The article offers an overview on the most notable features of the implementation of psychonarratives in fiction and documentary and fiction prose about the Anti-terrorist Operation and the hybrid warfare in Donbas from the standpoint of the achievements of modern humanities, which gives intelligence a multidisciplinary nature. The degree of academic research on the outlined topics at both the world and the national scientific levels has been clarified. The contribution of the Western scientists to the development of theoretical and (...) methodological principles of parameterization of psychonarratives is outlined. There is a tendency to increase the interest of domestic specialists in narratology, in particular psychonaratology, mainly in empirical terms. At the same time, an objective lack of thorough theoretical developments of the monographic or dissertation level on the outlined issues has been stated in Ukrainian studies. Terminological vagueness and imbalance in the interpretation of the key concepts of psychonarrative studies have been recorded. Methods and means of realization and manifestation of the psychonarratives in the text structures are established. There is a growing interest of domestic researchers in the direct or indirect consideration of narrative, psychonarrative and selfnarrative in fiction prose and documentary and fiction prose about the ATO and the hybrid warfare in the Donbas in the context of discursivity and intermediality. The peculiarities of psychonarrative expression on the formal structure and sence-content levels are indicated. The common and distinctive features of the realization of psychonarratives in fiction and non-fiction literature are briefly noted. (shrink)

This article argues that the work of the late Johan van der Keuken offers a contribution to ecological semiotics, and that it also defines the relationship between the semiotic animal and nature in ways that avoid glottocentricism. Taking from the recent work of Kalevi Kull, Jesper Hoffmeyer, and John Deely amongst others, I will argue that van der Keuken’s documentaries offer a view of ecology that is broader than a study of bio-physical processes that might reduce ecology to a narrow (...) political issue.In order to support this argument, I will be looking at two contrasting films from van der Keuken – Flat Jungle (1978) and Face Value (1991). The first film examines natural habitats within a confined coastal area in Western Europe, while the second film looks at human beings in the different urban environments of late-20th-century Europe. I will then argue that van der Keuken does not collapse the vital distinctions between umwelt and Lebenswelt, yet his films also succeed at reminding us of their constant interdependence. (shrink)

Narrative bioethics is primarily understood to involve storytelling through the use of literature. This article suggests that other forms of media are necessary to convey stories of an ethical nature to an audience broader than one being trained as medical professionals. “Documentary bioethics” is a manner to present and interpret stories of an ethical nature using forms of popular electronic media in a reality-based documentary style to society at large, specifically Generations X and Y.

This paper focuses on the documentary photography of Eugène Atget in late 19th and early 20th-century Paris. I will begin by exploring Atget’s position as a pioneering documentary photographer in the field, followed by an engagement with the urban environment of Paris, in which Atget worked almost exclusively. Finally, I will analyse a single photograph in depth while discussing it in relation to the work of Charles Baudelaire and Jacques Rancière. This text is a contribution to a (...) class='Hi'>literature of critical engagement with documentary photography, urban history and the politics of class visibility. I will do so by arguing for the political significance of reading Atget’s images in a critical, political manner that engages with Rancière’s concept of the ‘anonymous multiple’. Atget is considered a key documentary photographer, and, as such, he is exemplary of the history of documentary photography and its treatment of its subjects. (shrink)

Confronted by the multiscaled ecological crisis, many experience so-called ecological emotions such as ecological grief and eco-anxiety. Visual media can channel and contribute to creating and nurturing ecological emotions. Specifically, eco-documentaries are one of the triggers of ecological emotions. This paper explores the role of images in the generation of emotions regarding the environmental crisis through a case study of five contemporary Swiss eco-documentaries: It All Begins, Citizen Nobel, Lynx, Taming the Garden and The Mushroom Speaks. It analyses the ecological (...) emotions expressed by the characters or the filmmakers, or the expected emotions of the viewers, with regard to the types of images and their framing, editing, narrative and attractiveness. Finally, drawing on interdisciplinary literature from environmental humanities, this paper discusses the variety and intertwinement of ecological emotions and their interrelations to knowledge of the ecological crisis and pro-environmental actions. (shrink)

In response to the phenomenon of women converting to Islam, a body of research has emerged, engaging with the question, ‘Why are Western women, raised in liberal contexts, converting to Islam?’ This line of enquiry is not limited to academic literature. In recent years, converts to Islam have faced intense scrutiny in mainstream media across Europe. This article contributes an analysis of documentaries to the study of representations of female converts to Islam, focusing particularly on the British documentary (...) Make Me a Muslim and the Swiss documentary Les Converties d’Allah. We suggest that comparing these two documentaries illuminates certain common narrative threads in media representations of female converts to Islam across different European contexts. In this article, we firstly situate this research within existing literature on gender and conversion to Islam and outline our approach to the study of documentaries on women’s conversion to Islam. Secondly, we analyse the two documentaries, focusing on their shared concerns, namely gender equality and women’s oppression, and the familial environment of the female convert. We argue that paying attention to how female converts are represented illuminates some of the ways in which European framings of the ‘in-betweenness’ of female converts to Islam create notions of female converts as ‘vulnerable-fanatics’ prone to ‘radicalisation’, and threatened by ‘oppressive’ Islam. We demonstrate how female converts participating in documentaries at times complicate and talk back to apprehensions regarding equality, oppression and radicalisation. Finally, we focus in a similar way on understandings of female converts as ‘troublemakers’ within their family environments. Throughout the analysis, we show how the figure of the female convert as vulnerable-fanatic and as family troublemaker is gendered and interlaced with concerns about essentialised cultural difference and radicalisation. (shrink)

This article focuses on documentary narration in literary prose, which is analyzed with regard to its function and poetics using the example of selected texts of GDR protocol literature and German documentary literature of the post-reunification years. The question of what constitutes the peculiarity of documentary literature and what caused its popularity in the pre- and post-reunification period will be explored. Furthermore, selected examples will be used to illustrate how the levels of the factual (...) and the fictional intermingle and complement each other in the individual texts. The texts discussed in this article are narratives that remain close to factual events, but at the same time fictionalize them and therefore cannot be considered completely and unambiguously in either the category of literary fiction or documentary. (shrink)

Although guidelines to regulate user involvement in research have been advocated and implemented for several years, literature still describes the process as challenging. In this qualitative study, we take a critical view on guidelines that are developed to regulate and govern the collaboration process of user involvement in research. We adapt a social constructivist view of guidelines and our aim is to explore how guidelines construct the perception of users and researchers and thus the process of involvement. Twenty‐two guidelines (...) published between 2006 and 2019 were analyzed iteratively. The analysis focuses on values which are emphasized in the guidelines on the distribution of entities, knowledge, and tasks between users and researchers. The analysis indicates that users and researchers are constructed differently; researchers are mainly constructed as responsible initiators and caretakers, while users are constructed as powerless and vulnerable. The guidelines portray the collaboration process as harmonious and assume a normative perspective. In doing so, challenges described in the literature related to power imbalances are not addressed. Based on these findings, we ask if these guidelines might function to maintain existing power imbalances between users and researchers. (shrink)

Gianantonio Tadini is the little known protagonist in an important experiment carried out in Bergamo between 1794 and 1795. Based on the measurement of the deviation of a falling body, the experiment owes much to the one that was conducted by Giambattista Guglielmini in Bologna in 1791, which aimed at demonstrating Earth’s rotation. Tadini’s experimental work represents the most successful attempt carried out before the 19th century, and it led to the first correct formulation of deviation’s measurement. In spite of (...) this, it is not well represented in the general literature on the history of experiments intended to show diurnal Earth’s motion.1 The discovery of Tadini’s diary of experiments as well as some notes and a part of his correspondence – preserved as manuscripts in the Angelo Mai municipal library in Bergamo – allows us now to reconstruct the history of Tadini’s experiment and of his reasoning about Guglielmini’s work. In this paper, I describe the genesis and the development of Tadini’s experiment, clarify the role played by the different personalities involved and set these trials against the background of the widest history of proofs on diurnal Earth’s rotation carried out in Europe in those years. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, (...) metaphor, literary value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

An artistic interpretation of historical facts is quite relevant in the literature and non-fiction of a post-totalitarian society. Prose works on historical themes are valuable and interesting in that they create an illusion for readers to be present in a certain period of historical time, and it is the artistic modeling of events that makes priceless facts of history completely disappear. The historical past is an inexhaustible material that word artists have been referring to for centuries, creating the best (...) examples of fiction. Prose texts of historical subjects are perceived by each next generation in a new way, historical events and phenomena are interpreted from different angles, the activities of famous figures of the past are widely covered. Non-fiction literature is a kind of literature that is on the verge of artistry and documentary. The main non-fiction genres are a diary, autobiography, biography, memoirs, confession, letters, etc. On the one hand, non-fiction literature claims to recognize the author’s subjective truth about him in her texts; on the other hand, only the reader can either, demonstrating full confidence in the author, call this text documentary, or admit the presence of poetry and aesthetics in the work and tilt the scales in the direction of artistry. The material for observation and research of the phenomenon of artistic modeling are works that allow us to trace the most common, in our opinion, models of correlation of historical and artistic consciousness in postmodern literature and non-fiction of a post-totalitarian society. (shrink)

In "Literary Variation of Indian Buddhist Stories in Chinese 志怪 Novels," Wei Guo discusses Buddhist Sutra scriptures which have been a reservoir of inspiration for Zhiguai novels since their first introduction in Chinese literature. Buddhist texts were less relevant for the "documentary" tradition of Chinese literature owing to their rough structure, vague context, and lack of a sense of history and reality, since they were originally intended as texts of didacticism. Hence, in order to integrate these exotic (...) literary materials with local aesthetic concepts, Chinese writers explored creative adaptations including the addition of adding detail, linguistic embellishments, and the endowment of each story with specific narrative scenes in terms of character, place, and time. Guo argues that Indian Buddhist stories have been remolded in Zhiguai novels and transformed from imaginary religious literature into figurative and documentary literature whereby the convergence of the source texts with the target texts shows the processes of formation of world literature. (shrink)

Purpose – This paper furnishes an inaugural reading of abjective consumption by drawing on Kristeva’s psychoanalytic theory of abjection within the wider terrain of consumer cultural research. It offers a conceptual framework that rests on three pillars, viz. irrationality, meaninglessness, dissolution of selfhood. Design/methodology/approach – Qualitative research design that adopts a documentary ethnographic approach, by drawing on a corpus of 50 documentary episodes from the TV series “My Strange Addiction” and “Freaky Eaters”. Findings – The findings from this (...) analysis point to different orders of mediatized discourse that are simultaneously operative in different actors’ frames (e.g. moralizing, medical), in Goffman’s terms, yet none of which attains to address the phenomenon of abjective consumption to its fullblown extent. Research limitations/implications – Although some degree of bias is bound to be inherent in the data because of their pre-recorded status, they are particularly useful not in the least because this is a “difficult sample” in qualitative methodological terms. Practical implications – The multi-order dimensionalization of abjective consumption opens up new vistas to marketers in terms of adding novel dimensions to the message structure of their communicative programs, in line with the three Lacanian orders. Social implications – The adoption of a consumer psychoanalytic perspective allows significant others to fully dimensionalize the behavior of abjective consumption subjects, by becoming sensitive to other than symbolic aspects that are endemic in consumer behavior. Originality/value – This paper contributes to the extant consumer cultural research literature by furnishing the novel conceptual framework of abjective consumption, as a further elaboration of my consumer psychoanalytic approach to jouissance consumption, as well as by contrasting this interpretive frame vis-à-vis dominant discursive regimes. (shrink)

The research is based on a study of short story collections by Israeli writer Ida Fink’s, All the Stories, and French writer Charlotte Delbo’s, Auschwitz and After, to reflect the impact of the Holocaust on autobiographical elements in their work. The authors are representatives of the first generation of Holocaust survivors, which means that the mass systematic genocide during World War II was a personal traumatic experience for them. The works of female writers are studied using the theory of trauma (...) at the genre level. Since autobiography has been considered a documentary genre with its own peculiarities, works about the Holocaust were seen as historical evidence of this event. However, based on the works of Juri Lotman and some principles of Philippe Lejeune’s “autobiographical pact”, we can conclude that autobiography is similar to fiction if it can meet certain aesthetic functions. Under the influence of trauma, the genre of autobiography can be modified in the literary text in such a way that the line between autobiography and fiction is blurred. Ida Fink and Charlotte Delbo write short stories with fictional narrators, but all the situations are certainly the experiences of the writers themselves, who turn to the autofiction and conventions of Philippe Lejeune’s “autobiographical pact” to transfer their memories to literary heroes. The aim of the study is to define the peculiarities of the autobiographical genre, analyze its functions in Holocaust literature, identify poetic elements of autobiography, and prove that there is no canonical form of narration about the Holocaust-Era, as the writers were searching for how to articulate their traumatic experience in experimental forms. (shrink)

El objetivo fue realizar una reflexión analítica sobre la investigación formativa, las estrategias de enseñanza para la investigación en las aulas universitarias. Estudio descriptivo, analítico- interpretativo; utilizando el análisis documental de bases digitales, revisión bibliográfica. Conclusiones: La investigación formativa es un proceso esencial para la formación profesional, las estrategias de enseñanza de la investigación hallados son; el aprendizaje basado en problemas, el aprendizaje colaborativo con enfoque socioformativo, seguidos de la monografía investigativa, el aprendizaje por descubrimiento y semilleros de investigación. Finalmente, (...) es necesario promover una cultura investigativa donde prevalezcan los aspectos básicos para la formación de investigadores desde el pregrado. (shrink)

This paper examines how corporate social responsibility (CSR) is implemented through social partnerships. Drawing on previous literature and case study research, it presents a conceptual model of the process of implementation. An exploratory case study of the social responsibility partnership programme at the Union of European Football Associations (UEFA) has been conducted. The case study draws on interview data and documentary sources of evidence gathered from UEFA and the six partner organisations that comprise its CSR portfolio. The conceptual (...) model identifies three stages of the implementation process (selection, design, management), with partnership evaluation being an ongoing process during all three. The latter consists of two elements, namely project and process evaluation. A key finding is the lack of process evaluation due to a high degree of inter-personal trust. The conceptual model adds to the growing body of research on the implementation of social partnerships and CSR. This paper is also the first to empirically explore the process of CSR implementation through social partnerships in the football sector. (shrink)

Philosophical questions about the arts go naturally with other kinds of questions about them. Art is sometimes said to be an historical concept. But where in our cultural and biological history did art begin? If art is related to play and imagination, do we find any signs of these things in our nonhuman relatives? Sometimes the other questions look like ones the philosopher of art has to answer. Anyone who thinks that interpretation in the arts is an activity that leaves (...) the intentions of the author behind needs to explain how and why this differs so fundamentally from ordinary conversational interpretation, where the only decent models we have are ones that depend crucially on the recovery of intention. Anyone who thinks that imaginative literature has anything to tell us about time had better have a position on how earlier and later relate to past and future. Anyone who thinks that empathy plays a role in literary engagement had better have a psychologically plausible account of what empathy is. Philosophical questions about the arts also go naturally with other kinds of philosophical questions: we can't think constructively about representation in art without thinking about representation; text, meaning, reference and existence get similarly drawn into the conversation. Some ideas that philosophers of art deal with emerge from other disciplines. In literary theory an enormous amount of attention has been lavished on tracing the sources of unreliability in narrative. Is the result adequate to the details of the particular works we call unreliable? Contemporary film theory is generally hostile to the fiction/documentary distinction. Are there in fact any grounds for this? This book of thirteen connected essays examines questions of all these kinds. It ranges from the semantics of proper names, through the pragmatics of literary and filmic interpretation, to the aesthetic function of stone age implements. Some of the essays have not been published before; some that have are here substantially revised. (shrink)

This paper examines how corporate social responsibility (CSR) is implemented through social partnerships. Drawing on previous literature and case study research, it presents a conceptual model of the process of implementation. An exploratory case study of the social responsibility partnership programme at the Union of European Football Associations (UEFA) has been conducted. The case study draws on interview data and documentary sources of evidence gathered from UEFA and the six partner organisations that comprise its CSR portfolio. The conceptual (...) model identifies three stages of the implementation process (selection, design, management), with partnership evaluation being an ongoing process during all three. The latter consists of two elements, namely project and process evaluation. A key finding is the lack of process evaluation due to a high degree of inter‐personal trust. The conceptual model adds to the growing body of research on the implementation of social partnerships and CSR. This paper is also the first to empirically explore the process of CSR implementation through social partnerships in the football sector. (shrink)

: In his work Truth and Truthfulness, Bernard Williams offers a very different interpretation of philosophical genealogy than that expounded in the secondary literature. The “Received View” of genealogy holds that it is “documentary grey”: it attempts to provide historically well-supported, coherent, but defeasible explanations for the actual transformation of practices, values, and emotions in history. However, paradoxically, the standard interpretation also holds another principle. Genealogies are nevertheless polemical because they admit that any evidence that would serve to (...) justify a genealogical account is indexical to a perspective. In short, genealogies are not true per se. This view of genealogy leaves it vulnerable to three criticisms. I call these three: (1) the reflexive, (2) the substantive, and (3) the semantic. In contrast, Williams argues that all genealogies provide a functional account for the manifestation of something and further, that a State of Nature story subtends these accounts. The upshot of Williams’ approach is that it makes for strange philosophical bedfellows. For example, Nietzsche’s account for the rise of Christian morality shares methodological features with Hobbes’ functional explanation for the emergence of civilization and yet Nietzsche seems to take issue with genealogists who are hypothesis mongers gazing haphazardly into the blue. In the following article, I flesh out, more fully, how to make sense of Williams’ novel reclassification of genealogy. I show that Nietzsche’s genealogies are State of Nature stories and, just like Hobbes’ State of Nature story in chapter thirteen of Leviathan, are subtended by our collective corporeality. I then demonstrate how Nietzsche’s three stories in the Genealogy, when brought together, serve to undermine what Williams refers to as “ . . . a new system (of reasons)—which very powerfully resists being understood in such terms . . . ” Finally, I explain how my reconstruction of Williams’ interpretation of the genealogy immunizes it against the three criticisms noted above. (shrink)

The purpose of the article is to reveal philosophical ideas in the mythology and folklore of the indigenous peoples of North America. An important question: "Can we assume that the spiritual culture of the American Indians contained philosophical knowledge?" remains relevant today. For example, European philosophy is defined by appeals to philosophers of the past, their texts. The philosophical tradition is characterized by rational argumentation and formulation of philosophical questions that differ from the questions of ordinary language. However, the problem (...) lies in the term "philosophy", which belongs to the so-called "philosophical untranslatability" and has many definitions. The question of whether philosophy is exclusively a phenomenon of European culture is still controversial. In the article, the concept of philosophy is used in a broad sense, which allows the analysis of the intellectual heritage of the culture of the indigenous people of North America for philosophical ideas. Theoretical basis of the study consists of primary sources, which are limited due to the "documentary horizon". It contains myths about the Twins, ritual rhetoric, examples of dream interpretation practices and the practical wisdom of tribal chiefs. The Chronicle of "Vallamolum", or "the Red List", testifies to the special idea of the Indians about history and their own historicity. Analysis of cosmogonical and cosmological ideas reveals the special features of the anthropological ideas of the North American Indians. Combined with the philosophical ideas of the Puritan philosophy of the settlers of New England, this analysis allows us to explore in more detail the processes of acculturation. The study uses critical literature from scholars and leading researchers of the wisdom and philosophy of Native Americans, such as Michael Yellow Bird, J. Baird Callicott, Henry Wadsworth Longfellow, Dennis H. McPherson, Lewis Henri Morgan, Thomas M. Norton-Smith, J. Douglas Rabb, Paul Radin, Jon Ewbank Manchip White. The views of early American philosophers: R. Williams, W. Penn, R. W. Emerson, on the problem of the relationship between the culture of settlers and the indigenous people of North America are noteworthy. Originality lies in the application of historical and philosophical methodology, identifying the features of philosophizing in the spiritual culture and worldview of the indigenous people of North America. Conclusions. In the conclusions, the obtained results complement the history of the origin and development of philosophical thought of the early American philosophy. (shrink)

The purpose of this article is to analyze the powers of tax appeal authorities and their interpretation of the Tax Ordinance Act governing tax hearings. The tax hearing is part of the tax appeal proceeding and takes place within an additional procedure to supplement the evidence and materials on the case. This means that article 229 of Tax Ordinance Act is the limit of the hearing conducted by the tax body. Tax trial/hearing should be treated as a form of activity (...) in gathering evidence, which operates next to the cabinet proceedings. In the literature, the current forms were considered to be equivalent. The decision to perform additional procedures to supplement the evidence and materials should always be on that tax appeal authority. The phrase “can perform” should be interpreted by the authority as an obligation to conduct, at least as an order to make a positive or negative assessment of the need for additional evidence. In the Author’s opinion, there are no objections to carry out certain types of evidence. The appeal tax authority is recognizing the case de novo and is evaluating the facts in a way it is required to assess the completeness of the collected evidence, and the same to determine whether all of the facts have been proven. The limits of the powers of the tax appeal authority to conduct current investigation determines the content of articles 229 and 233 § 2 of Tax Ordinance Act. The competence of the appeal body, which is not subject to challenge, is to complement the evidence to draw additional conclusions, but not to change the basic findings. It may hear witnesses, appoint experts and confront their opinions, carry out documentary evidence, as necessary to carry out a visual inspection, provided that these activities are within the limits of additional evidence and conduct supplementary materials in the case. All of this evidence can be carried out during the tax hearing ordered by the tax appeal authority. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Benjamin I. Schwartz (1916-1999)Hoyt Cleveland TillmanBenjamin Sadie Schwartz was born on December 12, 1916,1 to Hyman and Jennie Weinberg Schwartz. In the wake of the Depression, this struggling family moved from the immigrant section of East Boston (near what became Logan Airport) to Orchestra, a working-class section of the city. Ben's intelligence and dedication to learning earned him the opportunity to study at Boston Latin, the city's premier high (...) school for talented youths, and he won a scholarship to attend Harvard College in 1934. Because the collegiate life of Harvard's house system was inaccessible to him, Ben commuted daily from home and ate his sack lunches with the other "townies" on the steps outside the buildings in Harvard Yard. The nationalizing experiences of being Jewish and poor surely enhanced his sensitivity to tensions within cultures and sharpened the critical edge of his reflections on elites and their ideologies. Moreover, his own experiences enabled an empathy with economically and culturally disadvantaged students, for he generously extended himself especially to such students during his long teaching career at Harvard, from 1950 through 1987. Indeed, his office door was always open to students, and no one needed an appointment to come to discuss ideas with him. Furthermore, his critical concerns about contemporary trends in society and polity continued to be central to his life as an engaged intellectual even after he had retired from formal teaching duties.After graduating magna cum laude from Harvard College in 1938 with a major in Romance Languages and Literatures, he went on to earn a master's degree from the Harvard Graduate School of Education in 1940. Unable to find a regular teaching position, he worked as a substitute teacher. Blessed with an enduring and profound spirituality, he considered becoming a rabbi. World War II intervened to change his life. Serving as a cryptanalyst from 1942 to 1946 in the Signal Corps, he decoded Japanese military cables; and he worked in 1946-1947 as a censor of the Japanese press during the beginning phase of the American Occupation. He rose to the rank of captain. With the educational benefits extended to veterans, he returned to Harvard, where he initially sought to focus on Buddhism, but his professors discouraged him on the grounds that the field required too many Asian languages for someone to begin in his thirties. He was admonished to focus on modern China, for that field required only that he supplement the Japanese language, which he had gained during his military service, with a reading knowledge of Chinese. He threw himself enthusiastically into reading both modern Chinese and what he referred to as "outbidding classical Chinese" because he loved to read texts to explore cultures and encounter peoples. Within less than three years, he not only earned a master's [End Page 183] in East Asian Studies and a Ph.D. in History and Far Eastern Languages but also became, in 1950, a Harvard instructor in history and government. Rising quickly through the ranks, he was promoted to assistant professor in 1951, associate professor in 1956, and professor in 1960. Moreover, he became widely regarded as "the scholar's scholar" at Harvard's East Asian Research Center.His first book, Chinese Communism and the Rise of Mao (Harvard University Press, 1951), was a revised version of his doctoral dissertation. Modern China scholars have in later years hailed this pioneering work for going against the tide of American political assumptions about Soviet Russian control of the communist movement in China. He demonstrated that Mao had defied Soviet orders and deviated from Soviet plans in struggling to gain power in China; furthermore, Ben also suggested that communism was devolving through expansion. Establishing an intellectual orientation that informed his later work, Ben was also using texts from a movement to explore the conscious life of leading figures and their personalities in the context of concrete historical circumstances and contingencies in order to determine how ideas related to actions. Providing translated texts for others to join the exploration of the interaction between ideology and behavior, he was one of three compilers of A Documentary History of Chinese Communism (Harvard, 1952). He... (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)

The political shift toward an economic liberalism in many developed market economies, emphasizing the importance of the marketplace rather than government intervention in the economy and society (Dorman, Systematic Occupational Health and Safety Management: Perspectives on an International Development, 2000; Tombs, Policy and Practice in Health and Safety 3(1): 24-25, 2005; Walters, Policy and Practice in Health and Safety 03(2):3-19, 2005), featured a prominent discourse centered on the need for business flexibility and competitiveness in a global economy (Dorman, 2000; Tombs, (...) 2005). Alongside these developments was an increasing pressure for corporate social responsibility (CSR). The business case for CSR - that corporations would benefit from voluntarily being socially responsible — was increasingly promoted by governments and corporations as part of the justification for self-regulation. The aim of the article is to examine more closely the proposition that self-regulation is effective, with particular reference to the business case for workplace equality and safety. Based on a comprehensive literature review and documentary analysis, it was found that current predominant management discourse and practice focusing on diversity and safety management systems (OHSMS) resonate well with a government and corporate preference for the business case and self-regulation. However, the centrality of individual rather than organizational factors in diversity and OHSMS means that systemic discrimination and inherent workplace hazards are downplayed, making it less likely that employers will initiate structural remedies needed for real change. Thus, reliance on the business case in the argument for self-regulation is problematic. In terms of government policy and management practice, the business case needs to be supplemented by strong, proactive legislation, and worker involvement. (shrink)

Our exploratory study considers whether the internal audit function is an efficient “third line of defense” for risk management and control as proposed by The Institute of Internal Auditors. To that end, we interview chief audit executives and experienced internal auditors to examine whether CAEs manage the impressions of audit committee members in the annual accountability process. We also provide an illustration of impression management techniques through a documentary case that explores a unique and exclusive dataset consisting of the (...) main guidance, framework, and accountability documents of one of these organizations. Our analysis highlights how several macro- and microimpression management techniques were used to burnish the image of internal auditors and, more importantly, the management team. Rather than monitoring managers, the CAEs team up with them. Our findings cast doubts on the conceptualization of internal audit as the independent third line of defense envisioned to be a keystone of the governance mosaic. This study supports other research that questions the effectiveness of internal auditing as a governance mechanism. It also contributes to the impression management literature by exposing impression management practices that occur through a private reporting channel—the internal audit function’s annual accountability to the audit committee. Last but not least, significant ethical concerns are raised in regard to internal audit, and research is urged in that area. (shrink)

Andréanne Turgeon | : La littérature normative, lorsqu’il est question d’étudier les pratiques religieuses passées, est souvent perçue comme limitative pour le chercheur ; en effet, les prescriptions morales contenues dans ce type d’écrits témoignent davantage des attentes du clergé en matière de moeurs et de piété que des pratiques effectives qui avaient cours parmi les fidèles. Au cours des dernières décennies, cette littérature a généralement été exclue du corpus documentaire de nombreux chercheurs qui s’intéressaient à la religion « vécue (...) », afin d’éviter de transposer sur celle-ci une image biaisée, véhiculée par des productions ecclésiastiques. Au Québec, la notion de « réveil religieux », et le débat historiographique qu’elle a suscité au cours des années 1990, fournit un excellent exemple de catégorie, puisque cette notion s’est construite et fortifiée en l’absence d’une riche documentation qui, pourtant, encadrait la pratique que l’on comptabilisait et dont on cherchait à interpréter le sens. Cet article vise à montrer que la littérature normative peut donc s’avérer indispensable pour expliquer les transformations socioreligieuses d’une époque, et que c’est la prise en compte de cette documentation, dans les études historiques récentes, qui a mené à l’éclatement de la catégorie de « réveil religieux ». | : Historians often perceive normative literature as restricting the scholarly study of past religious practices : the moral precepts contained in those writings inform readers about the clergy’s expectations related to piety and morality, but do not tell much about effective practices that prevailed among the faithful. In the last decades, many scholars interested in the religion as experienced by people have excluded normative literature from their documentary corpus, in an attempt to avoid transposing the biased image conveyed by ecclesiastical productions into their research. The concept of “religious revival” and the ensuing historiographical debate in Québec during the 1990s provides a good example of such a problem, this category being created and reinforced without taking into consideration the normative documentation underlying the religious practices historians were trying to explain. This article intends to demonstrate that normative literature may be crucial in explaining past socioreli- gious transformations, and that its use in recent historical studies has even contributed to invalidate the concept of “religious revival.”. (shrink)

With the rise of an innovation agenda in science policy, previous studies have identified a shift in how the state delegates responsibility to funding agencies in order to change the behaviour of the scientific community. This paper contributes to this literature through a micro-level study of how one of Canada’s largest research funding agencies, the Natural Sciences and Engineering Research Council, has changed resource allocation for research over 25 years. Our study foregrounds research funding agencies as key sites for (...) examining the reconfiguration of the relationship between the state and science, as expressed in programmatic and resource allocation decisions. Through analysis of an original dataset compiled from NSERC’s funding and documentary data, we demonstrate the relationship between the introduction of innovation objectives in funding instruments, the adoption of new delegation modes to guide resource allocation, and changes in funding among research fields over time. Our study empirically demonstrates the cumulative effect of programmatic and funding decisions in a major agency, going beyond previous accounts of more general trends at the national level. (shrink)

There are many touch points between the work of Jacques Derrida and René Girard. To me, as a student of literature, these two writers particularly stand out as great readers or great exegetes.1 The way they handle and combine texts, the way they dare to break with reading conventions, has proved to be really fruitful.Some time ago I watched a documentary about Derrida, made by Kirby Dick and Amy Ziering Kofman, published in 2002, carrying the simple title Derrida.2 (...) I found that this experimental documentary at the same time reflected Derrida’s many reservations, not to say his skepticism, as to the possibility of making portraits—and—proved to be far more revealing, even intimate, than a conventional documentary... (shrink)

While abortion has been legal in most developed countries for many years, the topic remains controversial. A major area of controversy concerns women’s rights vis-a-vis the rights of health professionals to opt out of providing the service on conscience grounds. Although scholars from various disciplines have addressed this issue in the literature, there is a lack of empirical research on the topic. This paper provides a documentary analysis of three examples of conscientious objection on religious grounds to performing (...) abortion-related care by midwives in different Member States of the European Union, two of which have resulted in legal action. These examples show that as well as the laws of the respective countries and the European Union, professional and church law each played a part in the decisions made. However, support from both professional and religious sources was inconsistent both within and between the examples. The authors conclude that there is a need for clear guidelines at both local and pan-European level for health professionals and recommend a European-wide forum to develop and test them. (shrink)

Our present day knowledge in the area of medicine in Ancient Egypt has been severally sourced from medical papyri several of which have been deduced and analyzed by different scholars. For educational purposes it is always imperative to consult different literature or sources in the teaching of ancient Egypt and medicine in particular. To avoid subjectivity the author has found the need to re-engage the efforts made by several scholars in adducing evidences from medical papyri. In the quest to (...) re-engage the efforts of earlier writers and commentaries on the medical papyri, we are afforded the opportunity to be informed about the need to ask further questions to enable us to construct or reconstruct both past and modern views on ancient Egyptian medical knowledge. It is this vocation the author sought to pursue in the interim, through a preliminary review, to highlight, comment and reinvigorate in the reader or researcher the need for a continuous engagement of some pertinent documentary sources on Ancient Egyptian medical knowledge for educational and research purposes. The study is based on qualitative review of published literature. The selection of those articles as sources was based on the focus of the review, in order to purposively select and comment on articles that were published based either on information from a medical papyrus or focused on medical specialization among the ancient Egyptians as well as ancient Egyptian knowledge on diseases and medicine. It was found that the Egyptians developed relatively sophisticated medical practices covering significant medical fields such as herbal medicine, gynecology and obstetrics, anatomy and physiology, mummification and even the preliminary form of surgery. These practices, perhaps, were developed as remedies for the prevailing diseases and the accidents that might have occurred during the construction of their giant pyramids. It must be stated that they were not without flaws. Also, the key issues raised from these literatures are but a few among the Egyptian medical corpus across the academic and publishing world. It should therefore afford researchers, students and readers the opportunity to continue the educational dialogue on the medical practices of the Ancient Egyptians. (shrink)

In the last years, TV documentaries, articles in popular magazines, and Internet content have increased the public visibility of deep brain stimulation (DBS). The media may have also provoked significant clinical and public interest in potential future applications for treating psychiatric disorders beyond the current use of DBS in neurological disorders. In this article, we review and discuss the topic of patient and public understanding of DBS, focusing on both the clinical consequences of patient understanding as well as the broader (...) social consequences of public understanding. The literature and the experience of clinicians suggest that strongly optimistic media reports of DBS have had detrimental consequences for informed consent and the management of patient expectations before and after surgery. Likewise, this context has created complex issues for trust between clinicians, patients, and their families and may have hard-to-predict social impacts including on the relationships between public understanding of neuroscience, biological therapies, stigma, and mental illness. We propose an approach to tackle the clinical and social consequences of media messages on public understanding within a broad and interdisciplinary effort with concrete actions. This approach includes actions by all key players, including not only providers but also patients and their family members, as well as journalists. To further address issues at the intersection of informed consent and patient expectation, there should be more discussion on and actual testing and measurement of these recommendations or similarly minded practice changes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:(P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. by Stephanie Peebles TaveraEtta M. MaddenStephanie Peebles Tavera. (P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. Edinburgh: Edinburgh University Press, 2022. Hardback, xii + 220 pp. ISBN 978-1-4744-9319-2.Utopian Studies readers first saw Stephanie Peebles Tavera’s work in print in her 2018 essay on reproductive health in Charlotte Perkins Gilman’s Herland. More recently, in (P)rescription (...) Narratives, she gives readers a view of the much broader historical scope of her scholarship in literary and cultural studies. Tavera’s analysis of what she labels “feminist medical fiction” considers not only novels and short stories but also literary reviews, dramas, and documentary films, many of which will be unfamiliar to readers of utopian and dystopian literature. Yet the book contextualizes the ways in which these works capture the “utopian possibilities” of women writers who pushed for breaking the boundaries of the dystopian strictures of embodied life. The literary works “rescript” what had been prescribed by others as “normalized behavior,” from the latter-nineteenth century through the Progressive Era (5, 37). As Tavera illustrates through her detailed analysis, these women’s narratives provide “interventions that... interrupt the dissemination of false [End Page 612] narratives of the female body” and “alter the course of cultural development toward greater inclusivity” (5).To establish the temporal boundaries for the project, Tavera emphasizes the Comstock Law, established in 1873, and the death of its author Anthony Comstock in 1915. While Comstock’s work often has been understood as restricting pornography, she explains the Comstock Law as more than merely that. Comstock sought to control what he and others saw as sexual deviation, which included birth control in any form. Tavera also bookends the project with lawsuits associated with Victoria Woodhull and Margaret Sanger, both women who advocated for abortion and birth control as means of allowing women to avoid the strictures over their bodies. Additionally, she explains, Comstock’s racism caused him to completely overlook Black women, ironically allowing a space in which Black women’s feminist medical fiction especially rescripts “normalized behavior” (37)—a topic she pursues in two parts of the book.The book follows a roughly chronological path as it examines four topics related to women’s health, brilliantly organized into “(p)rescriptions,” indicated by Rx, rather than chapters with numbers. Rx1, “Crip Medicine,” illustrates how authors such as Charlotte Perkins Gilman pointed to the socially constructed status of “hysteria” in a patriarchal culture that saw women as deviant by nature. Instead, these authors advocated for a more holistic examination of women’s health, impacted by the environments in which they lived. Drawing from Lyman Tower Sargent’s widely accepted view of utopianism as dreaming of a place “considerably better than the society in which the author lived,” she underscores “the utopian impulse underlies much of the work of feminist medical fiction” (39). In particular, writers of feminist medical fiction were “driven by failure.”Perhaps most familiar to illustrate this point is Gilman’s work, such as “The Yellow Wallpaper,” which illustrated how the culture failed certain characters. The narrator of that story suffers postpartum depression and is made worse by Dr. S. Weir Mitchell’s rest cure. Consequently, Gilman proceeded to write other works, such as Moving the Mountain (1911) and then Herland (1915), which push readers to envision “alternative societies” without such destructive patriarchal medical practices (39). But Tavera also explains how Louisa May Alcott’s Eight Cousins, or the Aunt-Hill (1875) critiques contemporary culture by providing a “domestic utopia” in the female domain of Aunt-Hill, wherein the male Dr. Alec Campbell demonstrates “a better way... of caring for the female body” (55). And another key example is Rebecca Harding [End Page 613] Davis’s Kitty’s Choice: A Story of Berrytown (1875). Berrytown is described as “the Utopia in actual laths, orchards, and bushel-measures of the advance guard of the reform party in the United States” (qtd. in Tavera 55). Through its two physicians, Dr. Muller and Dr. McCall, who represent homeopathic and allopathic practitioners, readers see that the society... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 188-198 [Access article in PDF] Symposium: On Ken Burns's "Jazz" On Representing Jazz: An Art Form in Need of Understanding Garry L. Hagberg ALTHOUGH IT WENT ON in smaller numbers in earlier decades, the fact that there were legions of expatriate jazz musicians fleeing to a far more appreciative Europe in the 1960s and 1970s shows how important a cultural event Ken Burns's (...) documentary on the first century of jazz really is. Those expatriate players were all but forced out by a rapidly diminishing audience and a corresponding lack of appreciation for their artistic achievements and abilities. It is in any social context an achievement to gain an audience for an undervalued artform of between three and four million viewers for nineteen hours; to have done so against the backdrop of the fact—one bitter to swallow for so many American players of those years—that the country of origin for this artform was so slow to significantly value it, makes this documentary almost a form of cultural emergency-relief. But it also raises the stakes in how jazz is represented, which of its features are focused upon, and what kind of story is told about its development. In my opinion the film makes deeply serious errors in each of these ways—almost to the point of turning this seemingly magnificent gift to jazz into a Trojan horse—but here I'd like to focus on five of the features of jazz as an art that I think make jazz particularly difficult to portray in a reduced or simplified form. To put the point a bit more strongly: without an awareness of (at the least) these five features of jazz, any attempted portrayal would run the very serious danger of engendering or further nurturing the very incomprehension of the artistic or aesthetic achievements of jazz that drove all those American players to Copenhagen, Paris, London, Munich, Vienna, and Amsterdam in the first place. It is, in short, necessary to provide at least a sense of what is [End Page 188] intrinsically problematic about the artform to illuminate both its distinctive nature and the aesthetic problems—taken by its practitioners as its internally generated artistic challenges—that give this artform its dynamic energy.First, there is the fundamental question concerning the metaphysics of a jazz piece, i.e., what kind of thing it is. At a glance one can see that a familiar attempt to answer this question within the larger field of the aesthetics of music, i.e., the identification of the work with the score, will have precious little plausibility when applied to jazz. As any jazz musician or aficionado knows, jazz pieces that become "standards" are pieces that are performed countless times, in innumerably variegated ways, and what is usually of greatest interest about any given performance of a standard is not, indeed, how well or to what extent it instantiates a predetermined ideal of the piece as specified in the score, but rather how it departs from, or adds distinctive interpretive content, to the basic structure of the piece. This aesthetically significant fact is reflected in the correlated common practice of using, not scores, but rather schematic "lead sheets" that provide the very basic harmonic and melodic material of the piece. Even larger-ensemble pieces, e.g., the scores of Duke Ellington, are notated only in the sectional writing; the improvisational sections—the sections that many would say give the distinctive life to any given performance—are of course not notated. There are fully notated scores of many—to use a dangerously complicated word—classic jazz performances, but in jazz parlance these, here again with aesthetic significance, are not called scores, but rather transcriptions, and in this improvisational artform it would be cause for suspicion rather than congratulation if a player were to perform a given work exactly in accordance with the transcription repeatedly. The nature of the jazz piece, the jazz composition, is thus extraordinarily fluid and only minimally defined. And as one might expect, the degree or the extent... (shrink)

From Bauhaus to Dada, from Virginia Woolf to John Dos Passos, the Modernist movement revolutionized the way we perceive, portray, and participate in the world. This landmark anthology is a comprehensive documentary resource for the study of Modernism, bringing together more than 150 key essays, articles, manifestos, and other writings of the political and aesthetic avant-garde between 1840 and 1950. By favoring short extracts over lengthier originals, the editors cover a remarkable range and variety of modernist thinking. Included are (...) not just the familiar high modernist landmarks such as Gustave Flaubert, Ezra Pound, and James Joyce, but also a diverse representation from the sciences, politics, philosophy, and the arts, including Charles Darwin, Thorstein Veblen, W. E. B. Du Bois, Isadora Duncan, John Reed, Adolf Hitler, and Sergei Eisenstein. Another welcome feature is a substantial selection of hard-to-find manifestos from the many modernist movements, among them futurism, cubism, Dada, surrealism, and anarchism. (shrink)

While acknowledging that Pierre Boulez is not a philosopher, and that he is wary of the potential misuse of philosophy with regard to music, this study investigates a series of philosophically charged terms and concepts which he uses in discussion of his music. Campbell examines significant encounters which link Boulez to the work of a number of important philosophers and thinkers, including Adorno, Lévi-Strauss, Eco and Deleuze. Relating Boulez's music and ideas to broader currents of thought, the book illuminates a (...) number of affinities linking music and philosophy, and also literature and visual art. These connections facilitate enhanced understanding of post-war modernist music and Boulez's distinctive approach to composition. Drawing on a wide range of previously unpublished documentary sources and providing musical analysis of a number of key scores, the book traces the changing musical, philosophical and intellectual currents which inform Boulez's work. (shrink)

By bringing queer ecologies to bear on the blue humanities, this essay promotes a queer hydropoetic investigation that attends to the forms, aesthetics, and politics of pools. Pools are sites of aquatic enjoyment, sport, and revelation that have long been understudied within the blue humanities. We ask whether the promises and failures of swimming in these geographies can provide a queer heuristic in which submersion, immersion, and staying afloat subtend coming out, queer eroticism, and queer of color coalitional politics. Our (...) tripartite examination engages the independent film Saved! (2004), the ecosexual documentary Water Makes Us Wet (2019), and the young adult novel and graphic novel adaptation of Gabby Rivera’s Juliet Takes a Breath (2016/2019 and 2020, respectively). Our analysis of pools, as intimate bodies of water that capture media and literature alike, reorients the blue humanities to consider closer proximities and smaller scales of water’s queer potentiality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 59-74 [Access article in PDF] Francesco Patrizi in the "Time-Sack": History and Rhetorical Philosophy * Paul Richard Blum Contemporary theory of history is much concerned with the narrative structure of history, its nature, and its epistemic status. 1 The problem is not only that sources present events mostly wrapped in narrative language but also that temporality is an inherent feature both (...) of the events told and of storytelling. 2 Narrativity and temporality touch upon basic metaphysical and anthropological questions, as Paul Ricoeur has pointed out, if narration is to be understood as self-explanation of a human being in whom "time" occurs as "being-in-time." 3 The following paper cannot claim to contribute to the current debate but presents Francesco Patrizi (1529-97) 4 as a Renaissance philosopher who addressed several of these problems. In discussing his conceptions of history and time, however, it is the aim of this paper only to locate these within his own philosophy. [End Page 59]One of the unresolved problems in the writings of Francesco Patrizi is the difference between his earlier contributions to the humanistic canon and his late philosophical main treatise, Nova de universis Philosophia. The earlier writings conform to the usual humanist literary topics: the political program of a città felice, the treatises on honor, the poetic fury, Petrarch (1553), and then his two dialogues on history (1560) and rhetoric (1562). The two works which followed, the Discussiones peripateticae (1571) and the Poetics (1586), show a characteristic development of humanist thinking, namely, the differentiation of purely philological from essentially philosophical literature.Patrizi's Discussiones peripateticae 5 is a polemic against Aristotle, written from a Platonic viewpoint, but his own philosophy is concealed under a mass of philological material. In an attempt that seeks to be virtually definitive, he cites passages from Aristotle and the Peripatetic tradition in order to point out mistakes and contradictions. It was on this account that Giordano Bruno heaped ridicule on him, calling him "sterco di pedanti." Simply put, he tells us, Patrizi demonstrates "how like he is to an ox or an ass." One cannot say that he has understood Aristotle either well or ill, but merely that he has read him and reread him, cut him up and stitched him together, compared him with a thousand other Greek writers, friends and foes alike, and altogether gone to an immense deal of trouble, not only to no purpose whatsoever but also to our infinite disappointment. Anyone who wishes to see into just what folly and self-regarding vanity pedantic drudgery can plunge and sink should read this book. 6This was one contemporary reaction to Patrizi's attempt to explore all the possibilities of a humanistic style of literary criticism, via the comparison between Plato and Aristotle. 7The Poetics 8 is essentially divided into two quite distinct halves: Della poetica la deca istoriale and Della poetica la deca disputata. The first is a lexicon of [End Page 60] the ancient authors, categories, styles, etc., and the second a series of dissertations on the theory of poetry but these, too, with abundant reference to both ancient and contemporary literature.Finally, and entirely different in style, there is his principal work, the Nova de universis Philosophia (1591). 9 Here the philosopher systematically departs from his accustomed field, ranging from a theory of light (Panaugia), via a discussion on theological principles (Panarchia) and a theory of the soul (Pampsychia) to the Pancosmia, a treatise on cosmology and physics. Even to this work he appends a number of documentary excerpts, and there is no lack of excursions into literary history, but the main part of the work is entirely axiomatic--"methodical"--in approach and argumentative in style.These works of Patrizi represent the development of philosophical humanism in the sixteenth century, a development away from a unified presentation of the problems of the human sciences by the explicit use of the tools of literary rhetoric, and towards the research of philological sources on the one hand and... (shrink)

Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used in environmental humanities (...) to complement – or challenge – text-based research. The filmmakers in the arts, sciences and humanities see potential in using the moving images within political philosophy, environmental politics, postcolonial studies, human geography, urban ecology, postcolonial studies, design and literature. An example of this is the film One Table Two Elephants. It is a cinematic ethnography created by two Swedish researchers and filmmakers Jacob von Heland and Henrik Ernstson. Based on years of research in Cape Town, it was filmed in 2015 as part of a longer-term research and film-project . The documentary deals with race, nature and knowledge politics in Cape Town as part of the ways of knowing urban ecologies research project. -/- . (shrink)

Joseph Beuys’ installation Plight forcefully avows of the Nazi genocide by means of negative presentation. The work culminates a collective artistic investigation of negative sculptural strategies for representing traumatic history, opened by the Nouveaux Réalistes under the impact of Alain Resnais’ documentary film Nuit et Brouillard. This article outlines this history and analyzes Plight in the context of the ‘after Auschwitz’ crisis of representation and traditional culture theorized by Theodor W. Adorno. For Adorno, Auschwitz demonstrated threats to autonomous subjectivity (...) posed by tendencies unfolding within the global social process of modernity itself. Reflecting on the fate of music, poetry and literature under these conditions, Adorno advocated a hermetic art of silence and dissonance, as exemplified by Paul Celan and above all Samuel Beckett. This article shows that in the visual arts, too, the genocidal violence of World War II was confronted with analogous strategies of indirection. In Plight, Beuys would successfully synthesize John Cage’s symbolic demolitions of traditional music and the investigations of negative presentation carried out in sculpture by Arman and Daniel Spoerri. (shrink)

more than a century ago three eminent galileo scholars, raffaello caverni, antonio favaro, and emil wohlwill, discussed the emergence of galileo's science of motion and the documentary evidence pertaining to it. among the works of these scholars, only favaro's edizione nazionale of galileo's works is still widely used, while the contents of their other writings only play a minor if any role in the current english-speaking literature. the disappearance from historical memory of many of the substantial contributions by (...) these authors is closely associated with a narrowing of the perspective under which galileo's science and its context have been discussed in more recent scholarship. (shrink)

V svojem predavanju imam »humanistiko« za skupek disciplin, katerega jedro tvorijo duhoslovne znanosti – Geisteswissenschaften. Zgodovino oziroma zgodovinopisje pa imam za paradigmatični primer humanistične znanosti, ki se razprostira med dvema poloma znanosti in umetnosti. Na enem koncu imamo postopke, povezane z ravnanjem z arhivi, na drugem pa vrsto besednih izrazov, zaradi katerih je zgodovina del literature. Vmes je dihotomija med razlago in razumevanjem, namreč obseg sredstev, s katerimi zgodovinarji skušajo odgovoriti na vprašanja kot: »Zakaj se je zgodil ta dogodek, (...) zakaj so ti ljudje naredili to in to?« Ta razlagalna sredstva s stavkom zato – lingvistično značilnostjo vseh odgovorov na vprašanje zakaj? - ravnajo na različne načine; vemo pa, kako raznolika je lahko raba stavka zato. Spoj razlage in razumevanja med poloma dokumentaristike in literature, je dober primer zmesi znanosti in umetnosti v celotnem zgodovinskem procesu.My lecture takes “Humanities” to be the collection of disciplines, the core of which is the human sciences – Geisteswissenschaften. History or historiography on the other hand provides a paradigmatic example of human sciences, which expands between two poles of science and art. On the one side, there are procedures related to archive management, and on the other a number of lexical expressions which make history part of literature. In between there is a dichotomy between interpretation and understanding, i.e. a scope of means with which historians attempt to answer the questions such as: “Why has this event taken place, why have these people done this and that? In the because sentence, these interpretative means– linguistic feature of all answers to the question why? – behave in various ways; it is well-known, however, how numerous and various the usage of the sentence because can be. The combination of interpretation and understanding between the poles of documentaries and literature provides an excellent example of the mixture of science and art in the historical process as a whole. (shrink)

Vocational Education and Training policies are paying increasing attention towards the need to develop quality career guidance processes. Career guidance plays an essential role in this challenge by enabling people to develop the career management skills that allow them to become aware of their full potential and to construct life projects that facilitate the emotional management of uncertainty and complexity, participating as responsible agents in their environment. After conducting a literature review on each of these key elements, we set (...) out to identify best practices in VET as “building blocks” for the construction of an integrated career guidance plan in VET. This study adopts an approach based on qualitative methodology, specifically a documentary type of research has been carried out. The documents analysed correspond to 88 best practices identified in Andalusia. The analysis strategy used was a content analysis. For this purpose, a system of categories has been designed, from a deductive perspective, which has contributed to a systematic analysis of them. One of the first conclusions of the study is the uneven development o best practices in the different VET professional pathways. The practices carried out in the centres begin to incorporate different elements and thus facilitate the creation of a suitable context for the development of comprehensive career guidance plans in VET. The article closes by offering implications for the development of guidance in the education system and discusses lines of future research. (shrink)

This philosophical narrative delves into deepening crises afflicting modern democracies, when extreme inequality and its resultant alienation grips not just adults but, even more anguishingly, children. These children and often their parents come in far under the social radar, so out-of-touch that even census takers overlook them. In this milieu, weapons and narcotics are as much an unquestioned part of life as breathing. The world beyond this invisible cage entirely escapes them, nor does the larger society miss them or know (...) about them. This documentary narrative follows a thirteen-year-old who forces himself to escape his oblivious father, not out of hope, but for sheer escape from the execrable situation, without even the will to be himself, whatever that is. He also must navigate through his nightmare existemce, relying on an illicit business, the only thing he knows as well as breathing. If the individuals in this milieu--which cut across racial boundaries--ever even hear of voting, they are drawn to strong-arm politicians, who appeal to these scattered inhabitants, as examples of strength, no-nonsense, even hatred. The ethics of such circumstances' mere existence--further extreme than even those in Les Miserable--in our societies poses a formidable challenge to the ethics of social and political philosophy and are hardly touched upon in the academic literature. The central philosophical question is whether it is possible for a political system to preempt such conditions, particularly when these individuals, especially the children, are veritably invisible. The metaphilosophical issue is why philosophy does not focus more concern about this ignored human morass. To say an indictment of soiciopolitical philosophy is not justified here, that the persons encountered here are merely messed-up self-indulgent people, only adds cause to the charge. (shrink)

The decades between 1770 and 1840 are rich in exotic accounts of the ruin-strewn landscapes of Ethiopia, Egypt, India, and Mexico. Yet it is a field which has been neglected by scholars and which - unjustifiably - remains outside the literary canon. In this pioneering book, Nigel Leask studies the Romantic obsession with these 'antique lands', drawing generously on a wide range of eighteenth- and nineteenth-century travel books, as well as on recent scholarship in literature, history, geography, and anthropology. (...) Viewing the texts primarily as literary works rather than 'transparent' adventure stories or documentary sources, he sets out to challenge the tendency in modern academic work to overemphasize the authoritative character of colonial discourse. Instead, he addresses the relationship between narrative, aesthetics, and colonialism through the unstable discourse of antiquarianism, exploring the effects of problems of creditworthiness, and the nebulous epistemologicial claims of 'curiosity', on the contemporary status of travel writing.Attentive to the often divergent idioms of elite and popular exoticism, Curiosity and the Aesthetics of Travel Writing plots the transformation of the travelogue through the period, as the baroque particularism of curiosity was challenged by picturesque aesthetics, systematic 'geographical narrative', and the emergence of a 'transcendental self' axiomatic to Romantic culture. In so doing it offers an important reformulation of the relations between literature, aesthetics, and empire in the late Enlightenment and Romantic periods. (shrink)

The SARS-CoV-2 (COVID-19) pandemic has caused social and economic devastation. As the milestone of two years of ‘living with the virus’ approaches, governments and businesses are attempting to develop means of reopening society whilst still protecting public health. However, developing interventions – particularly technological interventions – that find a safe, socially acceptable, and ethically justifiable balance between these two seemingly opposing demands is extremely challenging. There is no one right solution, but the current most popular ‘solution’ is the so-called ‘COVID-19 (...) Vaccine Passport’ (also known as COVID-19 passes or certificates), the use of which may be supported by both human rights and international public health law if they are designed and implemented appropriately. (We use the term ‘Vaccine Passport’ because it has been adopted by the popular press. Though it has been used in many ways, here we use it generically to refer to a document that certifies that an individual has been vaccinated against COVID-19 and on that basis grants the bearer more liberties than to those who have not been vaccinated. Later, we will discuss why it is necessary to move beyond considering only vaccinations, which informs our preferred term of ‘COVID-19 Status Pass’.) We set out to answer the following questions: how should governments and businesses assess the risks in light of human rights, public health ethics, and digital ethics concerns which emerge from developing and deploying COVID-19 Vaccine Passports? What design decisions should businesses make when developing COVID-19 Vaccine Passports to help ensure they respect human rights, and both public health and digital ethics? Do the implications for human rights, public health, and digital ethics vary depending on where and when COVID-19 Vaccine Passports are used? What are the rights and powers of the individual to object to or seek remedy for the use of COVID-19 Vaccine Passports? How can the risks of inequalities and social division derived from the deployment of COVID-19 Vaccine Passports be avoided or mitigated? We conducted a literature review and documentary analysis, supplementing our findings with news articles where appropriate. The following pages report our results, concluding with a series of actionable recommendations for businesses, national governments, and supranational organisations. (shrink)

BackgroundOver the years, Bulgarian bioethics has been mainly an academic enterprise and fallen short of providing health professionals with skills for ethical decision-making. Clinical ethics support (CES) was piloted by the author through two bottom-up models – METAP (Modular, Ethical, Treatment, Allocation of resources, Process) and MCD (Moral Case Deliberation).AimsThis paper aims to present and analyse developments in the area of clinical ethics and the first experiences in CES in Bulgaria.MethodologyThe project reported here included a review of relevant literature (...) on CES methods and evaluation and a documentary review of data from two CES pilot projects: METAP and MCD.ResultsMost of the 69 METAP ethics meetings reviewed were first time meetings (88,4%); the average duration was 36 min and the average number of participants was four (44,9%). The meetings were organized in response to cases of severely or critically ill patients. The ethical dilemmas included choice of treatment (31,9%) and conflicts with the patient or their relatives (23,2%). Consensus was achieved in 34,8% of the cases. The situation was clarified with the patient (27,5%) and within the team (15,9%). The rights and obligations of both sides were discussed in 7,2% of the cases. The experience of the members of the Bulgarian Association of Bioethics and Clinical Ethics (BABCE) with MCD was also presented to justify the inference about the applicability of the two CES models in a Bulgarian context.ConclusionAmong Eastern European countries Bulgaria has made progress in CES. Both METAP and MCD have been found to be useful methods. (shrink)

Traditionally, analytic philosophers writing on aesthetics have given short shrift to nature. The last thirty years, however, have seen a steady growth of interest in this area. The essays and books now available cover central philosophical issues concerning the nature of the aesthetic and the existence of norms for aesthetic judgement. They also intersect with important issues in environmental philosophy. More recent contributions have opened up new topics, such as the relationship between natural sound and music, the beauty of animals, (...) and the aesthetics of gardens. Using these materials, it is now easy to include a module on the aesthetics of nature as one part of an introductory course on aesthetics, or even to design an entire upper-level undergraduate or graduate seminar around the topic. Author Recommends: Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Readers coming fresh to contemporary debates may find the lack of attention to natural beauty in twentieth-century philosophy somewhat puzzling. This paper, which defends the view that nature cannot be aesthetically appreciated as such, presents this attitude in a particularly pure form. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This seminal essay marks the beginning of contemporary discussion of the aesthetics of nature. Many of its ideas and themes continue to reverberate in contemporary debates. Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture (London: Routledge, 2000). This volume is a collection of Carlson's influential essays on environmental aesthetics. Chapters 4 and 5, 'Appreciation and the Natural Environment' and 'Nature, Aesthetic Judgment, and Objectivity', set the agenda for much subsequent discussion in the aesthetics of nature. Chapter 6, 'Nature and Positive Aesthetics', develops and defends the controversial idea that nature, unlike art, is always aesthetically good. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). In this paper, Berleant presents his influential idea of an 'engaged aesthetics' for nature. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. This article develops Saito's idea that ethical considerations play a critical role in the aesthetics of nature, and presents a novel argument for Positive Aesthetics for nature. Malcolm Budd, The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature (Oxford: Oxford University Press, 2002). This book collects Budd's papers on the aesthetics of nature, which contain important criticisms of Carlson's natural environmental model and the notion of Positive Aesthetics for nature. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This paper argues for the importance of aesthetic appreciation that emphasizes emotional responses to nature. A philosophically sophisticated and influential treatment by a leading aesthetician. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. In this essay, an environmental philosopher gives careful and thorough consideration to the place of aesthetic considerations in environmental protection, focusing on Carlson's work. John Andrew Fisher, 'What the Hills are Alive With: In Defense of the Sounds of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 167–79. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). Most discussions of nature aesthetics focus on visual experiences; this essay is the first philosophical study of the aesthetics of natural sounds. A nuanced and original paper. Allen Carlson and Arnold Berleant. 'Introduction: The Aesthetics of Nature'. The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004), 11–42. A comprehensive review of the literature, this essay contains the best available bibliography on the subject. Online Materials: http://plato.stanford.edu/entries/environmental-aesthetics/ Environmental Aesthetics: Allen Carlson's entry in the Stanford Encyclopedia of Philosophy. http://www.aesthetics-online.org/articles/index.php?articles_id=17 Teaching Environmental Aesthetics: Allen Carlson's article on the American Society for Aesthetics Web site. http://www.uqtr.uquebec.ca/AE/Vol_6/ Volume 6 of AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique: Papers by Thomas Heyd and Ira Newman on Allen Carlson's book Aesthetics and the Environment, along with a response from Carlson. http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=400 Paradoxes and Puzzles: Appreciating Gardens and Urban Nature: An essay by Stephanie Ross in the online journal Contemporary Aesthetics. Sample Syllabus for a three-week module in an undergraduate aesthetics course: This three week module can easily be adapted to fit shorter available class time or reduced reading expectations for students. A lighter two-week module, for instance, would drop the Hepburn reading and do either the Carroll essay or the Saito essay, but not both. Note that all readings for this module are reprinted in Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Reading: Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Discussion of Hepburn's essay will allow the instructor to bring out the distinctive issues and themes of the aesthetics of nature. Week 2: Objectivity or Subjectivity? Readings: Allen Carlson, 'Appreciation and the Natural Environment'. Journal of Aesthetics and Art Criticism 37 (1979): 267–76. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. This section covers two very different approaches to thinking about the aesthetic appreciation of nature. Consideration of these provides an opportunity for students to reflect on nature's relationship to art, and on the character of aesthetic experience itself. Week 3: Pluralistic Approaches Readings: Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. This section considers approaches that are motivated by perceived limitations of the two approaches mentioned above. In discussing these, students will focus on the significance, for the aesthetics of nature, of emotion and also of broader ethical considerations. Sample Syllabus for an upper-level undergraduate or graduate seminar: Books on Syllabus: Glenn Parsons, Aesthetics and Nature [AN] (London: Continuum Press, forthcoming November 2008). Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture [AE] (London: Routledge, 2000). Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments [ANE] (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Parsons, AN, ch. 1. Allen Carlson, 'Environmental Aesthetics'. The Routledge Companion to Aesthetics. Eds. Berys Gaut and Dominic Lopes (London: Routledge, 2001), 423–36. Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in ANE. Week 2: Imagination Parsons, AN, ch. 2. Thomas Heyd, 'Aesthetic Appreciation and the Many Stories About Nature'. British Journal of Aesthetics 41 (2001): 125–37. Reprinted in ANE. Emily Brady, 'Imagination and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 139–47. Reprinted in ANE. Marcia Eaton, 'Fact and Fiction in the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 149–56. Reprinted in ANE. Week 3: Formalism Parsons, AN, ch. 3. Carlson, 'Formal Qualities and the Natural Environment', AE, ch. 3. Allen Carlson, 'On the Possibility of Quantifying Scenic Beauty'. Landscape Planning 4 (1977): 131–72. Ira Newman, 'Reflections on Allen Carlson's Aesthetics and the Environment'. AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique 6 (2001) http://www.uqtr.uquebec.ca/AE/Vol_6/Carlson/newman.html>. Nick Zangwill, 'Formal Natural Beauty'. Proceedings of the Aristotelian Society 21 (2001): 209–24. Week 4: Science and Nature Aesthetics Parsons, AN, ch. 4. Aldo Leopold, 'Country'. A Sand County Almanac, with Essays on Conservation from Round River (New York, NY: Ballantine Books, 1966), 177–80. Carlson, 'Appreciation and the Natural Environment', AE, ch. 4. Carlson, 'Nature, Aesthetic Judgment, and Objectivity', AE, ch. 5. Glenn Parsons, 'The Aesthetics of Nature'. Philosophy Compass 2 (2007): 358–72. Week 5: Positive Aesthetics Carlson, 'Nature and Positive Aesthetics', AE, ch. 6. Eugene Hargrove, Foundations of Environmental Ethics (Denton, TX: Environmental Ethics Books, 1996), ch. 6. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. Malcolm Budd, 'The Aesthetics of Nature'. Proceedings of the Aristotelian Society 100 (2000): 137–57. Glenn Parsons, 'Nature Appreciation, Science and Positive Aesthetics'. British Journal of Aesthetics 42 (2002): 279–95. Week 6: Animals Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]), Pt. III, sec. VI. Holmes Rolston III, 'Beauty and the Beast: Aesthetic Experience of Wildlife'. Valuing Wildlife: Economic and Social Perspectives. Eds. Daniel J. Decker and Gary R. Goff (Boulder, CO: Westview Press, 1987), 187–96. Glenn Parsons, 'The Aesthetic Value of Animals'. Environmental Ethics 27 (2007): 151–69. Week 7: Pluralism Parsons, AN, ch. 5. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in ANE. Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Reprinted in ANE. Ronald Hepburn, 'Nature Humanized: Nature Respected'. Environmental Values 7 (1998): 267–79. Ronald Hepburn, 'Trivial and Serious in Aesthetic Appreciation of Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 65–80. Glenn Parsons and Allen Carlson, 'New Formalism and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 62 (2004): 363–76. Week 8: Engagement Parsons, AN, ch. 6. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in ANE. Cheryl Foster, 'The Narrative and the Ambient in Environmental Aesthetics'. Journal of Aesthetics and Art Criticism 56 (1998): 127–37. Reprinted in ANE. Allen Carlson, 'Aesthetics and Engagement'. British Journal of Aesthetics 33 (1993): 220–27. Week 9: The Sublime Immanuel Kant, Critique of the Power of Judgment. Trans. P. Guyer and E. Matthews (Cambridge University Press, 2000 [1790]). Excerpts from sections 23–9. Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]). Excerpts from Pt. II, sections 1–8. Ronald Hepburn, 'The Concept of the Sublime: Has it any Relevance for Philosophy Today?'. Dialectics and Humanism 15 (1988): 137–55. Stan Godlovitch, 'Icebreakers: Environmentalism and Natural Aesthetics'. Journal of Applied Philosophy 11 (1994): 15–30. Reprinted in ANE. Malcolm Budd, 'Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part I: The Sublime in Nature'. British Journal of Aesthetics 38 (1998): 233–50. Week 10: Aesthetic Preservation Parsons, AN, ch. 7. Janna Thompson, 'Aesthetics and the Value of Nature'. Environmental Ethics 17 (1995): 291–305. Holmes Rolston III, 'From Beauty to Duty: Aesthetics of Nature and Environmental Ethics'. Environment and the Arts: Perspectives on Environmental Aesthetics. Ed. Arnold Berleant (Aldershot, UK: Ashgate, 2002), 127–41. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. Keekok Lee, 'Beauty for Ever?'. Environmental Values 4 (1995): 213–25. Week 11: Gardens Parsons, AN, ch. 8. Mara Miller, The Garden as an Art (Albany, NY: State University of New York Press, 1993), ch. 1. Mara Miller, 'Gardens as Works of Art: The Problem of Uniqueness'. British Journal of Aesthetics 26 (1986): 252–6. Stephanie Ross, What Gardens Mean (Chicago, IL: University of Chicago Press, 1998), chs. 1, 7. Tom Leddy, 'Gardens in an Expanded Field'. British Journal of Aesthetics 28 (1988): 327–40. David Cooper, 'In Praise of Gardens'. British Journal of Aesthetics 43 (2003): 101–13. Week 12: Art in Nature Parsons, AN, ch. 9. Carlson, 'Is Environmental Art an Aesthetic Affront to Nature?', AE, ch. 10. Sheila Lintott, 'Ethically Evaluating Land Art: Is It Worth It?'. Ethics, Place & Environment 10 (2007): 263–77. Emily Brady, 'Aesthetic Regard for Nature in Environmental and Land Art'. Ethics, Place & Environment 10 (2007): 287–300. Focus Questions1. Are there any important differences between the aesthetic appreciation of art and the aesthetic appreciation of nature? If so, what are they?2. Is preserving nature for its aesthetic value a coherent idea?3. What is the ugliest natural thing or place you can think of? How might proponents of Positive Aesthetics for nature deal with your example?4. Does the concept of the sublime have any significance for our contemporary experience of nature? If it does, what relation does it bear to our aesthetic appreciation of nature?5. Watch Rivers and Tides (2001), the documentary film about the British environmental artist Andy Goldsworthy. Ethically speaking, how do you think we ought to regard his art-making? (shrink)

In recent years, there has been an intense debate about the concept of “biological” or “genetic citizenship.” The growing literature on this topic mostly refers to the importance of patients’ associations, disease advocacy organizations, and self-help groups that are giving rise to new forms of subjectivation and collective action. The focus is on the extension of rights, the emergence of new possibilities of participation, and the choice-enhancing options of the new genetics. However, this perspective tends to neglect the potential (...) for exclusion and restriction of citizenship rights based on biological traits. We aim to broaden and complement the existing theoretical discussion on biological citizenship, which so far has concentrated on the medical sphere, by investigating a new empirical field. The article analyzes the use of DNA analysis for family reunification and shows that biological criteria still play an important role in decision making on citizenship rights in nation-states. Presenting Germany as an exemplary case, we argue that the use of parental testing endorses a biological concept of the family that is mobilized to diminish citizenship rights. The argument is based on documentary analysis and on interviews with representatives of nongovernmental organizations and immigration authorities, lawyers, geneticists, and applicants for family reunification. (shrink)

The history of Credit Rating Agencies [CRAs], commonly called Rating Agencies, has a long and distinguished trajectory marked by influence, reputation and power. Due to the ability of this field to instigate significant changes in market regulations and actions of economic actors, this subject is extensively debated within the literature. In economic sociology, while some studies have focused on perceptions of performativity and market devices to understand how the calculability of its methods influences the economy, others, along relational lines (...) of sociology, aim to understand them through a more complex constructive process. In this study, we attempt to fill a gap by exploring the complementarity between two theoretical approaches to sociology: theory of fields and performativity. Thus, we mobilize theory of fields to understand the inter-field relationship between the State and CRAs. Specifically, this paper sets out to i) analyze the co-constitution of the state and market fields with the field of CRAs; ii) describe the existing regulation and situate the CRAs and their classification devices in the broader history of the State and the market; iii) analyze how the legitimation of the CRAs by the State generates broader social contexts that assist in the performative work of the CRAs. Based on historical documentary research, we analyze some of the main milestones and regulatory events in the field of CRAs. This research reaffirms the assumption that even after credibility crises, the State is the most significant predictor of legitimacy, power, and influence that CRAs hold to date. The legitimacy of this power and influence has yet to be exhausted because the reputation of CRAs is rooted in the reputation of the State itself. This happens because the State provides essential actions (such as regulations) for the existence of the financial market. Thus, results suggest that the State, through regulatory measures, can engage several other fields to promote the legitimacy of performative work of the CRAs, whose purpose is to provide calculation tools to shape markets. (shrink)

Native food production in the Eastern Woodlands of North America before, and at the time of, European contact has been described by several writers as “slash-and-burn agriculture,” “shifting cultivation,” and even “swidden.” Select quotes from various early explorers, such as John Smith of Pocahontas fame, have been used out of context to support this position. Solid archaeological evidence of such practices is next to non-existent, as are ethnographic parallels from the region. In reality, the best data are documentary. Unlike (...) previous assessments, this paper evaluates sixteenth and seventeenth century ethnohistorical references to anything that can be even remotely construed as supportive of previous claims. Analyzed as a group these sources reveal something completely different from what common knowledge would have us believe. References to the slashing, the burning, and the shifting of fields are reasonably abundant. Rarely, however, are all three activities mentioned in a single passage, or by one chronicler. Furthermore, subtleties often overlooked in these quotes reveal great insight into native practices. This paper assesses explorers' and early settlers' descriptions in the context of the larger body of literature dealing with the ecology of swidden agriculture today. Indigenous fields in the Eastern Woodlands tended to be large, numerous, contiguous, and cleared of roots and stumps. Fields previously cleared of trees were covered with grass prior to preparation for planting. They were permanently cultivated. This condition stands in marked contrast to present-day swidden fields in other parts of the world that tend to be small, few, scattered, partially cleared of trees, and cultivated for only a year or two before being abandoned. Slash-and-burn shifting cultivation became common only after European settlers introduced steel axes. It was then practiced on uplands, not the formerly cultivated floodplains that were usurped by interlopers. (shrink)