Lying in an area bounded by the Wabash, Ohio, and Mississippi rivers, the Southern Illinois country is rich in history, folklore, scenery, and natural resources. At about the latitude of southern Virginia, and extending from the flat prairie farmland of central Illinois to the rugged "Illinois Ozarks,” the area is the natural terminal boundary for hundreds of plant species reaching out to all points of the compass. It is also the oldest and most sparsely populated part of Illinois, a (...) region of small towns and independent people, typical of the vast heartland of the U.S.A. Surveying the area in words and pictures the authors sensitively and appreciatively portray the region’s special qualities. An uncommon portrayal of American life in a distinctive region, the book provides a memorable journey both in time and place. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.1 (2000) 106-123 [Access article in PDF] The (Mis)Uses of Cannibalism in Contemporary Cultural Critique C. Richard King At least since 1979, when W. Arens demystified what he termed "the man-eating myth," cannibalism, once a fundamental feature of the anthropological imagination and a primary trope for interpreting cultural difference, has become subject to serious debate and lingering doubt [see Osborne]. Even as some anthropologists have sought to recuperate (...) anthropophagy as a tangible symbolic, ideological, and ritual complex [Brown and Tuzin; Conklin, "'Thus are our Bodies'"; Forsyth; Harris, Good to Eat 199-234; Sanday], a constellation of scholarly projects and popular works has complicated cannibalism by relocating it in the West. Perhaps most visibly, Hollywood cinema has reclaimed cannibalism. Although a handful of films have revived well-worn clichés of dark-skinned savages preparing to consume Westerners, as in King Solomon's Mines and Crocodile Dundee, others have cast the Western subject as cannibal to grapple with the horrors of reluctant cannibalism, as in Alive! [see Fiddes 121-31], to work through the transgressive and terrifying desires associated with psychopathic cannibalism, as in The Silence of the Lambs [Fuss; Halberstam], and importantly to parody the normative beliefs and behaviors of white, middle-class, heterosexual EuroAmericans, as in Eating Raoul and Parents. At the same time, an array of scholars, artists, and activists have invoked cannibalism to fashion critical perspectives on Western cultural practices. In his film Cannibal Tours (1987), Dennis O'Rourke encourages his audiences to think critically about tourists who travel to the Sepik River Valley to encounter reformed cannibals, asking implicitly who the cannibals are, the Melanesians who formerly (were thought to/claim to have) practiced anthropophagy or the tourists who travel to New Guinea to consume them [see Bruner]. Others have pushed the metaphor. Michael Ames, borrowing explicitly from O'Rourke, uses the cannibal to reframe ethnographic museums and their practices. Similarly, Jane Tompkins asserts that "Museums are a form of cannibalism made safe for polite society" [533]. More generally, Crystal Bartolovich playfully glosses consumerism as the cultural logic of the late cannibalism; bell hooks speaks of the EuroAmerican desires for and incorporation of things ethnic as "eating the other"; and Rosalind Morris suggests that cannibalism is the essential metaphor for late capitalism. More telling, however, are a set of overlapping critical projects that offer detailed theorizations [End Page 106] [Begin Page 108] of contemporary anthropophagy. Here, I will examine three that have had an important impact on discussions of tourism, museums, cultural appropriation, and consumption. Dean MacCannell, in an exciting exploratory review of the documentary Cannibal Tours, makes explicit what O'Rourke left unsaid: we are cannibals, and contemporary capitalism is neocannibalism. Perhaps more radically, Jack Forbes argues that Western civilization fosters cannibalism as an embodied, psychosocial condition or psychosis rooted in exploitation and consumption. Inspired at least in part by Forbes, Deborah Root rethinks Western civilization as cannibal culture.Although I am terribly sympathetic with these perspectives, particularly their political commitments and theoretical creativity, I am disturbed by the practices and effects that animate them. Indeed, as powerful as this critical field promises to be, it is at the same time troubling and dangerous. Although it defamiliarizes practices of cultural production and consumption, it does not enhance understanding of the contexts in which individuals and institutions deploy them and does less to effectively challenge or undermine them. In reframing beliefs and behaviors to accentuate productivity and power, it reinstates and reaffirms binaries and, worse, often turns on the same forms of appropriation.* * *Arguably, flesh eating has always promoted the elaborations of differences. Works central to the Western canon mobilize cannibalism to make (sense of) the world. Herodotus offers an early anthropophagic distinction:These Scythian husbandmen then occupy the country eastward for three days' journey.... Beyond this region the country is desert for a great distance; and beyond the desert Androphagi dwell.... The Androphagi have the most savage customs of all men; they pay no regard to justice, nor make use of any established law. They are nomads and wear a dress like a Scythian; they... (shrink)

The subject of these lines may be found in Caes. B.C. I. 54, from which they are in part derived, though probably at second hand. The reference is to Caesar's tactics after the floods in the plain around Ilerda. He built a number of coracles after the British fashion, and had them conveyed to a point on the right bank of the Sicoris, twenty-two miles from his camp. In these boats he sent a number of men across the river, who (...) fortified some rising ground. Then he sent a legion across and started the building of a bridge from both sides at once: hue legionem postea traiecit atque ex utraque parte pontem institutum biduo perfecit. (shrink)

The subject of these lines may be found in Caes. B.C. I. 54, from which they are in part derived, though probably at second hand. The reference is to Caesar's tactics after the floods in the plain around Ilerda. He built a number of coracles after the British fashion, and had them conveyed to a point on the right bank of the Sicoris, twenty-two miles from his camp. In these boats he sent a number of men across the river, who (...) fortified some rising ground. Then he sent a legion across and started the building of a bridge from both sides at once: hue legionem postea traiecit atque ex utraque parte pontem institutum biduo perfecit. (shrink)

Dr. Cyril Bailey and Dr. C. M. Bowra have most recently analysed Virgil's method of using the expressions of Lucretius and Ennius respectively, and Mile A.-M. Guillemin has lately added significant considerations to Father F.-X. M. J. Roiron's long examination of Virgil's method of using again his own former expressions. Since then other work has been done with the purpose of clarifying the less rational part of Virgil's self-repetition; it might be called complementary to the well-known researches of Mr. John (...) Sparrow. With such a purpose I have tried to suggest how Virgil reached the strange phrase in the first Eclogue, rapidum Cretae, or cretae, Oaxen, by a not unparalleled confusion of the names of several different rivers and at least one town. (shrink)

Dicaearchus of Messana (fl. c. 320 b.c.) was a peripatetic philosopher. Like Theophrastus of Eresus, he was a pupil of Aristotle. Dicaearchus's life is not well documented. There is no biography by Diogenes Laertius, and what the Suda offers is meager. However, it can be ascertained that a close friendship existed between Aristoxenus and Dicaearchus as both are mentioned as personal students of Aristotle. Dicaearchus lived for a time in the Peleponnesus, and in his pursuit of geographical studies and measuring (...) mountains, he is said to have enjoyed the patronage of kings. Dicaearchus's interests were in certain respects narrower than Aristotle's. There is no evidence that Dicaearchus worked in logic, physics, or metaphysics. To the contrary, his work On the Soul recalls the Aristotelian treatise of the same title, but Dicaearchus's work was not an esoteric treatise. Instead, it was a dialogue in two parts. His interest in good and bad lifestyles also found expression in works such as On the Sacrifice at Ilium, and On the Destruction of Human Beings, in which he presented man himself as the greatest threat to mankind. In On Lives, a work of at least two books, he considered philosophers and others noted for their wisdom, with his main thesis being the superiority of the active life over that of quiet contemplation. Cicero speaks of controversy between Dicaearchus and Theophrastus the former championing the active life and the latter that of contemplation. Circuit of the Earth was a work of descriptive geography in which Dicaearchus said that the earth has the shape of a globe. This interest in earth's sphericity led him to make maps and discuss other phenomena like the cause of ebb- and flood-tides and the source of the Nile River. The largest number of texts in the collection deal with cultural history, most of which stem or appear to stem from his Life of Greece, while the smallest section deals with politics. This tenth volume in the series Rutgers Studies in Classical Humanities includes a facing translation of the Greek and Latin texts, making the material accessible to readers who lack the ancient languages, and the accompanying essays introduce important issues beyond the scope of the text. "[Dicaerchus of Messana] is a beautifully produced book...highly recommended, not only as a very full and useful treatment, meeting the highest standards, of one of Aristotle's more important pupils, but also as a model of methodology in the attempt to reconstruct from few remains something of an achievement which has been largely lost." -Dominic O'Meara, The Classical Bulletin William W. Fortenbaugh is professor of classics at Rutgers University. In addition to the other books in this series and his many articles, he has written Aristotle on Emotion and Quellen zur Ethik Theophrasts. Eckart Sch³trumpf is professor of classics at the University of Colorado at Boulder. His interests include ancient literary criticism, rhetoric and political theory. His extensive commentary on Aristotle's Politics now extends to three volumes. A fourth and final volume is forthcoming. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Motion and Mercutio in Romeo and JulietDaryl W. PalmerThere is nothing permanent that is not true, what can be true that is uncertaine? How can that be certaine, that stands upon uncertain grounds? 1It is by now a commonplace in modern scholarship that drama, particularly Tudor drama, poses questions, rehearses familiar debates, and even speculates about mere possibilities. 2 In 1954, Madeleine Doran spelled out some of the ways (...) in which debate "affected the structure of Elizabethan drama." 3 In turn, Joel B. Altman, having eloquently extended Doran's examination, concludes that "the plays functioned as media of intellectual and emotional exploration for minds that were accustomed to examine the many sides of a given theme, to entertain opposing ideals, and by so exercising the understanding, to move toward some fuller apprehension of truth that could be discerned only through the total action of the drama." 4 Altman points to Henry Medwall's Fulgens and Lucres (c. 1490) as an exemplar of this practice. Although the interlude instructs and entertains, "the center of interest has shifted from demonstration to inquiry. The action develops not from an abstract assertion, but from a specific question: who is the nobler man, Cornelius or Gaius?" 5 By the time William Shakespeare began to write his plays, inquiry was an essential part of dramatic construction. So Juliet asks, "What's in a name?" 6 Hamlet opens with the question: "Who's [End Page 540] there?" (1.1.1), and achieves a kind of apotheosis in the figure of its hero: "To be, or not to be, that is the question..." (3.1.55). Everyone recognizes these familiar questions, and we know (or think we know) how to describe the most viable answers. I want to suggest, however, that this familiarity has dulled our appreciation of the drama's interrogative range. As a way of resisting this tendency, I want to argue that Shakespeare's Romeo and Juliet takes up an ancient conversation about motion, a dialog that originates with the pre-Socratics. This is not to say that the play is ultimately about motion. It obviously engages a panoply of thematic materials. I have simply chosen, in this limited space, to concentrate on the way the playwright stages his questioning as a kind of fencing lesson. My goal is to produce neither a "reading" of the play nor an allegory of philosophy, but rather to recollect the ways in which Shakespeare's drama qualifies and extends an ancient interrogative tradition. In so doing, I follow Stanley Cavell who maintains "that Shakespeare could not be who he is—the burden of the name of the greatest writer in the language, the creature of the greatest ordering of English—unless his writing is engaging the depth of the philosophical preoccupations of his culture." 7Some of the most venerable documents of Western philosophy fix on the problem of motion. If we go back more than 2,300 years, we come upon Plato's Theaetetus, in which Socrates explains a "first principle" to the title character, namely that "the universe really is motion and nothing else." 8 A kind of history lesson in ontology and epistemology, this tentative explanation has its origins in Heraclitus or Empedocles or Protagoras or some combination of the aforementioned. Perhaps the most famous expression of this ideal comes from Heraclitus: "You cannot step twice into the same river, for other waters and yet others go ever flowing on." 9 More to the point is the following declaration from the same philosopher: "Everything flows and nothing abides; everything gives way and nothing stays fixed." 10 In this spirit, Protagoras declares, "All matter is in a state of flux." 11 Such precedents provide the backdrop for Socrates in the Theaetetus as he summarizes: "The point is that all these things are, as we were saying, in motion, but there is a quickness or slowness in their motion" (Thea, 156c). In this historical spirit, he identifies "a tradition from the ancients, who hid their meaning from the common herd in poetical figures, that Oceanus and Tethys, the source of all things, are flowing streams and nothing is at rest" (Thea, 180d–e).To... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Motion and Mercutio in Romeo and JulietDaryl W. PalmerThere is nothing permanent that is not true, what can be true that is uncertaine? How can that be certaine, that stands upon uncertain grounds? 1It is by now a commonplace in modern scholarship that drama, particularly Tudor drama, poses questions, rehearses familiar debates, and even speculates about mere possibilities. 2 In 1954, Madeleine Doran spelled out some of the ways (...) in which debate "affected the structure of Elizabethan drama." 3 In turn, Joel B. Altman, having eloquently extended Doran's examination, concludes that "the plays functioned as media of intellectual and emotional exploration for minds that were accustomed to examine the many sides of a given theme, to entertain opposing ideals, and by so exercising the understanding, to move toward some fuller apprehension of truth that could be discerned only through the total action of the drama." 4 Altman points to Henry Medwall's Fulgens and Lucres (c. 1490) as an exemplar of this practice. Although the interlude instructs and entertains, "the center of interest has shifted from demonstration to inquiry. The action develops not from an abstract assertion, but from a specific question: who is the nobler man, Cornelius or Gaius?" 5 By the time William Shakespeare began to write his plays, inquiry was an essential part of dramatic construction. So Juliet asks, "What's in a name?" 6 Hamlet opens with the question: "Who's [End Page 540] there?" (1.1.1), and achieves a kind of apotheosis in the figure of its hero: "To be, or not to be, that is the question..." (3.1.55). Everyone recognizes these familiar questions, and we know (or think we know) how to describe the most viable answers. I want to suggest, however, that this familiarity has dulled our appreciation of the drama's interrogative range. As a way of resisting this tendency, I want to argue that Shakespeare's Romeo and Juliet takes up an ancient conversation about motion, a dialog that originates with the pre-Socratics. This is not to say that the play is ultimately about motion. It obviously engages a panoply of thematic materials. I have simply chosen, in this limited space, to concentrate on the way the playwright stages his questioning as a kind of fencing lesson. My goal is to produce neither a "reading" of the play nor an allegory of philosophy, but rather to recollect the ways in which Shakespeare's drama qualifies and extends an ancient interrogative tradition. In so doing, I follow Stanley Cavell who maintains "that Shakespeare could not be who he is—the burden of the name of the greatest writer in the language, the creature of the greatest ordering of English—unless his writing is engaging the depth of the philosophical preoccupations of his culture." 7Some of the most venerable documents of Western philosophy fix on the problem of motion. If we go back more than 2,300 years, we come upon Plato's Theaetetus, in which Socrates explains a "first principle" to the title character, namely that "the universe really is motion and nothing else." 8 A kind of history lesson in ontology and epistemology, this tentative explanation has its origins in Heraclitus or Empedocles or Protagoras or some combination of the aforementioned. Perhaps the most famous expression of this ideal comes from Heraclitus: "You cannot step twice into the same river, for other waters and yet others go ever flowing on." 9 More to the point is the following declaration from the same philosopher: "Everything flows and nothing abides; everything gives way and nothing stays fixed." 10 In this spirit, Protagoras declares, "All matter is in a state of flux." 11 Such precedents provide the backdrop for Socrates in the Theaetetus as he summarizes: "The point is that all these things are, as we were saying, in motion, but there is a quickness or slowness in their motion" (Thea, 156c). In this historical spirit, he identifies "a tradition from the ancients, who hid their meaning from the common herd in poetical figures, that Oceanus and Tethys, the source of all things, are flowing streams and nothing is at rest" (Thea, 180d–e).To... (shrink)

We attempt to quantify and qualify the preferences of consumers for beef with a number of environmental and food quality attributes. Our goal is to evaluate the viability of a proposed food co-operative based in the Wood River watershed of southern Saskatchewan, Canada. The food co-operative was designed to provide a price premium to producers who adopted alternative management practices. In addition, the study evaluated the acceptance of a proposed food co-operative by consumer that had environmental interests as compared to (...) the general population. Conjoint analysis was used to determine the trade-off and relative value of beef with the following production and purchasing characteristics: (a) use of hormones, antibiotics and vaccination in production; (b) method of obtaining the beef including monthly or yearly purchase contracts or a local market; (c) price relative to beef purchased from the local grocery store; and (d) impact on the river ecosystem. Consumers from environmental groups had stronger environmental and food quality preferences than individuals from the general population. However, consumers from both groups expressed a willingness to pay higher prices for food that had these attributes. It was uncertain whether the magnitude of the premium, in combination with a desire not to enter a long-term purchasing commitment, would be large enough to encourage farmers to adopt the alternative management. (shrink)

This book traces the development of formal logic from its origins in ancient Greece to the present day. The authors first discuss the work of logicians from Aristotle to Frege, showing how they were influenced by the philosophical or mathematical ideas of their time. They then examine developments in the present century.

Editorial ROBIN LE POIDEVIN, Religious Studies , FirstView Article(s).

Historians of the eugenics movement have long been ambivalent in their examination of the links between British hereditary researchers and Nazi Germany. While there is now a clear consensus that American eugenics provided significant material and ideological support for the Germans, the evidence remains less clear in the British case where comparatively few figures openly supported the Nazi regime and the left-wing critique of eugenics remained particularly strong. After the Second World War British eugenicists had to push back against the (...) accusation that their science was intrinsically dictatorial or totalitarian and, as a result, many of their early perceptions of the Nazis were ignored or rationalised away. Further, historians in recent years have focused more directly on the social reformist elements of eugenics, discussing the links between hereditary science and the birth control and feminist movements in addition to others. While undoubtedly making valuable contributions to the scholarly understanding of the eugenic milieu in the interwar years, these studies have neglected to recontextualize the sentiments of British eugenicists who did indeed view the Nazi government positively in the early years of the 1930s. This article argues that there was a significant, though not numerically sizable, faction in the British eugenics movement, though mostly outside the Eugenics Society itself, in the early 1930s that viewed the Nazi Germany as an admirable state for its implementation of eugenic principles. One of these figures was later interned by his own government for being too closely aligned with the German regime, though he argued that this affinity was driven by the quest for scientific truth rather than politics. Eugenics in Britain thus contained a greater diversity of views toward Germany than scholars have previously assumed, warranting more research into the individuals and organizations harbouring these views. (shrink)