‘But tell us, Tityrus, who is that god?’. This is what the herdsman Meliboeus asks in Virgil's first Eclogue in response to Tityrus' assertion that a certain deity granted him the leisure to sing and to pasture his herd. In posing this question, the herdsman raises the issue of this god's identity also for us, Virgil's readers. We are invited to ponder ‘Who is that deus?’ The question lingers, hanging over the text for the next twenty-three verses, without answer. For (...) despite Meliboeus' blunt and plainspoken query, which demands a concrete response, Tityrus—on finally returning to the question qui sit—pointedly names no names. Rather, he leaves his divinity anonymous. We learn only that the god is a iuuenis, whom Tityrus saw at Rome, and who answered the herdsman's entreaty. In honour of this deity, Tityrus' altars smoke with sacrifice every month of the year. As the poem takes the form of a dramatic dialogue without narrative frame, no authoritative voice intervenes to offer further guidance as to the god's identity. Thus we continue to wonder as to the identity of this divine iuuenis. The question remains open, an incitement to readerly conjecture. (shrink)

This study investigates the impacts of intellectual capital through Value-Added Intellectual Capital (VAIC) and its components: human capital efficiency (HCE) and structural capital efficiency (SCE) on financial performance in terms of return on assets (ROA) and return on equity (ROE). In addition, this study compares the effects between firms from financial and pharmaceutical industries. A total of 149 Vietnamese firms comprising of 108 financial firms and 41 pharmaceutical firms were examined. Based on the findings, VAIC and HCE show beneficial impacts (...) on both financial performance measures, ROA, and ROE. However, SCE shows adverse and beneficial implications on ROA and ROE, respectively. In terms of industry comparison, VAIC has positive effects on ROA and ROE among the firms from financial industry, whereas it has no effect in the firms from pharmaceutical industry. The effect of HCE on ROA is stronger in the firms from financial industry than firms from pharmaceutical industry while the effect of HCE on ROE is stronger in the firms from pharmaceutical industry than firms from financial industry. The effect of SCE on ROA is stronger in the pharmaceutical firms than financial firms while the effect of SCE on ROE is stronger in the financial firms than pharmaceutical firms. Lastly, the implications of the importance of knowledge-based resources on value creation were elaborated. (shrink)

Background The use of lengthy, detailed, and complex informed consent forms is of paramount concern in biomedical research as it may not truly promote the rights and interests of research participants. The extent of information in ICFs has been the subject of debates for decades; however, no clear guidance is given. Thus, the objective of this study was to determine the perspectives of research participants about the type and extent of information they need when they are invited to participate in (...) biomedical research. Methods This multi-center, cross-sectional, descriptive survey was conducted at 54 study sites in seven Asia-Pacific countries. A modified Likert-scale questionnaire was used to determine the importance of each element in the ICF among research participants of a biomedical study, with an anchored rating scale from 1 to 5. Results Of the 2484 questionnaires distributed, 2113 were returned. The majority of respondents considered most elements required in the ICF to be ‘moderately important’ to ‘very important’ for their decision making. Major foreseeable risk, direct benefit, and common adverse effects of the intervention were considered to be of most concerned elements in the ICF. Conclusions Research participants would like to be informed of the ICF elements required by ethical guidelines and regulations; however, the importance of each element varied, e.g., risk and benefit associated with research participants were considered to be more important than the general nature or technical details of research. Using a participant-oriented approach by providing more details of the participant-interested elements while avoiding unnecessarily lengthy details of other less important elements would enhance the quality of the ICF. (shrink)

The articles in this collection are dedicated to the proposition that human beings make history, not just in the sense of being agents of change in the here and ...

To eliminate the leap of faith required to explain how visual consciousness arises from visual representation, O'Regan & Noë focus on the sensorimotor interaction with the outside world and ban internal representations from their account of vision. We argue that evidence for transsaccadic representations necessitates a central position for an internal, on-line stimulus rendition in any adequate theory of vision.

Review Articles : Cornelius Castoriadis, Political and Social Writ ings. Volume One: 1946-1955. From the Critique of Bu reaucracy to the Positive Content of Socialism. Volume Two: 1955-1960. From the Workers Struggle Against Bureaucracy to Revolution in the Age of Modern Capitalism, trans. and ed. by David Ames Curtis.

The Japanese “new religions” active in Kinshasa nearly all perform healing through the channeling of invisible divine light. In the case of Sekai Kyūseikyō, the light of Johrei cannot be visually apprehended, but is worn as an invisible aura on the practitioner’s body. This article discusses the trans-cultural resonances between Japan and Central Africa regarding the ontology of spiritual force, regimes of subjectivity, and the gradual embodiment of Johrei divine light as a protection against witchcraft. Meanwhile, I argue that (...) religious multiplicity in urban Africa encourages cultural reflexivity about concepts of health and healing, self-responsibility, and Pentecostal suspicion-mongering of occult sciences. Thus, Johrei divine light not only feeds into a longstanding local tradition of spiritual healing; within the religiously multiple city, it is also a discursive space for, and an experience and performance of, emic critique. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

‘...if you learn to think like Peter Cave – with freshness, humour, objectivity and penetration – you will have been amply rewarded.’ :::: Prof. Felipe Fernandez-Armesto, University of Notre Dame __________________ Chapter Titles:>>> ___ 1 Lao Tzu: The Way to Tao >>> 2 Sappho: Lover >>> 3 Zeno of Elea: Tortoise Backer, Parmenidean Helper >>> 4 Gadfly: aka ‘Socrates’ >>> 5 Plato: Charioteer, Magnificent Footnote Inspirer – ‘Nobody Does It Better’ >>> 6 Aristotle: Earth-Bound, Walking >>> 7 Epicurus: Gardener, (...) Curing the Soul, Ably Assisted by Lucretius >>> 8 Avicenna: Flying Man, Unifier >>> 9 Descartes: With Princess, With Queen >>> 10 Spinoza: God-Intoxicated Atheist >>> 11 Leibniz: Monad Man >>> 12 Bishop Berkeley, ‘That Paradoxical Irishman’: Immaterialist, Tar-Water Advocate >>> 13 David Hume: The Great Infidel or Le Bon David >>> 14 Kant: Duty Calls, Categorically >>> 15 Schopenhauer: Pessimism With Flute >>> 16 John Stuart Mill: Utility Man, With Harriet, Soul-Mate >>> 17 Søren Kierkegaard: Who? >>> 18 Karl Marx: Hegelian, Freedom-Fighter >>> 19 Lewis Carroll: Curiouser and Curiouser >>> 20 Nietzsche: God-Slaying Jester, Trans-Valuer >>>> 21 Bertrand Russell: Radical, Aristocrat >>> 22 G. E. Moore: Common-Sense Defender, Bloomsbury’s Sage >>> 23 Heidegger: Hyphenater >>> 24 Jean-Paul Sartre: Existentialist, Novelist, French >>> 25 Simone Weil: Refuser and Would-Be Rescuer >>> 26 Simone de Beauvoir: Situated, Protester, Feminist >>> 27 Ludwig Wittgenstein: Therapist >>> 28 Hannah Arendt: Controversialist, Journalist? >>> 29 Iris Murdoch: Attender >>> 30 Samuel Beckett: Not I >>>. (shrink)

This article seeks to contribute to the thinking of forms of corporateness, sociality and authority in the context of, but also beyond, neoliberalism, the neoliberal state and neoliberal accounts of the corporation. It considers neoliberalism in relation to the theological genealogies of modernity, politics and economy, and the way in which neoliberalism itself functions as a secular religion—one which intensifies liberal individualism and involves a blind faith in the market redefining all social interactions in terms of contract. I turn to (...) the theological genealogies of sovereignty and economy, and of the corporation, as a way of grounding a radical consideration of collectivity and sociality. For, while the rise of neoliberalism is associated with the growth of multi-national or trans-national corporations, the privatisation of state assets and the corporatisation of public institutions, each of these involve not a diminishing of the state or the project of state sovereignty but rather its reformulation, reaffirmation and intensification. The corporation, despite being redefined as the interaction of fundamentally self-willing and contracting individuals operating in the market, is still fundamentally intertwined with state sovereignty. Attempts to address or respond to corporate power need to go beyond calls for greater regulation of corporations, increased corporate social responsibility or even the desire to eliminate corporate personhood. Rather, what is required is a greater emphasis on the notion of corporateness that undergirds the theological genealogy of the corporation—for if neoliberalism functions as a religion then part of the solution may be a theological one. (shrink)

Church history is dead, long live historical theology! This restatement of the monarchical law of le mort saisit le vif is at once a statement of irreparable discontinuity and assumed continuity. The old monarch is no more, yet a new and different monarch ascends to fill the same vacant throne. This is the paradox of church history becoming historical theology. Reviewing the work of W.A Dreyer and J. Pillay on the re-imagining of church history as historical theology, this article explores (...) the tension between the demise of church history as a subject in South Africa and the emerging understanding and application of historical theology, arguing that more can be made of trans-disciplinary dialogues. (shrink)

From the contention that no worldview can be both consistent and complete is derived the insight that a worldview is contextually dependent on past worldviews that it both transcends and includes. Mādhyamika Buddhism illustrates the deconstructive aspect of this thesis--namely, that worldviews claiming completeness or independence are inconsistent. Process philosophy, on the other hand, is a theory that describes reality as the ongoing process of asymmetrical transcendence and inclusion of worldviews as perspectival events. It is argued that both Mādhyamika and (...) process philosophies can be used to formulate a trans-cultural theory of worldviews that is both classificatory and evaluative. (shrink)

In his paper on transcendental intersubjectivity in Husserl, which refers mainly to the Fifth Cartesian Meditation, Schutz (1966a) marks out four stages in Husserl's argument and finds what are for him insurmountable problems in each stage. These stages are: (1) isolation of the primordial world of one's peculiar ownness by means of a further epoche; (2) apperception of the other via pairing; (3) constitution of objective, intersubjective Nature; (4) constitution of higher forms of community. Because of the problems Schutz encounters (...) in each of these stages, he concludes that Husserl's theory is unacceptable (Schutz, 1966a, p.82). Having already proved that it is unacceptable, he now explains why these problems arise in Husserl's theory. Intersubjectivity, says Schutz, is "a datum of the life-world," (1966a, p.82) not a transcendental problem. In other words, intersubjectivity must be dealt with as a problem of the life-world of the natural attitude, not a "problem of constitution which can be solved within the transcendental sphere." (Schutz, 1966a, p.82). There is no such thing as transcendental intersubjectivity, if by that is meant intersubjectivity of a plurality of transcendental egos. The role of transcendental phenomenology in the problem of intersubjectivity is to explicate within the transcendental reduction the sense: "intersubjectivity in the life-world." Husserl was diverted from this proper role of phenomenology--in his words, to "explicate the sense which this world has for us prior to all philosophy" (trans. and quoted by Schutz from "Cartesianische Meditationen, para. 62, in fine," in Schutz, 1966a, p.82)--because of the unobtrusive transformation of sense of his concept of constitution from that of explication and clarification to "creation," in the sense of providing an ontology of the lifeworld. The fact that phenomenology is in principle incapable of doing this lies behind the failure of Husserl's theory of intersubjectivity (Schutz, 1966a, pp.83-84). Unlike Schutz, I will deal with this general issue explicitly in the context of the stages in Husserl's argument and Schutz's objections. It seems to me that Husserl does remain within the sphere of clarification of sense, but to do explication and clarification of certain "senses" results inevitably in doing a kind of ontology. (shrink)

The author investigates which methods of naming objects are possible in the language of physics on the basis of the real physical conditions and to which extend objects thereby can be identified. It is shown that in the language of classical physics naming by designation is always possible. But this implies only the temporal identity of objects, not the "trans - world" - identity, which is important for modalities. In the language of quantum physics naming by designation is no (...) longer applicable to individuals but only to classes of equivalent objects. And for these classes temporal identity as well as the "trans - world" - identity can be produced, which means that an adequate semantics can be specified for the concept of possibility necessary in this language. (shrink)

“An elegant and erudite exposé of the hypocrisies and evasions that infect the social and political thinking of our times.” ___ John Cottingham, Emeritus Professor of Philosophy, University of Reading __________________________________________________________________________________________________ -/- What’s so good about democracy? -------------------------------------------------------------------- Is any land rightfully ‘our land’? ------------------------------------------------------------------------ How private are our private lives? --------------------------------------------------------------------- Is ‘equal opportunities’ talk all nonsense? ------------------------------------------------------------ Do free markets set the people free? ----------------------------------------------------------------- Patriotism good? Nationalism bad? ---------------------------------------------------------------------- What’s so bad about discrimination? --------------------------------------------------------------------- Are the transgendered (...) right about gender? --------------------------------------------------------------- Does anyone believe in human rights? -------------------------------------------------------------------- ---------------------------------------------------------------------------------------------------- -------- -/- “With characteristic wit, Cave takes readers on a journey of discovery through a maze of perplexities. This is a profound book — those who survive the voyage will never think about liberal democracy and their lives as they did.” Dan Cohn-Sherbok, Professor Emeritus, Univ. of Wales -/- ---------------------------------------------------------------------------------------------------- -------------- -/- CONTENTS: ____________________________________________________________________________________________________ ___ -/- Prologue: On hiding what we know >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>> -/- 1 What’s so good about democracy? >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>> 2 How democracy lies >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>> 3 Freedom and discrimination: burqas, bikinis and Anonymous >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>> 4 Should we want what we want? >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>> 5 Lives and luck: can Miss Fortuna be tamed? >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>> 6 The Land of Justice >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>>>> > 7 Plucking the goose: what’s so bad about taxation? >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>> 8 ‘This land is our land’ >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>> 9 Community identity: nationalism and cosmopolitanism >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>> 10 What’s so good about equal representation? >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>> 11 Human duties – oops – human rights >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>> 12 Free speech: the Tower of Babel; the Serpent of Silence >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>> 13 Regrets, apologies and past abuses >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>> 14 ‘Because I’m a woman’: trans identities >>>>>>>>>>>>>>>>>>>>>>>>> >> 15 Happy Land >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>> Epilogue: In denial >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>>>> >> Notes and References >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>>>> Acknowledgements >>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>>Index> ;>>>>>>>>>>>>>>>>>>> -/- . (shrink)

inquiry that ultimately concerns the nature of knowing. The traditional name for it is epistemology. Dihhey wanted to pursue it without jumping beyond the historical reflection of historically situated inquirers to a static, trans-historical standpoint. Rorty apparently does not want to pursue it on any basis. Yet his position is born of extensive, and often insightful, historical interpretation, which seems to be more than a "way of coping" (or refusing to cope) with the history of modern philosophy, His interpretations (...) make an implicit claim to knowledge, and thereby naturally reopen at least some of the questions they were intended to dispatch. I suggest that as long as historical reflection plays this sort of problematic role in the effort to pass beyond our intellectual history, we are neither beyond modernity nor beyond Dilthey. His thought will still be a living voice... (shrink)

The organization of eukaryotic genomes as chromatin provides the framework within which regulated transcription occurs in the nucleus. The association of DNA with chromatin proteins required to package the genome into the nucleus is, in general, inhibitory to transcription, and therefore provides opportunities for regulated transcriptional activation. Granting access to the cis‐acting elements in DNA, a prerequisite for any further action of the trans‐acting factors involved, requires the establishment of local heterogeneity of chromatin and, in some cases, extensive remodeling (...) of nucleosomal structures. Challenging problems relate to the establishment of this heterogeneity at the level of the single nucleosome and to the mechanisms that operate when nucleosomal arrays are reorganized. Recent developments indicate that chromatin reconstitution in cell‐free systems allows the biochemical analysis of the interplay between transcription factors and chromatin components that brings about regulated transcription. (shrink)

Authenticity, Reception and Media Reality This article deals with the reception of media reality, which is meant to be an alternative mode of consciousness, and with the phenomenon of authenticity and its understanding within media reality. It is also pointed out the distortion in the reception of media reality. As an unifying concept for media education and for the treatment of reception defects it is mentioned media anthropology - an interdisciplinary, respectively trans-disciplinary science, which can provide more consistent re-analyzing (...) of the relationship between man and media as tools for improving his skills. From the methodological point of view the method of epistemological anarchism, Paul Feyerabend's "anything goes" is explained as an epistemological translation tool for developing reviewing competences and reception skills as a whole. We propose to deal the distortion of media reception in different therapeutic ways: from sensory deprivation, through media substitution, organic reception, to transcendence of the observer and imitation of media - meta-creation. In the sense of organic, systemic reception we in fact propose to "copy" the communication strategy of media system in order to extend or set appropriate "epistemic" competences. In the related illustration of this mechanism, the theory of A. Weinstock is applied for setting a research indifference point in the middle of a fictive reception continuum of polarities sympathy and antipathy with media. This paper represents a part of activities, which summarize author's dissertation thesis Reception instruction in the media reality, where there are presented not only analyses and attempted typology of reception instructions, but also case studies with specific proposals for teaching and researching within areas of media ethics and media education. (shrink)

Resumo: Ao cruzar as trajetórias de Bento Prado Jr. e Gilles Deleuze, no tocante a Bergson, revelam-se coincidências inesperadas, entre as quais a dívida comum para com Sartre.: Unexpected coincidences are revealed when considering Bento Prado Jr. and Gilles Deleuze’s readings of Bergson, especially if one considers their common debt to Sartre.