creatures require divine concurrence for all their actions, and that this concurrence is 'special,' that is, directed at the particular qualities of each action. This gives rise to two potential problems. The first is the problem of explaining why special concurrence does not make God a co-author of creaturely actions. Second, divine concurrence may seem incompatible with the central Leibnizian doctrine that substances must act spontaneously, or independently of other substances. Concurrence, in other words, may appear to (...) jeopardize creaturely substancehood. I argue that Leibniz can solve both of these problems by invoking final and formal causation. The creature is the sole author of its actions because it alone contributes the formal and final cause to these actions. Similarly, because it contributes the formal and final cause, the creature possesses what I call explanatory spontaneity. Leibniz, I contend, considers this type of spontaneity sufficient for substancehood. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Butler on Subjectivity and Authorship: Reflections on Doing Philosophy in the First PersonAsher WaldenWhat drew me to theology a number of years ago was that it was the most personal kind of philosophy, to the extent that it deals with the most important issues of one’s own “personal” life. It used the tools of the philosophical tradition to address questions that the philosophers—especially those in the University of (...) Chicago’s analytically oriented environment—seemed not to want to ask; at least, not when I was an undergraduate there some years ago. My engagement with philosophy has always been about personal questions, and in the past I tended to eschew the political realm as being at best external to the more essential business of philosophy. But the questions I have been asking lately are rather different from the ones that concerned me back when I was still in Chicago. Largely due to the birth of my son two years ago, questions that before were only secondhand—questions about education, democracy, and debt—are now very personal and very, very important to me. I am perhaps a latecomer to the position that, as the saying goes, “The personal is the political.” But being a convert, like the earliest Christian Apologists, may afford me an opportunity and motivation to argue the position all the more earnestly.The way I have sought to incorporate these different questions and perspectives in my theologizing has primarily been through engagement with the Confucian philosophical tradition. The Confucian tradition is, in large measure, a series of reflections on the individual’s utter embeddedness in familial, sociopolitical, environmental, and sacred structures and forces. The tradition has its own resources for expressing and navigating this embeddedness, but what has become interesting to me is that the requisite resources are being developed independently, and perhaps more forcefully, within the realm of postmodern and postcolonial theory. Indeed, these newer articulations may [End Page 55] well be vital for present-day Confucian thinkers to consider in reformulating and re-presenting their own commitments and traditions in the current era.The questions posed to and for the current paper are, first, how does the religiously committed philosopher (or theologian, in a loose sense of the term) consciously incorporate political and economic considerations into her theological research and discursive product; and second, to what extent and in what ways is it necessary for her also to include and address her own personal life/history into the same. Naturally, these are questions which religious thinkers will ask and answer anew for themselves, and repeatedly. My own engagement with Judith Butler in the current paper will merely provide, I hope, one possible model for such an account of how the personal and the political may function in theological discourse. Generally, the model given here suggests that such considerations are not external add-ons to the more essential “hard-core” theologizing of the doctrines of God and Christology. It is not a matter of (first) theory and (then) application. Rather, theological discourse is one place where ethical subjectivity is attained, if provisionally, through conscientious and critical engagement with both one’s religious tradition and the sociopolitical-economic structures in which those traditions are practiced, and where one’s own place within those structures is both questioned and created.In her recent work Giving an Account of Oneself, Judith Butler continues her project of deconstructing the metaphysics of the substantive self, begun in her deservedly noted early work, Gender Trouble. In particular, she argues that the subject comes into being through processes and in contexts that, while not completely determinative of one’s subjectivity, do limit one’s ability to give a complete account of oneself, one’s actions and motivations. She asks the important question of whether this opacity of the conditions of one’s coming into being limits the possibility of taking responsibility, or being held responsible, for one’s actions. She ultimately finds, with Foucault, that selfhood is itself an ethical process, one occasioned and in large part constituted by the call, and subsequent attempt, to give an account.The question which drives Butler’s essay is, generally, if the subject comes... (shrink)

To this day no consensus has been reached concerning the authorship of the 3rd book of Philoponus’ on the Soul. I will begin this article by surveying the discussion of the authorship. In this first section I go into some detail concerning the arguments of scholars who attribute the DAC 3 to Philoponus, and those who do not believe that it is by Philoponus, including those who attribute it to Stephanus of Alexandria. The second section of the paper (...) consists in an analysis and evaluation of the arguments involved in the debate. Finally, I conclude by presenting my own position, including new arguments in favor of the attribution of the DAC 3 to John Philoponus. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Authorship Redux:On Some Recent and Not-So-Recent Work in Literary TheoryPaisley LivingstonThe Empty Cage: Inquiry into the Mysterious Disappearance of the Author, by Carla Benedetti, translated by William J. Hartley, 232 pp. Ithaca: Cornell University Press, 2005, $52.50Literature, Theory, and Common Sense, by Antoine Compagnon, translated by Carol Cosman, 224 pp. Princeton: Princeton University Press, 2004, $41.00The Death and Resurrection of the Author?, edited by William Irwin, 237 pp. (...) Westport, Connecticut: Greenwood Press, 2002, $32.95.Did Roland Barthes, Michel Foucault, Jacques Derrida, or other "poststructuralist" theorists writing in the wake of May '68 come up with any good ideas about authorship and related topics in the philosophy of literature? The three volumes under review have a common point of departure in that broad question, but offer a number of contrasting responses to it. In what follows I describe and assess some of the various perspectives on offer in these 700 or so pages. The short answer to my initial question comes at the end.Carla Benedetti's book was first published in 1999 in Milan as L'ombra lunga dell'autore: Indagine su una figura cancellata. Professor of Italian and Theory of Literature at the University of Pisa, and Recurrent Visiting Professor at NYU, she clearly shares some of Foucault's basic assumptions about authorship: "It is the reader or viewer who transforms the artist's selections, which in themselves may even be random or compelled, into subjective choices endowed with intentionality: that intentionality [End Page 191] that is capable of providing meaning and artistic value to what we are viewing or reading" (p. 12). Benedetti contends that such attributions are a necessary part of the literary and artistic discursive formation of modernity, and she persuasively demonstrates that the author has not "disappeared," in spite of what Barthes and others may have thought or wished.According to Benedetti, authorialism, or the thesis that artistic value can only derive from original authorship, is the product of a modern ideology. She contends that a self-reflexive, late modernist train of thought generates a highly problematic relation to authorship and such related notions as genius, novelty, and creativity. More specifically, Benedetti finds a Batesonian double bind or paradoxical injunction in modernity's incessant demand for an extreme form of novelty. As soon as something innovative has been done, yet another innovation is desired. Not only does it become harder and harder to make a radically new move in the game, but the entire pursuit appears to be hopeless. Although Benedetti does not say so, the key thought was neatly captured by Oscar Wilde when he quipped: "Nothing is so dangerous as being too modern; one is apt to grow old-fashioned quite suddenly." To be old-fashioned is abhorrent, yet to try to obey the injunction to be "absolutely modern" is to risk becoming old-fashioned in a hurry, so failure seems inevitable. One of the constitutive myths of late modernity has it, then, that artistic activity must be recognized as authorless because it is impossible to create some sort of fundamentally novel work of lasting value. For those in the grip of this unsound thought, it seems necessary to conclude that the writer-no-longer-author must be recognized as an essentially uncreative epigone. Benedetti comments rather sweepingly, "All that poststructuralist thought speaks of, in its multifarious elaborations, is merely our supposed irreversible impossibility to create" (p. 202). She links Derrida's rejection of the possibility of decisive epistemological "ruptures" to the same late modernist mythology.Benedetti concludes her book by saying that the late modernist mythology conflates one kind of novelty with the new in general. This distinction sounds promising, but is not developed any further, and this reader was left wondering how the putative crippling error of a vast artistic dispensation could be revealed by means of a distinction between two kinds of newness. I also wonder whether her diagnosis probes deeply enough into the sources and nature of the modish sensibility that leads perversely to the Last Year in Marienbad syndrome. Not everyone is equally interested in trying to be dazzlingly innovative and fashionable; some [End Page 192] who do... (shrink)

Kovacs calls for collaborating teams to indicate the proportional credit that each author of a multi-authored paper deserves.1 This approach addresses the problem of giving each of the co-authors full credit for the article when their publication records are assessed. This problem is, however, a weakness in the evaluation system, not in the publication system, and it will not be solved by the proposed strategy.As the author notes, publication records are critical to decisions on hiring, promotion, tenure, salaries and allocation (...) of research resources. At each of these points, what matters most is the quality of the candidate's work, which cannot be adequately assessed by quick counts of articles, even when the counts are weighted by numbers of citations or impact factors. Some institutions and departments perform careful reviews; others …. (shrink)

This paper advances a provisional case denying the attribution of the medieval liturgical sequence Sanctitatis nova signa, written in honor of Saint Francis of Assisi, to Thomas of Celano (died c. 1260), who is best known for writing the earliest biography of the saint. The Conventual Franciscan friar and bishop, Pietro Ridolfi, provides the oldest extant attribution of this sequence to Celano. Luke Wadding (died 1657) echoes this point in his Annales Minorum; several recent critical editions of early Franciscan texts, (...) as well as countless secondary sources, cite Wadding for the attribution to Celano. This identification remains problematic, not only due to the lateness of the Ridolfi-Wadding claim; the sequence's use of Dionysian mystical motifs and details unique to Bonaventure's Legenda Major (completed 1262) should exclude the possibility of Celano's authorship. Consequently this study tentatively dates the sequence to the latter part of the thirteenth century. Unlike the earlier sequences for Saint Francis attributed to Pope Gregory IX (died 1241) and Thomas of Capua (died 1243), Sanctitatis depicts Francis as a model Dionysian mystic. This mystical exemplarity becomes the image of unity advanced by the Franciscans to heal the internal crises plaguing the order in the later thirteenth century. (shrink)