Michael Polanyi was one of the great figures of European intellectual life in the 20th century. A highly acclaimed physical chemist in the first period of his career who became a celebrated philosopher after World War II, Polanyi taught in Germany, England, and the United States and associated with many of the leading intellects of his time. His biography has remained unwritten partly because his many and scattered interests in a wide variety of fields, including six subfields of physical chemistry, (...) epistemology, economics, patent law, social and political theory, aesthetics, and theology. This long-awaited volume will be the definitive resource on Polanyi and his work. (shrink)

The main aim of this work was initially a modest one, 'to collect information as to the main facts of Hutcheson's life in Dublin prior to his appointment as Professor at Glasgow'. As the materials grew, however, and Scott's interest in Hutcheson deepened, the planned article expanded into a book that has since become the standard biography. The emphasis throughout is on the development of Hurcheson's thought in the context of an ongoing debate with his contemporaries.

The authors critique C. A. Bowers' argument that education for sustainability must be inspired by the practices of pre-modern cultures, and cannot be promoted through the postmodern pragmatism of Richard Rorty. Environmental education must rather be grounded in contemporary cultural practice. Although Rorty, like many other postmodernists, has shown little concern for the ecological crisis, his approach is potentially applicable to it. What is required is a broadening of focus: the ecological crisis is a crisis of post-Enlightenment humanism as well (...) as of other aspects of modernity. (shrink)

The authors critique C. A. Bowers' argument that education for sustainability must be inspired by the practices of pre-modern cultures, and cannot be promoted through the postmodern pragmatism of Richard Rorty. Environmental education must rather be grounded in contemporary cultural practice. Although Rorty, like many other postmodernists, has shown little concern for the ecological crisis, his approach is potentially applicable to it. What is required is a broadening of focus: the ecological crisis is a crisis of post-Enlightenment humanism as well (...) as of other aspects of modernity. (shrink)

This paper develops existing arguments about the need to rethink ways in which environmental education is conceptualised, interpreted and enacted by schools, teachers and students working within their communities. In doing this, it critiques what it sees as the narrowing and constraining influence that socially critical theory has exerted over the field, and calls for multiple approaches, carefully and communally deliberated on, in order to deliver the (environmental) educational goals deemed appropriate and necessary by schools and communities. Such an approach, (...) it is argued, will likely be cross-disciplinary and multi-faceted in that it will be informed by a combination of traditions and ideological persuasions which together will offer more than any one of them could alone. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"A Woman's Thought Runs Before Her Actions":Vows as Speech Acts in As You Like ItWilliam O. ScottAbout a decade ago Susanne Wofford discussed As You Like It from the viewpoint that Rosalind uses a "proxy," her guise as Ganymede, in uttering "the performative language necessary to accomplish deeds such as marriage." 1 Thus Wofford complicated and qualified the success-oriented assumptions about performative usage of language as envisioned in Austin's (...) speech-act theories. 2 Her starting point was that (as Austin himself said) these performative usages don't have the same kind of force if they are included in a play; and so she proposed to take Rosalind's uses of vows as playful, both theatrically and personally. Her notion of the proxy, which raises questions too about the binding force of the speech act through the identity and tactics of the speaker, is especially apt in describing exactly what Rosalind does. Understandably Rosalind's performative manqué may be a prelude to the perfected form. Another complication suggests itself if one is going to attend to niceties of language usage: given that for Austin a performative procedure is founded on conventions of language, shouldn't one also examine such linguistic forms historically? For this play the most relevant form to consider historically is the vow.The precise formulation of vows, in espousal or marriage (both legally enforceable in church courts), was very important in early-modern England. One may wonder, then, what the formal requirements of [End Page 528] vows were, how much the analysis of them resembled and diverged from modern speech-act philosophy, and how the vows functioned. And one might ask such questions both about this play and about real-life practice. A more exact notion of vows may enrich our notions of Rosalind's playfulness with them and broaden our sense of the uses and tactics of performatives; and to the extent that this playfulness contrasts with Rosalind's serious (re)iteration of vows at the end of the play, we should give due weight to Carol Neely's suggestion that much of the pleasure for early-modern audiences lay in the body of the play rather than its conclusion. 3The actual vows between lovers would indeed lend themselves to historicized analysis of the speech acts that constitute them. The early-modern ecclesiastical court judge Henry Swinburne made something like that in his Treatise of Spousals, with his section "By what Form of Words Spousals de futuro are contracted," and similarly on the form of words in "Spousals de praesenti." 4 The implied time of effectiveness in the commitment to marriage is crucial in church law of the time, because it determines whether the vows are, respectively, a betrothal that promises a future marriage, or a present binding (whether inside or outside church) that becomes an instant marriage upon carnal consummation. Both these declarations of commitment are performatives (once reciprocated), and they are normally established by social convention, what Swinburne calls "the Common use of Speech or Custom" (p. 83). Swinburne also concerns himself with what amount to the conditions of "felicity" that are requisite to make the speech valid—for instance, who is allowed to contract spousals (cp. Austin, pp. 14–24).Both of these issues of timing and eligibility are important to Rosalind in the pretense of wedding in Act 4, Scene 1. As it is for Swinburne, the context is important: when Celia as priest asks, "Will you, Orlando, have to wife this Rosalind?" his answer "I will" is not good enough for Rosalind until he adds at her direction, "I take thee, Rosalind, for wife." 5 Likewise Swinburne considers at length the arguments whether there is a distinction between "I will" and "I do," and whether the future-sounding verb refers only to the beginning of a process and not its completion (pp. 8–9, 57–61). Though in general he allows the distinction (so that "I will" makes a spousal and "I do" a marriage), one of his exceptions sounds like the question that Celia first puts: "The Man demanding of the Woman whether she will take him to her Husband, she answereth [I will... (shrink)

The third collection in this series includes the same combination of scarce and not so well-known texts as well as more important and popular works.

A number of questions are raised concerning the purposes of data coding in qualitative research. It is suggested that in some cases these purposes may usefully be organised into two broad categories, each of which requires a separate coding response. A research project is briefly described in which it was found useful to employ two distinct, though connected, phases of data coding along the lines proposed.

This essay provides some interesting elements of early Polanyi family history as well as comments on Budapest and Hungarian history and culture at the turn of the century. It presents the Polanyis as intellectuals immersed in a worldly environment, led by “Cecil-Mama,” the radical mother of Michael Polanyi.

In her early work on Modernist poetry and avant-garde poetics, Julia Kristeva proposed a bifurcated view of the poetic text as simultaneously constituted by both a “genotext” and a “phenotext.” Reading the “genotext” of any given poem might start by “pointing out the transfers of drive energy that can be detected in phonematic devices and melodic devices ”; and, in her words, it would also need to take into consideration “the way semantic and categorial fields are set out in syntactic (...) and logical features.” This essay seeks to demonstrate how Harryette Mullen’s Muse & Drudge might be analyzed at the level of its genotext, taking as its primary example the first of the book’s eighty poems to illustrate how a straightforwardly genotextual analysis might proceed. The essay contends that, by closely observing the genotext of Mullen’s poetry in Muse & Drudge, one may eventually arrive at a more comprehensive understanding of the “polyvocal” and “polymorphous” nature of the language and poetic design of the poems in this enigmatic collection. (shrink)

. Two aspects of the problem of interpreting Michael Polanyi’s outlook on religion are discussed. First, various ways of relating to reality beyond the objective perception of factuality must be considered, including the shift from I-It to I-Thou relations, and the self-giving mode of surrender to a symbolized reality. Second, the active use of the imagination in perception involves a commitment that the image is of something real, transcending the person. I believe that Polanyi understands both religious rituals and works (...) of art to point to realities that can be met again in new ways. After this discussion reasons for Polanyi’s reticence to speak about his own religion are suggested and, finally, some known facts about his personal religion are given. (shrink)