Sharp-eyed readers will have noticed a small but very significant difference between the Spring 1989 Owl and previous issues. The Spring issue was the first to be accomplished completely by desktop publishing instead of typesetting. The “desk” from whose “top” this Owl flew is mine, equipped with an IBM-PC, a modem, two 5 1/4 inch 360 K floppy drives, a 40 megabyte hard drive, a Hewlett Packard LaserJet II printer with a Times Roman soft font, and the newest version of (...) Microsoft began our long experiment with electronic preparation of The Owl about three years ago. Our motive in pursuing this project was to improve our efficiency, not to have a few new toys. During that experiment we made a few mistakes, some of which found their way into The Owl itself. We apologize to all the authors and readers who were affected by them, and especially by the tardiness of recent issues. But we have learned a lot too. Among what we think we have learned is how to avoid repeating our mistakes. The new production system we have developed is not only faster, easier, and cheaper for us editors, but also, we hope, more convenient and more dependable for our authors. At this point, we must count our experiment a success. (shrink)

Paul Grobstein, Eleanor A. Bliss Professor of Biology at Bryn Mawr College, Pennsylvania, USA passed away Tuesday, June 28, 2011. Since Paul came to Bryn Mawr in 1986, he taught courses ranging from "Introductory Biology" and "Philosophy of Science" to "Evolution of Stories" and "The Brain and Education." Paul founded the Summer Institutes for K-12 Teachers, which brought hundreds of local educators to campus to consider new ways of teaching science and math. He served as chair of the Biology Department (...) and was instrumental in the establishment and success of the Center for Science in Society at Bryn Mawr College. (shrink)

Por un error de imprenta, no aparecieron publicadas en color las figuras del artículo de Mario Casa-nueva y Diego Méndez "Teoría y experimento en Genética Mendeliana: una exposición en imágenes", publicado en Theoria, 2008, Vol. 23/3, Nº 63, 285-306. Dado que la impresión en color era necesaria para la comprensión del artículo, las reproducimos aquí con nuestras disculpas a los autores y lectores. Due to a mistake in the printing process, the following figures were not reproduced in colour in Mario (...) Casanueva and Diego Méndez's article "Teoría y experimento en Genética Mendeliana: una exposi-ción en imágenes", published in Theoria, 2008, Vol. 23/3, Nº 63, 285-306. Given that the im-ages in colour were necessary to understand the article, the reader will find here a correct printing, to-gether with our apologies. (shrink)

With grateful hearts we offer this, the first issue of our third volume. The result of months of back-breaking thinking, emailing, looking, clicking, watching, writing and reading, our new issue is here. The editors could not have done this without your support. We welcome your materials for our future issues as well as your continued contributions.

continent. 2.1 (2012): 1. A year has passed and continent. has sedimented an annual strata into the geological record of the Internet. During the winter months we gratefully received donations from our readership and we've applied these funds to offset some of the costs of maintaining our tidy corner of the Web. Specifically, we've used these funds to renew our accounts at Flickr, Soundcloud, and Vimeo. We also bought a snippet of code. We continue to accept donations at our WePay (...) account so that we can upgrade our server space, which is currently being donated to us. For this, our fifth issue, we offer varve as our constellating theme. From the Swedish varv , whose semantic web includes notions of “revolution,” accretion “in layers,” and “circle,” a varve is that precise geologic formation referring to the whole of any annual sedimentary layer. We didn't need to rely on Einstein alone to relativize space and time; all of the build-up of matter accrued by the passage had already accomplished that—the spatialization of time. Scaling the term up, we recall ecologist Eugene F. Stoermer coined the term Anthropocene to refer to the extent to which human impact upon the Earth had come to constitute a new geological era. Today the time we take for reflection plumbs an unprecedented ecology and brings to consciousness undiscovered contingencies. As material and medium for making, remaking, archeologizing, and archiving thought, varves (and/as/or journals) are species of the broader category of rhythmites . Secret-ing the rhythms of deep time, every record, geologic or otherwise, is subject to all the effects of interpretation and rhetoric that the contemporary DJ has at their disposal—reverberated, delayed, stuttered, syncopated, beat-juggled, back-spun, cross-faded from one epoch to another. The record itself, however, is hyperspecific: referring to moments of passing contexts, communities, and histories. But as such, a record constitutes the possibility of a long view, chronicling changes in climates, movements of occupation, and the long counts of calendars. As always, continent. welcomes excavations transdisciplinary and media-agnostic in nature and scope. We look forward to accepting yours through May 15. (shrink)

ABSTRACTIn this volume, we include four commentaries to Larry Minear's important article ‘Conscience and Carnage in Iraq and Afghanistan’ from our 2014 volume, as well as a response from the author. The commentaries and the author's response ponder various aspects of the challenge of conscientious objection to military service. Is there room for such objection within an all-volunteer force? Do such objectors serve an important role in our society – and in the military? May one object to some wars conscientiously, (...) but not all? And where are these discussions headed today? The debates on conscientious objection arguably form an important part of the discipline of military ethics, and thus an important part of the conversations carried on in this journal. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

It gives me great pleasure and honor to introduce myself as the incoming Editor-in-Chief of Polis: The Journal for Ancient Greek and Roman Political Thought. For the last decade I have served as an Associate Editor and the Book Review Editor of the journal. I am very excited about charting new paths for the journal, while continuing to publish first-rate scholarship in our area strengths. Although ‘polis’ is a Greek word that identifies a specific Greek historical (...) political institution, in many important ways the culture of Greek political thought interacted with the political culture of Regal, Republican, and Imperial Rome through Greek settlements in the Western Mediterranean, Roman military conquest, and cultural Hellenization. In the last year the editorial staff of Polis decided to expand the domain of our journal to include scholarship on Roman political thought and Greek-language political thought from the Hellenistic and Roman Imperial periods. Although Polis has been publishing reviews of books devoted to these new domains for several issues, it is quite gratifying to publish an entire special issue, edited by Grant Nelsestuen and Associate Editor Daniel Kapust, devoted to Roman political thought. Additional articles on Roman political thought are in the journal’s publication queue and we look forward to becoming an important venue for the publication of original scholarship and book reviews on Roman political thought and its subsequent reception, along with our original remit for Greek political thought and its reception. The editorial staff of Polis has undergone a number of changes in conjunction with my new role. First and foremost, my mentor and predecessor Kyriakos Demetriou has retired from the position of Editor-in-Chief and become a member of our Editorial Board. I have had the privilege of working with Kyriakos for over 15 years, during which time he transformed the newsletter of the Society for Ancient Greek Political Thought into a pre-eminent peer-reviewed academic journal. I may only hope 15 years from now, that Polis has continued to grow as a source for landmark scholarship on Greek and Roman political thought. During the editorial transition, Associate Editors Rosanna Lauriola and Essam Safty have left our editorial staff. We are grateful for their service to the journal and wish them well in their scholarly endeavors. Finally, I am pleased to announce several additions to our editorial staff. Dimitri El Murr, Professor of Ancient Philosophy at the Ecole Normale Supérieure (Université Paris Sciences et Lettres), has joined the journal as an Associate Editor responsible for the refereeing and editing of Francophone submissions to Polis. Demetra Kasimis, Assistant Professor of Political Science at the University of Chicago, has joined as an Associate Editor responsible for the refereeing of submissions on the political aspects of Greek literature (such as epic, tragedy, and comedy). Matthew Simonton, Associate Professor of History at Arizona State University, has joined the journal as an Associate Editor and Book Review Editor. Finally, Dr. Alexandra Wilding has joined our editorial staff as the journal’s copy-editor. Learn from and enjoy the scholarship of our current issue. Submit to Polis your scholarship on ancient Greek and Roman political thought. Be a part of the future of Polis. Thornton Lockwood Editor-in-Chief. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editors' IntroductionAlan D. Schrift and Shannon SullivanThe articles in this special issue of the Journal of Speculative Philosophy were selected from revised versions of papers that were originally presented at the sixtieth annual meeting of the Society for Phenomenology and Existential Philosophy (SPEP) at Texas A&M University in College Station, Texas October 13–15, 2022.Michael Hardt of Duke University and Patricia Pisters of the University of Amsterdam gave the SPEP (...) 2022 Plenary Addresses, and we are grateful to be able to include their plenary papers in this special issue. Hardt's paper, "The Politics of Articulation and Strategic Multiplicities," treated SPEP members to an early peek at his newest book, The Subversive 70s (Oxford University Press, 2023). In this work, Hardt digs into the powerful resources for social movements that activists and theorists from the 1970s developed. As he argues, in many ways those activists and thinkers were ahead of their times—and also ahead of ours—in understanding how to analyze interwoven multiplicities of power and how to articulate and organize liberation struggles based on those multiplicities. Hardt brilliantly demonstrates how analyzing the progressive and revolutionary social [End Page 237] movements of the '70s can help us not only understand the roots of contemporary social and political struggles but also reclaim critical resources for those struggles.Patricia Pisters's paper, "Thinking with Fire: Elemental Philosophy and Media Technology," draws upon Gaston Bachelard's "fire complexes" to address a variety of pyrotechnical images appearing in contemporary cinema. Noting that elemental philosophy is on the rise in media studies and elsewhere, not least because of current environmental crises, fire is particularly engaging for its metaphorical, "matterphorical," and technological associations. While acknowledging fire as a material medium—cooking, heating, burning, etc.—Pisters's primary focus in her paper is on fire as an immaterial medium, and it is here that she turns to Bachelard's constellation of fire complexes—the Empedocles, Prometheus, and Novalis Complexes—to which she adds her own fourth complex, the Sita Complex. With these complexes, she provides readings of four cinematic productions that elucidate the annihilating, transgressive, sexual, and purifying qualities of fire, and she suggests that these entangled fire complexes present different kinds of combustive knowledge in which the element of fire manifests itself as material phenomenon of nature, the engine for modern life, and immaterial affective reverie of destruction, transgression, and sexuality.The other articles in this special issue have been organized according to five broad groupings. The first grouping, "On Latin American Philosophy," brings together three papers that engage Latin American philosophy, particularly as found in Mexican, Columbian, and Venezuelan history and political movements. In "Radicalizing Localization: Notes on Santiago Castro-Gómez's Genealogies of Coloniality," Julian Rios Acuña argues that Columbian philosopher Santiago Castro-Gómez develops a radical method of localization. This method allows Castro-Gómez to transform Foucauldian genealogy into genealogies of coloniality that grapple with the complexities of extreme violence produced by colonialism. In "Stefan Gandler's Renewal of Critical Theory from Latin America," Jake M. Bartholomew argues for a version of Critical Theory that is not bound by Europe but also remains true to its first-generation Marxist roots. Relocating to Mexico and advocating for Mexican philosophers, German-born philosopher Stefan Gandler shows how Latin American philosophy can enrich Critical Theory, providing more than can the second and third generations of Critical Theory because of its ability to analyze capitalism from outside the economic perspectives of the Global North. In "Two Versions of the Mestizo [End Page 238] Model: Toward a Theory of Anti-Blackness in Latin American Thought," Miguel Gualdron Ramirez criticizes the anti-Blackness that he sees at the heart of mestizo models of latinidad, or lo latinoamericano. Focusing on the concepts of liberation offered by Venezuelan theorist and politician Simón Bolívar and Mexican philosopher José de Vasconcelos, Ramirez reveals the exclusion and erasure of Black bodies, lives, and histories that ground their versions of Latinx identity and Latin American history. Together these three articles showcase how Latin American philosophy can enrich and expand the scope of Continental philosophy.The second grouping, "Liberatory Limits and Misalignments," features three articles... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Protest Vaclav Havel Stanek's ground-floorstudy in his house on the outskirts of Prague. The house is surroundedby a garden. Doorbell.The front dooris opened. STANEK: (Loud,cordial.) Vanek!-Hello! (Thefront dooris closed.) VANEK: (Noncommittal.) Hello, Mr. StanekSTANEK : Come in, come in! (Pause.Sudden outburstof emotion.) Vanek! My dear fellow! (Pause.Conversationally.)Did you have trouble finding it? VANEK: Not reallySTANEK : Forgot to mention the flowering magnolias. That's how you know it's my house. (...) Superb, aren't they? VANEK: YesSTANEK : I managed to double their blossoms in less than three years, compared to the previous owner. Have you magnolias in your garden? VANEK: NoSTANEK : You must have them! I'm going to find you two quality saplings and I'll come and plant them for you personally. (Crosses to the bar.) How about some brandy? VANEK: I'd rather not, Mr. Stanek, if you don't mindSTANEK : Come on, Vanek! Just a token one. Eh? @ 1978 Copyright by Vaclav Havel; Translation @ 1984 Copyright by Vera Blackwell. CAUTION: No performances or readings of this work may be given without the express authorization of the author or the author's agent. For production rights, contact: Sanford J. Greenburger Associates, 825 Third Avenue, New York, N.Y. 10022. 45 (Two drinks arepoured.) VANEK: (Sighs.) STANEK: Here we are. Well-here's to our reunion! VANEK: Cheers- (Both drink.) VANEK: (Shuddersslightly. Emits a soft groan.) STANEK: I was afraid you weren't going to come. VANEK: Why? STANEK: Well, I mean, things got mixed up in an odd sort of way-What? -Won't you sit down? VANEK: (Sitsdown in an armchair,placinghis briefcase on the floorbeside him.) ThanksSTANEK : (Sinksinto anarmchairopposite Vanek witha sigh.) That'smore like it! Peanuts? VANEK: No, thanksSTANEK : (Helps himself Munching) You haven't changed much in all these years, you know? VANEK: Neither have youSTANEK : Me? Come on! Getting on for fifty, going gray, aches and pains setting in-Not as we used to be, eh? And the present times don't make one feel any better either, what? When did we see each other last, actually? VANEK: I don't knowSTANEK : Wasn't it at your last opening night? VANEK: Could beSTANEK : Seems like another age! We had a bit of an argumentVANEK : Did we? STANEK: You took me to task for my illusions and my over-optimism. Good Lord! How often since then I've had to admit to myself you were right! Of course, in those days I still believed that in spite of everything some of the ideals of my youth could be salvaged and I took you for an incorrigible pessimist. VANEK: But I'm not a pessimistSTANEK : You see, everything's turned around! (Shortpause.) Are youalone? VANEK: How do you mean, alone? STANEK: Well, isn't there somebody-you knowVANEK : Following me? STANEK: Not that I care! After all, it was me who rang you up, right? VANEK: I haven't noticed anybody46 STANEK: By the way, suppose you want to shake them off one of these days, you know the best place to do it? VANEK: NoSTANEK : A department store. You mingle with the.crowd, then at a moment when they aren't looking you sneak into the loo and wait there for about two hours. They become convinced you managed to slip out through a side entrance and they give up. You must try it sometime! VANEK:.(Pause.) Seems very peaceful hereSTANEK : That's why we moved here. It was simply impossible to go on writing near that railway station! We've been here three years, you know. Of course, my greatest joy is the garden. I'll show you around later-I'm afraid I'm going to boast a littleVANEK : You do the gardening yourself? STANEK: It's become my greatest private passion these days. Keep puttering about there almost every day. Just now I've been rejuvenating the apricots. Developed my own method, you see, based on a mixture of natural and artificial fertilizers plus a special way of waxless grafting. You won't believe the results I get! I'll find some cuttings for you later on- (Opensalarge silverbox oncoffee table between them.) Would... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From the Executive EditorDonald R. KelleyTwenty years ago the Journal of the History of Ideas moved from Temple University to the University of Rochester (through the efforts especially of J. Paul Hunter, then dean of the college of arts and sciences, and Lewis White Beck, professor of philosophy), and I replaced Philip Wiener, who had been editor for forty-five years, the first issue under my supervision being that (...) of July 1985. A year later Robin Ladrach joined me as assistant and then as associate editor, and in 1991 we both moved along with the JHI to Rutgers University (through the efforts especially of Richard McCormick, then dean of the faculty of arts and sciences and now president of the university). Now the Journal has moved to the University of Pennsylvania, and I pass on the editorship to a committee composed of Warren Breckman, Martin J. Burke, Anthony Grafton, and Ann E. Moyer, with Robin Ladrach continuing as managing editor.We changed our face in 1990, but otherwise we have maintained a remarkably steady course since the days of Arthur O. Lovejoy, original founder of the JHI in 1940, with articles submitted and articles published continuing in mostly the same quantity and intellectual range and following the interdisciplinary and cross-cultural vision established by Lovejoy in the 1930s (history of philosophy, science, political thought, historiography, religion, literature, art, and music) but also modified by intervening intellectual and cultural changes (and so enhanced by studies in the human sciences, gender, women's history, globalism, animals, etc.). Such change has for the most part not been from conscious editorial policy, except indirectly, but rather "from below," and the role of the editor has been that not of cultural critic but of observer, whose reflections have appeared in "Horizons of Intellectual History," JHI, 48 (1987), 143–69; "What is Happening to the History of Ideas?" JHI, 51 (1990), 3–25; "JHI 2000," JHI, 61 (2000), 153–56; and The History of Ideas: Canon and Variations (Rochester, N.Y., 1990), which contains also the reflections of Lovejoy and other earlier authors. The new regime may well introduce new departures, but I [End Page 475] believe that it will continue to rely and perhaps draw on the old Lovejovian tradition which has made this journal a successful and enduring international enterprise.Donald R. KelleyExecutive Editor Emeritus Rutgers UniversityCopyright © 2005 The Journal of the History of Ideas, Inc.... (shrink)

Dear Readers,With this issue of the Journal of Nietzsche Studies, I am particularly pleased to welcome Chris Fowles, formerly an editorial assistant, to the Associate Editorship desk alongside Scott Jenkins. His sharp editorial eye and sound philosophical judgment will help us continue to bring you some of the best recent work on Nietzsche’s philosophical thought.At the same time, I would like to extend my heartfelt thanks to Alexander Prescott-Couch, whose term as Book Reviews Editor will end with this (...) issue. During his time at the reviews desk, he has worked hard to benefit our entire readership by commissioning substantive engagements with a well-curated... (shrink)

These editorial comments acknowledge those who have contributed to the success of the journal, especially through the transition period and our first year with SAGE. This work also serves as a brief introduction to the special section of manuscripts drawn from keynote speeches and invited addresses given at the 2019 International Association for the Psychology of Religion Conference in Gdańsk, Poland. Every other year, the IAPR hosts a conference. While these gatherings feature a variety of special invited keynote addresses, those (...) remarks are often only available for the edification of attendees. For the first time, we are able to present here, in the journal, the texts of the speeches, suitably revised and expanded. Our goal is to provide a similar record of keynote addresses as they occur at future conferences so that the ideas can stimulate conversation and reflection beyond the moment of presentation. (shrink)

For the past thirty years or so we have witnessed the greatest period—at least for France—in the history of thinking about literature; I want first of all to stress this point, adding, however, that despite this fact problems of fundamental significance still seem to me to have been poorly raised.Among these is the problem of how to read a work. And yet, it is not as though reading has not been the object of continual attention, from the American fascination after (...) the war with “close reading” to the work of the deconstructionists: a revolution has taken place that has made reading the very center of its concern. Indeed, today, we think we can recognize in the structure of a text, in the relation between its words, a reality that is much more reliable and tangible than the meaning that runs along the surface, or than the author’s intention, or even than the author’s very being, the idea of which has been rendered problematical to the point of dissolution by the ambiguities inherent in his simplest utterances. It is not the writer who is real, it is his language—which is neither true nor false, signifying only itself. What is more, it is infinite; its forms and effects are disseminated everywhere in a book without ever being able to be totalized: and because of this, reading has a more clearly creative function than ever before—that is, of course, if readers make themselves attentive to all the levels in the depths of the text and bring them as much as they can into the various networks of their analyses. Reading has become a responsibility, a contribution, equal in its way to writing, and moreover it has now become an end in itself, since those who read need not judge themselves more real, more present in their relation to themselves, than the writer. And so, from this point of view, it would seem difficult to say that the problem of reading has been neglected by contemporary criticism. Yves Bonnefoy is professor of comparative poetics at the Collège de France in Paris. He is the author of five books of poetry, including the recent Ce qui fut sans lumière . Bonnefoy is also a distinguished translator of English poets, such as Donne and Shakespeare, Keats and Yeats. His books of criticism include Rimbaud par lui-même ; Rome 1630: l’horizon du premier baroque ; Le Nuage rouge ; L’Improbable et autres essays ; La Verité de parole . He is the editor of the Dictionnaire des Mythologies et des Religions des sociétés traditionelles et du monde antique and of the forthcoming Dictionnaire des poétiques. He received the French Prix Goncourt for poetry in 1987 and the Bennett Award in 1988. John Naughton is associate professor of romance literatures at Colgate University. He is the author of a critical study of Yves Bonnefoy called The Poetics of Yves Bonnefoy and the editor of a volume of Bonnefoy’s essays in translation entitled The Act and the Place of Poetry . His translation of Bonnefoy’s Ce qui fut sons lumière and his book on Louis-René des Forêts will appear in 1991. (shrink)

As described elsewhere on this journal’s website, The Journal of Evolution and Technology was founded in 1998 as The Journal of Transhumanism, and was originally published by the World Transhumanist Association. In November 2004, JET moved under the umbrella of the Institute for Ethics and Emerging Technologies , an organization that seeks to contribute to our understanding of the impact of emerging technologies on individuals and societies. Prior to my appointment, in January 2008, as JET’s editor-in-chief, I’d had four (...) distinguished predecessors – Nick Bostrom, Robin Hanson, Mark Walker, and James Hughes – who had established the journal as a leading forum for discussion of the future of the human species and whatever might come after it. Articles that they'd published in JET were – and are – frequently cited in discussions of the human or posthuman future. With a decade of history behind the journal as I commenced my watch this year, and with JET’s fifth year with IEET now underway, we have much to celebrate. I'm personally delighted to have taken up my position with a journal of ideas that has such a rich history and so much promise. JET is a scholarly, peer-reviewed journal. The material that it publishes may or may not be submitted by scholars and scientists currently working within the academy, but it must certainly meet the standards of well-established academic journals. Most submissions received are rejected because they don’t reach the required standard, but we are always looking for appropriate articles and reviews. We require only that they be relevant to the human or posthuman future and that they meet our high standards of scholarship, originality, and intellectual rigor. We welcome submissions on a wide range of relevant topics and from almost any academic discipline or interdisciplinary standpoint. Central to our thinking at JET is the idea – increasingly familiar and plausible – that the human species is about to commence, or has already commenced, a new form of evolution. This is something quite different from the slow Darwinian processes of survival, reproduction, and adaptation. It is powered, rather, by new technologies that increasingly work their way inwards, transforming human bodies and minds. According to this idea, technology can do more than merely giving us tools to manipulate the world around us; it can alter us far more comprehensively than by shaping our neurological pathways when we learn to handle new tools. This idea of a technologically-mediated process of evolution remains controversial, of course, and even if we grant it broad acceptance there is still much to debate. Just how the process might be manifested in the years to come, and just where it might take us or our successors, are both unclear. Nonetheless, the idea merits careful study from many viewpoints, whether scientific, philosophical, historical, sociological, anthropological, legal, artistic … or even theological. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & The Environment 25th Anniversary Issue:Introduction from the EditorPiers H.G. StephensAt the time that Vicky Davion conceived of and launched Ethics and the Environment twenty-five years ago, environmental philosophy was still struggling for acceptance and respectability as a philosophical subdiscipline. For most of the period since 1979 just one journal, Environmental Ethics, had been the primary beacon of the field, and a second, the United Kingdom-based Environmental Values, (...) had only started up in 1992. Much of the surrounding professional atmosphere at the time was less than congenial, especially in relation to any attempt to engage in philosophical radicalism via environmental thought, with much institutional pressure pushing towards seeing all the concerns of our nascent field as questions to be shuffled off into a subsection of applied ethics. As someone who was beginning my doctoral studies in Britain around that time, I well recall the pressures and the struggle for respectability that was involved, and such conditions made the bar for success in launching a new journal that much higher. Vicky's actions in beginning the journal thus required not only imagination and creativity, but a significant amount of intellectual courage.This courage manifested itself most obviously in the new ground that Ethics and the Environment set out to break. Environmental Ethics had tended to take much of its inspiration from the American conservation and preservation movements as well as debates over intrinsic value, while Environmental Values took a perspective that bridged these concerns to predominantly British political and economic theory, Ethics and the Environment responded to the institutional challenges facing the new field by broadening the range of voices and critique that environmental [End Page 1] philosophy articulated. From the earliest stages, radical perspectives that were unrepresented or underrepresented in the other journals—especially ecofeminism, deep ecology, indigenous and non-Western thought—were central to the identity and mission of Ethics and the Environment, and gave it a distinctive place and appeal. It was a risky strategy to take in the mid 1990s, yet it proved to be not only the right thing to do, broadening the debate and adding new protagonists, but also a path to produce a highly successful journal over time.Ethics and the Environment is today one of the top journals in environmental philosophy, still growing in its subscriptions and influence, and a living tribute to the quality of Vicky Davion's vision. As editor, I am often astounded at the range, diversity, and quality of the manuscript submissions we receive from a global audience, and though I remain saddened at the circumstances under which I took over the editorship, I am proud and grateful to be in charge of such a publication, and holding fast as best I can to its founding vision as the journal nears its 25th anniversary. Within the field of environmental philosophy Ethics and the Environment is deeply associated with our department and with the University of Georgia, and I hope that it may continue to be so for many a long year yet. [End Page 2]Copyright © 2020 The Trustees of Indiana University... (shrink)

Our Associate Editor, who is head of the Center for Ethics in Economics and Business, CERGE‐EI, in Prague, writes of a macabre case of brand copying as one illustration of the difficulties of achieving fair competition in the CR.

Our Associate Editor, who is head of the Center for Ethics in Economics and Business, CERGE‐EI, in Prague, writes of a macabre case of brand copying as one illustration of the difficulties of achieving fair competition in the CR.

Our Associate Editor for Austria describes the unique national features which underlie the recent development of modern business ethics in his country. Univ.‐Prof. Dr Franz Rupert Hrubi is a member of the Abteilung für Philosophie, the University of Economics and Business Administration, A 1090 Vienna, Schlagergasse 6, Austria.

When we applied for the editorship of the JME 7 years ago, we said that we considered the JME to be the most important journal in medicine. The most profound questions that health professionals face are not scientific or technical, but ethical. Our enormous scientific and medical progress already outstrips our capability to provide treatment. Life can be prolonged at enormous cost, sometimes far beyond the point that the individual appears to be gaining a net benefit from that life. Science (...) can tell us how to achieve something, but it cannot tell us whether we should achieve that end—whether it is good. For that, we need ethics. Ethics grows in importance as our technology creates new possibilities. Where there are no options, there are no ethical questions. However, once there are options, there arise pressing questions about whether to pursue them. We require values and principles to decide how to use medicine and science. During the last 7 years, issues like the creation of brain organoids, human non-human chimeras, mitochondrial transfer, gene editing of embryos and in vitro gametogenesis have grown in prominence. These raise deep questions about moral status and how it should be determined, the limits of modification of humans, and what is good in life. As editors of the JME, we are proud of our small contribution to thinking about these challenges. We are grateful to the hard work of our associate editors and administrative staff, but there is still much more to do. During our term as editors, we have published papers from diverse perspectives, on a wide range of topics. We have seen vigorous debate within the pages of the journal and have often sought to deliberately encourage that debate …. (shrink)

EDITOR’S NOTE: Business Ethics Quarterly invited a number of scholars involved with BEQ over its first twenty years (especially in its early years, as editors or editorial board members) to offer their reflections on the past, present, and future of business ethics. The resulting comments, which appear below, are as diverse and eclectic as the group of scholars who have given their energies to BEQ over the years.

In spite of some recent bad news coming out of America our Associate Editor reports positively on the business ethics scene there both in the business community and in a recent major Conference. She holds the Coston Family Chair in Leadership and Ethics at Jepson School of Leadership Studies, University of Richmond, Richmond, Virginia 23173, USA.

In spite of some recent bad news coming out of America our Associate Editor reports positively on the business ethics scene there both in the business community and in a recent major Conference. She holds the Coston Family Chair in Leadership and Ethics at Jepson School of Leadership Studies, University of Richmond, Richmond, Virginia 23173, USA.

How can a confederation of business and industry influence companies and make them more aware of ethical issues? This article examines the work of Norwegian Business and Industry, and the results it has achieved. The author is Assistant Director of NHO, P.b. 5250, Majorstua, 0303 Oslo, and she has been responsible for its business ethics programme for the past three years. This article comes to us through the agency of our Associate Editor for Norway, Dr Heidi von Weltzien (...) Høivik, of the Norwegian School of Management, who has recently been instrumental in founding a Norwegian Centre for Business Ethics. (shrink)

How can a confederation of business and industry influence companies and make them more aware of ethical issues? This article examines the work of Norwegian Business and Industry , and the results it has achieved. The author is Assistant Director of NHO, P.b. 5250, Majorstua, 0303 Oslo, and she has been responsible for its business ethics programme for the past three years. This article comes to us through the agency of our Associate Editor for Norway, Dr Heidi von (...) Weltzien Høivik, of the Norwegian School of Management, who has recently been instrumental in founding a Norwegian Centre for Business Ethics. (shrink)