In Animal Rites, Cary Wolfe examines contemporary notions of humanism and ethics by reconstructing a little known but crucial underground tradition of theorizing the animal from Wittgenstein, Cavell, and Lyotard to Lévinas, Derrida, ...

What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass (...) media. (shrink)

"[Mitchell] undertakes to explore the nature of images by comparing them with words, or, more precisely, by looking at them from the viewpoint of verbal language.... The most lucid exposition of the subject I have ever read."—Rudolf Arnheim, _Times Literary Supplement_.

Continuing William Mitchell's investigations of how we understand, reason about, anduse images, The Reconfigured Eye provides the first systematic, critical analysis of the digitalimaging revolution.

In [4], Kunen used iterated ultrapowers to show that ifUis a normalκ-complete nontrivial ultrafilter on a cardinalκthenL[U], the class of sets constructive fromU, has only the ultrafilterU∩L[U] and this ultrafilter depends only onκ. In this paper we extend Kunen's methods to arbitrary sequencesUof ultrafilters and obtain generalizations of these results. In particular we answer Problem 1 of Kunen and Paris [5] which asks whether the number of ultrafilters onκcan be intermediate between 1 and 22κ. If there is a normalκ-complete ultrafilterUonκsuch (...) that {α <κ: α is measurable} ∈Uthen there is an inner model with exactly two normal ultrafilters onκ, and ifκis super-compact then there are inner models havingκ+ +,κ+or any cardinal less than or equal toκnormal ultrafilters.These methods also show that several properties ofLwhich had been shown to hold forL[U] also hold forL[U]: using an idea of Silver we show that inL[U] the generalized continuum hypothesis is true, there is a Souslin tree, and there is awell-ordering of the reals. In addition we generalize a result of Kunen to characterize the countaby complete ultrafilters ofL[U]. (shrink)

We prove several results giving lower bounds for the large cardinal strength of a failure of the singular cardinal hypothesis. The main result is the following theorem: Theorem. Suppose κ is a singular strong limit cardinal and 2κ λ where λ is not the successor of a cardinal of cofinality at most κ. If cf > ω then it follows that o λ, and if cf = ωthen either o λ or {α: K o α+n} is confinal in κ for (...) each n ε ω.We also prove several results which extend or are related to this result, notably Theorem. If 2ω ω1 then there is a sharp for a model with a strong cardinal.In order to prove these theorems we give a detailed analysis of the sequences of indiscernibles which come from applying the covering lemma to nonoverlapping sequences of extenders. (shrink)

We give a short proof of a lemma which generalizes both the main lemma from the original construction in the author’s thesis of a model with no ω2-Aronszajn trees, and also the “Key Lemma” in Hamkins’ gap forcing theorems. The new lemma directly yields Hamkins’ newer lemma stating that certain forcing notions have the approximation property.

Although the notion of spatiality has always lurked in the background of discussions of literary form, the self-conscious use of the term as a critical concept is generally traced to Joseph Frank's seminal essay of 1945, "Spatial Form in Modern Literature."1 Frank's basic argument is that modernist literary works are "spatial" insofar as they replace history and narrative sequence with a sense of mythic simultaneity and disrupt the normal continuities of English prose with disjunctive syntactic arrangements. This argument has been (...) attacked on several fronts. An almost universal objection is that spatial form is a "mere metaphor" which has been given misplaced concreteness and that it denies the essentially temporal nature of literature. Some critics will concede that the metaphor contains a half-truth, but one which is likely to distract attention from more important features of the reading experience. The most polemical attacks have come from those who regard spatial form as an actual, but highly regrettable, characteristic of modern literature and who have linked it with antihistorical and even fascist ideologies.2 Advocates of Frank's position, on the other hand, have generally been content to extrapolate his premises rather than criticize them, and have compiled an ever-mounting list of modernist texts which can be seen, in some sense, as "antitemporal." The whole debate can best be advanced, in my view, not by some patchwork compromise among the conflicting claims but by a radical, even outrageous statement of the basic hypothesis in its most general form. I propose, therefore, that far from being a unique phenomenon of some modern literature, and far from being restricted to the features which Frank identifies in those works , spatial form is a crucial aspect of the experience and interpretation of literature in all ages and cultures. The burden of proof, in other words, is not on Frank to show that some works have spatial form but on his critics to provide an example of any work that does not. · 1. Frank's essay first appeared in Sewanee Review 53 and was revised in his The Widening Gyre . Frank's basic argument has not changed essentially even in his most avante-garde statements; he still regards spatial form "as a particular phenomenon of modern avante-garde writing." See "Spatial Form: An Answer to Critics," Critical Inquiry 4 : 231-52. A useful bibliography, "Space and Spatial Form in Narrative," is being complied by Jeffrey Smitten .· 2. This charge generally links the notion of spatial form with Wyndham Lewis and Ezra Pound, the imagist movement, the "irrationality" and pessimistic antihistoricism of modernism, and the conservative Romantic tradition. Frank discusses the complex motives behind these associations in the work of Robert Weimann and Frank Kermode in his "Answer to Critics," pp. 238-48. W. J. T. Mitchell, editor of Critical Inquiry, is the author of Blake's Composite Art, and The Last Dinosaur Book: The Life and Times of a Cultural Icon. The present essay is part of Iconology: The Image in Literature and the Visual Arts. "Diagrammatology" appeared in the Spring 1981 issue of Critical Inquiry. Leon Surette responds to the current essay in "‘Rational Form in Literature’". (shrink)

An outline is given of the proof that the consistency of a κ⁺-Mahlo cardinal implies that of the statement that I[ω₂] does not include any stationary subsets of Cof(ω₁). An additional discussion of the techniques of this proof includes their use to obtain a model with no ω₂-Aronszajn tree and to add an ω₂-Souslin tree with finite conditions.

We use a $\kappa^{+}-Mahlo$ cardinal to give a forcing construction of a model in which there is no sequence $\langle A_{\beta} : \beta \textless \omega_{2} \rangle$ of sets of cardinality $\omega_{1}$ such that $\{\lambda \textless \omega_{2} : \existsc \subset \lambda & (\bigcupc = \lambda otp(c) = \omega_{1} & \forall \beta \textless \lambda (c \cap \beta \in A_{\beta}))\}$ is stationary.

Is there a dominant global image—call it a world picture—that links the Occupy movement to the Arab Spring? Or is there any single image that captures and perhaps even motivated the widely noticed synergy and infectious mimicry between Tahrir Square and Zuccotti Park?

The rubric “The Late Derrida,” with all puns and ambiguities cheerfully intended, points to the late work of Jacques Derrida, the vast outpouring of new writing by and about him in the period roughly from 1994 to 2004. In this period Derrida published more than he had produced during his entire career up to that point. At the same time, this volume deconstructs the whole question of lateness and the usefulness of periodization. It calls into question the “fact” of his (...) turn to politics, law, and ethics and highlights continuities throughout his oeuvre. The scholars included here write of their understandings of Derrida’s newest work and how it impacts their earlier understandings of such classic texts as Glas and Of Grammatology . Some have been closely associated with Derrida since the beginning—both in France and in the United States—but none are Derrideans. That is, this volume is a work of critique and a deep and continued engagement with the thought of one of the most significant philosophers of our time. It represents a recognition that Derrida’s work has yet to be addressed—and perhaps can never be addressed—in its totality. (shrink)

This article addresses five research questions: What specific behaviors are described in the literature as ethical or unethical? What percentage of business people are believed to be guilty of unethical behavior? What specific unethical behaviors have been observed by bank employees? How serious are the behaviors? Are experiences and attitudes affected by demographics? Conclusions suggest: There are seventeen categories of behavior, and that they are heavily skewed toward internal behaviors. Younger employees have a higher level of ethical consciousness than older (...) employees. The longer one works for a company, the more one may look to job security as a priority; this can lead to rationalizing or overlooking apparently unethical behaviors. More emphasis is needed on internal behaviors with particular attention on the impact that external behaviors have on internal behaviors. (shrink)

The question naturally arises: Is public art inherently violent, or is it a provocation to violence? Is violence built into the monument in its very conception? Or is violence simply an accident that befalls some monuments, a matter of the fortunes of history? The historical record suggests that if violence is simply an accident that happens to public art, it is one that is always waiting to happen. The principal media and materials of public art are stone and metal sculpture (...) not so much by choice as by necessity. “A public sculpture,” says Lawrence Alloway, “should be invulnerable or inaccessible. It should have the material strength to resist attack or be easily cleanable, but it also needs a formal structure that is not wrecked by alterations.”12 The violence that surrounds public art is more, however, than simply the ever-present possibility of an accident—the natural disaster or random act of vandalism. Much of the world’s public art—memorials, monuments, triumphal arches, obelisks, columns, and statues—has a rather direct reference to violence in the form of war or conquest. From Ozymandias to Caesar to Napoleon to Hitler, public art has served as a kind of monumentalizing of violence, and never more powerfully than when it presents the conqueror as a man of peace, imposing a Napoleonic code or a pax Romana on the world. Public sculpture that is too frank or explicit about this monumentalizing of violence, whether the Assyrian palace reliefs of the ninth century b.c., or Morris’s bomb sculpture proposal of 1981, is likely to offend the sensibilities of a public committed to the repression of its own complicity in violence.13 The very notion of public art as we receive it is inseparable from what Jürgen Habermas has called “the liberal model of the public sphere,” a dimension distinct from the economic, the private, and the political. This ideal realm provides the space in which disinterested citizens may contemplate a transparent emblem of their own inclusiveness and solidarity, and deliberate on the general good, free of coercion, violence, or private interests.14 12. Lawrence Alloway, “The Public Sculpture Problem,” Studio International 184 : 124.13. See Leo Bersani and Ulysse Dutoit, “The Forms of Violence,” October, no. 8 : 17-29, for an important critique of the “narrativization” of violence in Western art and an examination of the alternative suggested by the Assyrian palace reliefs.14. Habermas first introduced this concept in The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. Thomas Burger and Frederick Lawrence . First published in 1962, it has since become the focus of an extensive literature. See also Habermas’s short encyclopedia article, “The Public Sphere,” trans. Sara Lennox and Frank Lennox, New German Critique 1 : 49-55, and the introduction to it by Peter Hohendahl in the same issue, pp. 45-48. I owe much to the guidance of Miriam Hansen and Lauren Berlant on this complex and crucial topic. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Service Professor of English and art at the University of Chicago. His recent book is Iconology: Image, Text, Ideology. (shrink)

We construct, assuming that there is no inner model with a Woodin cardinal but without any large cardinal assumption, a model Kc which is iterable for set length iterations, which is universal with respect to all weasels with which it can be compared, and is universal with respect to set sized premice.

Let κ be a cardinal which is measurable after generically adding ${\beth_{\kappa+\omega}}$ many Cohen subsets to κ and let ${\mathcal G= ( \kappa,E )}$ be the κ-Rado graph. We prove, for 2 ≤ m < ω, that there is a finite value ${r_m^+}$ such that the set [κ] m can be partitioned into classes ${\langle{C_i:i (...) G}$ in ${\mathcal G}$ such that ${[\mathcal{G} ^\ast ] ^m\cap C_i}$ is monochromatic. It follows that ${\mathcal{G}\rightarrow (\mathcal{G} ) ^m_{<\kappa/r_m^+}}$ , that is, for any coloring of ${[ \mathcal {G} ] ^m}$ with fewer than κ colors there is a copy ${\mathcal{G} ^{\prime}}$ of ${\mathcal{G}}$ such that ${[\mathcal{G} ^{\prime} ] ^{m}}$ has at most ${r_m^+}$ colors. On the other hand, we show that there are colorings of ${\mathcal{G}}$ such that if ${\mathcal{G} ^{\prime}}$ is any copy of ${\mathcal{G}}$ then ${C_i\cap [\mathcal{G} ^{\prime} ] ^m\not=\emptyset}$ for all ${i 2 we have ${r_m^+ > r_m}$ where r m is the corresponding number of types for the countable Rado graph. (shrink)

If there is no inner model with a cardinal κ such that o(κ) = κ ++ then the set K ∩ H ω 1 is definable over H ω 1 by a Δ 4 formula, and the set $\{J_\alpha[\mathscr{U}]: \alpha of countable initial segments of the core model K = L[U] is definable over H ω 1 by a Π 3 formula. We show that if there is an inner model with infinitely many measurable cardinals then there is a model (...) in which $\{J_\alpha [\mathscr{U}]: \alpha is not definable by any Σ 3 formula, and K ∩ H ω 1 is not definable by any boolean combination of Σ 3 formulas. (shrink)

We reprove Gitik's theorem that if the GCH holds and o(κ) = κ + 1 then there is a generic extension in which κ is still measurable and there is a closed unbounded subset C of κ such that every $\nu \in C$ is inaccessible in the ground model. Unlike the forcing used by Gitik. the iterated forcing $R_{\lambda +1}$ used in this paper has the property that if λ is a cardinal less then κ then $R_{\lambda + 1}$ can (...) be factored in V as $R_{\kappa + 1} = R_{\lambda + 1} \times R_{\lambda + 1, \kappa}$ where $\mid R_{\lambda +1}\mid \leq \lambda^+$ and $R_{\lambda + 1, \kappa}$ does not add any new subsets of λ. (shrink)

The criterion of "arguability" has tended to steer Critical Inquiry away from the kind of pluralism which defines itself as neutral, tolerant eclecticism toward a position which I would call "dialectical pluralism." This sort of pluralism is not content with mere diversity but insists on pushing divergent theories and practices toward confrontation and dialogue. Its aim is not the mere preservation or proliferation of variety but the weeding out of error, the elimination of trivial or marginal contentions, and the clarification (...) of fundamental and irreducible differences. The goal of dialectical pluralism is not liberal toleration of opposing views from a neutral ground but transformation, conversion, or, at least, the kind of communication which clarifies exactly what is at stake in any critical conflict. A good dramatization of Critical Inquiry's editorial ideal would be the dialogue of the devil and angel in Blake's Marriage of Heaven and Hell, an exchange in which each contestant enters into and criticizes the metaphysics of his contrary and which ends happily with the angel transformed into a devil. (shrink)