Vere Gordon Childe’s theory of craft specialisation was an important influence on Arnold Hauser’s book The Social History of Art, published in 1951. Childe’s Marxist interpretation of prehistory enabled Hauser to establish a material foundation for the occupation of the artist in Western art history. However, Hauser’s effort to construct a progressive basis for artistic labour was complicated by art’s ancient connections to religion and superstition. While the artist’s social position and class loyalties were ambiguous in Childe’s accounts of early (...) civilisations, Hauser consigned artists to the lower echelons of society. This relegation did not imply that Hauser had a low regard for artistic skills. Quite the opposite, the artist’s inferior social status enabled Hauser to distance artists from the ruling class, and consequently, to separate artistic handiwork from the dominant ideology that works of art manifested. (shrink)

Child abuse is an underreported phenomenon despite its high global prevalence. This study investigated how child abuse is perceived by children and adolescents as manifested in their drawings and narratives, based on the well-established notion that drawings serve as a window into children’s mental states. A sample of 97 Israeli children and adolescents aged 6–17 were asked to draw and narrate what child abuse meant to them. The drawings and narratives were coded quantitatively. The results indicated that (...) participants did not perceive a distinction between abuse and violence and referred to them interchangeably. Almost half of the participants focused on emotional abuse. The most frequent type of abuse within the family was between parents and children, and the most frequent abuse outside the family was peer victimization. Most of the drawings were figurative and realistic and half of the drawings included words suggestive of the participants’ attempts to be heard and fully understood. The vast majority of drawings did not include the figure of the artist, about a third of the drawings employed dissociative techniques (i.e., included positive objects, were unrelated to abuse, used words alone, or did not follow the instructions), and almost half of the narratives were dissociative or characterized by negative resolution, describing feelings such as sadness, humiliation, and loneliness. These findings suggest the emotional pain associated with the abuse or violence and the use of dissociative mechanisms to bypass the pain. The findings are discussed in light of the literature on children’s disclosure. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Child's Creation of a Pictorial WorldEllen Handler SpitzThe Child'S Creation of a Pictorial World, by Claire Golomb. Mahwah, New Jersey: Erlbaum, 2004, 388 pp.Children's drawings fill us with wonder and delight. They may tend, however, to puzzle us, especially if we seek to comprehend them in terms appropriate to the drawings of mature artists or in terms relevant for other pictorial forms and expressions. (...) Likewise, they may puzzle us if we make the mistake of supposing that they represent in any direct or obvious way the cognitive development of young children or if we see them only as comical, inept efforts at depicting external reality. Children's drawings stimulate many nagging questions, among them the one as to why it should be that a child who knows so much and who is verbally so articulate may be graphically capable of depicting so little.Claire Golomb's work has proven extraordinarily helpful here as a corrective because Golomb, after many years of research and reflection, writes about these youthful creations not as "print-outs" of a child's mind. She sees them, rather, as exemplars of particular visual representational schemata that are generally available to and employed by young children. And although she regards these schemata as universal, she acknowledges that they are clearly subject to a wide range of individual variability. Over all, the value of Golomb's work lies in her extensive, descriptive research. Acknowledging her intellectual debt to her mentor, Rudolph Arnheim, Golomb reminds her readers that representation is never mimesis pure and simple. Representation is never, she tells us, the result of an "intention to copy nature." Therefore, when young children do otherwise, they ought not to be seen as failing. Their drawings ought not to be viewed as unsuccessful attempts to imitate nature or to depict with faithful realism what appears before their eyes. Rather, as Golomb states and attempts to demonstrate throughout the pages of her well-illustrated volume, children employ graphic schemata that develop over time in terms of shape, color, content, and composition. Ever seeking meaning, children create pictorial worlds that, while they have no one-to-one correlation with the perceptual world, are tied to it, importantly, nonetheless.Golomb assiduously describes and illustrates each of her studies so that her readers are treated to a panorama of this "orderly progression," as she puts it, this evolution of children's graphic work. Her book, moreover, is characterized by a certain social scientific aura; that is to say, she proffers statistics and quantifies her data to prove her points. She takes pains to argue, for example, from research conducted in tandem, apparently, with her daughter, that it is extremely difficult to differentiate, prima facie, the drawings of children who have been diagnosed as disturbed from those who are considered normal. Having worked for a couple of years in a residential treatment center for schizophrenic children, I would aver that this claim might be debatable. However, were one to be [End Page 120] able to so differentiate, this might constitute a challenge to Golomb's theory that the representational schemata are, as she puts it, "robust." According to her findings, they remain more or less in tact. Likewise with regard to the issue of cultural variables. Here Golomb argues, gently and respectfully, against positions taken by two other well-known scholars in the field, Brent and Marjory Wilson, who accord a higher priority than she does to cultural differences. According to the Wilsons, children's drawings are importantly influenced by whatever graphic models are made available to them in a given culture. For Golomb, however, these variables, while significant, do not interfere substantially with the universal classifications she proposes. As she writes, "The drawings of young children are as different one from another as fingerprints, yet they can be classified" (357).In general, then, the body of work Golomb offers in this second edition of her first volume published under the same title in 1992 by the University of California Press importantly contributes, as it initially did, to ongoing research in numerous fields, including art education, early childhood studies, art history, developmental psychology, anthropology, and art... (shrink)

According to Wittgenstein, in the remarks collected as Culture and Value , ‘People nowadays think, scientists are there to instruct them, poets, musicians etc. to entertain them. That the latter have something to teach them; that never occurs to them.’ 18th and early 19th century art-lovers would have taken a very different view. Dr. Johnson assumed that the poets had truths to impart, while Hegel insisted that ‘In art we have to do not with any agreeable or useful child's (...) play, but with an unfolding of the truth.’ Though it still exerts a submerged influence, the concept of artistic truth has since sustained hammer-blows both from modernist aestheticism, which divorces art from reality, and from postmodern subjectivism about truth. This article aims to resurrect it, seeking a middle way between Dr. Johnson's didactic concept of art , and the modernist and postmodernist divorce of art from reality. (shrink)

The hanging of the mobile aloft was annually performed with a solemnity and care suited to so important a matter. For each year, as it was resurrected from its storage place, it hung foolishly askew, demoralized by vicissitude, like a drunkard's hat crushed out of shape. Not that it had not still an equilibrium, a static balance, which it would assume and, if disturbed, would assume again, as if to declare idiocy alone immortal. It did not wait, in order to (...) have an equilibrium, for an artful hand to give it one. Such equilibrium as it had, from the accidental concert of its parts, it had with the indifferent equanimity of all things merely physical. Beauty was its accident, as idiocy also was its accident. It was as innocent of virtue as it was innocent of sin: it knew no propriety, therefore deserted none. I admired in it only what I demanded of it, a virtue of which it knew nothing. Yet, for my part, I permitted myself no such egotist reflection. I regarded it all as the contrivance of the hand which adjusted it. In my child's world, that was the secret of my mother's hand, which no other sought to compete with, much less to penetrate. She knew, at least her hand knew, that of all of the possible equilibria which were available equally for choice, there was one special equilibrium needed, only one which was alive, resonant, essential to the production of that effect to which it intricately ministered. That equilibrium was indispensable to the music which the mobile gave forth, its beginning and its end, the poise from which its movement issued, the cadence in which it came with perfect finality to rest. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely ChildEllen Handler SpitzThere was the child, listening to everything...—Yasunari Kawabata1IntroductionPicture-book characters spring to life in both verbal and visual registers. Moving about the page before our eyes as well as speaking and acting in their respective stories, they often make a long-lasting impact on children. Pictures and words, moreover, may overlap but are never commensurate; like (...) the words and notes of a song, they mean and evoke differently even while being experienced together. This brief essay considers a small selection of works by two distinguished twentieth-century American authors-artists: William Steig (1907–2003) and Maurice Sendak (b. 1928). It argues that, with their artful words and pictures, Steig and Sendak construct very different—even contrasting—visions of childhood. By “ethos” in this context I mean to suggest a vision of what a child is, a sense of what it means both to be a child and to address one. Such visions differ not only through the ages and from one culture and locale to another but also from one author-artist of the same period and locale to another. Invited to speak on Sendak’s and Steig’s respective works at meetings scheduled just a week apart in New York City during the winter of 2007, I found in these paired invitations a fortuitous opportunity to juxtapose several of their works and thereby discover some arresting contrasts and formulate the following readings.2First, a word on the topic of methodology. Nearly one hundred years have elapsed since Freud published his celebrated-cum-notorious foray into psychobiography with Leonardo da Vinci and a Memory of His Childhood,3 wherein shards of circumstantial biographical evidence were laid out in seductive mosaic patterns secured with a grout of ingenious speculation. Despite subsequent decades of critical reflection, Freud’s method soldiers on nonetheless as a modus operandi in the psychological interpretation of art and literature.4 By bracketing a small selection of Steig’s and Sendak’s works here and limiting myself to extracting a tentative underlying ethos from them, I am [End Page 64] taking the position that to write psychologically one need not mention or exploit a creator’s personal life. This essay points gently toward psychological approaches that ask what we can see when we look carefully at the pages of works. What can we find when we share children’s books with children? Why, for example, has Sendak’s Where the Wild Things Are sold over seventeen million copies (and its Amazon rank last time I checked was around 145, which means that only 144 other books in the United States were selling more copies at that particular moment), whereas his later work Outside Over There—a book that apparently figures prominently in his personal life—comes nowhere close?5 While market figures do not correlate flawlessly with children’s actual preferences (adults, not children, are the buyers), I would aver that, in this case, they do reflect the success and beloved status of Where the Wild Things Are, since the figures tally with additional facts: the book continues to appeal in its fifth decade post publication; it is known and has been translated worldwide, dramatized, and set to music6; and its characters have been fashioned into ubiquitous stuffed toys. On the other hand, in my (limited) experience, young children seem to find Outside Over There unsettling, unintelligible, even “creepy” and often have trouble sitting still through a full rendition. Some adults, on the other hand, praise that book as poetic and admire its more complex art. Such discrepancies in reception deserve our attention; they hint at fallow fertile fields lying over the rainbow, far beyond the much-plowed tracts of authorial psychobiography. This essay gestures casually toward those fields.The Connected Child“My dear Deborah,” said Doctor De Soto, “you must have been reading my mind.7Let’s begin with William Steig, who is best known for his New Yorker cartoons. His work for children extends back to 1968,8 however, when he was already a man in his sixties. Setting aside the... (shrink)

This article, corresponding to a part of the restitution of a financed international research project between France, Brazil, Canada, Italy and Belgium, aims to offer a modelisation and qualitative evaluation of mediation care settings based on an original methodological tool that involves identifying the typical games at the foundations of creativity, following a multidisciplinary perspective. Therapeutic mediations are settings or devices organised around a “pliable medium”, often artistic, like painting, modeling, writing, ​and theatre, which are very widespread in institutional practices, (...) both in France and abroad. The scientific objectives of this research consist in a multi-disciplinary exploration (anthropology, criminology, neuroscience, clinical psychology) of the process of creative symbolisation understood as a process of transformation involving play. According to this orientation, play can be defined as a psychic process whereby a subjective experience can be explored with pleasure, and consequently symbolised and appropriated. Our fundamental and original hypothesis is that play is at the source of the creative process, conceived as a work of metabolisation by the psyche of playful experiences during the different stages of life. The review of the understanding of play in psychoanalysis, anthropology, criminology and neuroscience emphasises the richness of this model and the importance of reflecting on the typical games in the field of psychic care. A clinical example of treatment in a pictorial therapeutic mediation setting of a child with psychotic disorders makes it possible to identify a number of typical games as well as the modalities of interpretation of the therapists through play. These multidisciplinary studies lead to the presentation of a general table of typical games, and these first results highlight the richness of identifying typical games in clinical settings. Ultimately, the multidisciplinary approach shows the interest of the model of play in the evaluation of therapeutic mediation settings, with a convergence of the different disciplines emphasising the pertinence of this model. The scientific impact of this research overlaps with its societal impact, through the development of innovative tools for evaluating therapeutic mediations, in order to take account of the evolution of the different forms of social expression of psychic suffering. (shrink)

Through close reading of medical and cultural texts, this article demonstrates how the narrativisation of relational harm underpinned the emerging categorisation of ‘addiction’ in the 19th century: excessive consumption was conceived through its detrimental impact upon others, and more specifically, upon the family. The problem was portrayed as physiological, psychological, and social: ‘addiction’ could not be located securely within a single individual, nor was it conceived simply as a social vice. While other societal themes emerge in the medical writing of (...) the period, such as the relationship between drinking and criminality, and the visibility of drinking in the working-classes, these are not presented as proto-diagnostic criteria in the same way as relational harm. In theorising addiction, medicine relied upon rhetorical devices and narrative modes, and authors and artists took an active role in defining the terms of the debate around drinking, drug use, and gambling. Charles Dickens and George Cruikshank represent childhood through the adult's compulsive behaviour, which the child witnesses, while the adult's behaviour itself is conceived as harm directed towards child. The article demonstrates how 21st-century attitudes, particularly located in the fields of psychiatric diagnosis and child protection social work, echo debates established by 19th-century narratives, arguing that that the disease model of addiction was closely associated with the medico-legal production of childhood. Nineteenth-century narratives of addiction therefore anticipate late 20th- and 21st-century attitudes regarding the impact of parental substance use upon children. (shrink)

Where do a child’s morals come from? Interactions with other human beings provide arguably the primary contexts for moral development: family, friends, teachers and other people. It is the artistic products of human activity that this essay considers: literature, film, art, music. Specifically, I will consider some philosophical issues concerning the influence of folk and fairy tales on moral development. I will discuss issues of representation and reduction: in particular, how far should stories for children elide the complexities inherent (...) to many folk and fairy tales? Drawing on a distinction between a problematic reductionism and an appropriate pedagogical reduction, I suggest that pedagogical issues of representation require us to think about how to represent complexity in ways that are reductive without being reductionist, that can delight and engage without being horrifying or tedious. While there is a place for horror and for boredom, it is primarily a matter of timing... (shrink)

This is an artist's book on illness and dying. Elisabeth Zahnd, artist and photographer, had to experience and bear the fatal illness and death of her child, who was diagnosed of an incurable brain tumour at the age of five. Zahnd soon started not only t.

[Time, the fundamental dimension of our existence, has fascinated artists, philosophers, and scientists of every culture and every century. All of us can remember a moment as a child when time became a personal reality, when we realized what a "year" was, or asked ourselves when "now" happened. Common sense says time moves forward, never backward, from cradle to grave. Nevertheless, Einstein said that time is an illusion. Nature's laws, as he and Newton defined them, describe a timeless, (...) deterministic universe within which we can make predictions with complete certainty. In effect, these great physicists contended that time is reversible and thus meaningless. (shrink)

This essay seeks to unsettle feminist philosophy through an encounter with Aboriginal artist Tracey Moffatt, whose perspectives on intergenerational relationships between white women and Indigenous women are shaped by her experiences as the Aboriginal child of a white foster mother growing up in Brisbane, Australia during the 1960s. Moffatt's short experimental film Night Cries provides an important glimpse into the violent intersections of gender, race, and power in intimate life and, in so doing, invites us to see how colonial (...) and neocolonial policies are carried out through women's domestic labor. Seeing cross-generational and cross-racial intimacy through Moffatt's lens, I suggest, helps us to unsettle both feminist theories of motherhood and feminist practices of mentoring. (shrink)

We began by…implying a comparison between Duchamp and the swindlers; we lately find ourselves . . . implying a comparison between Duchamp and the child. I believe that in the end both comparisons are essential to a thorough understanding of Duchamp's significance; it is also, however, essential that each comparison temper and qualify the other. The swindlers begin and end as aliens to the community on which they practice their art. Duchamp is as much inside the artworld as is (...) the child inside his community. On the other hand, Duchamp is not disenfranchised, as is the child, though, like the child, he is innocent of certain illusions typical of full enfranchisement. Like the swindlers, and unlike the child, Duchamp is full of guile. He pointedly produces something ambiguous, something which supports diametrically opposed readings, depending on where one's bets are placed. One of the readings amounts to a critique of the other reading as a hoax. But unlike the swindle, whose effectiveness depends on the degree to which the critique remains hidden and the hoax enjoys full rein, Duchamp's gesture is effective, as is the child's unambiguous announcement, to the degree that the critique embarrasses the hoax. It seems, then, that Duchamp embodies some rare and interesting combination of guile and innocence which the fable keeps apart by dividing them between agents whose activities are at cross-purposes. The limitation of the fable as an analogy is that it provides no model for the combination. The fable contains the figures of the swindler, of the gullible mark, and of the observer so innocent as to be incapable of duplicity. What we are confronted with in Duchamp is the figure of the wise guy.Joel Rudinow, a conceptual artist, created a multimedia satire entitled Higher Learnin'; or, The Song and Dance of Socrates: In Which the Love of Wisdom Leads to the Discovery that the Unlived Life is Not Worth Examining. (shrink)

Volume 19 of _The Annual of Psychoanalysis_ turns to the ever-intriguing relationship between "Psychoanalysis and Art." This introductory section begins with Donald Kuspit's scholarly reflections on the role of analysis in visual art and art criticism, and then proceeds to a series of topical studies on Freud and art introduced by Harry Trosman. Egyptologist Lorelei Corcoran explores the Egypt of Freud's imagination, thereby illuminating our understanding of the archaeological metaphor. Marion Tolpin offers new insights into Freud's analysis of the American (...) writer Hilda Doolittle by focusing on the meaning of the Goddess Athene - whose statue rested on Freud's desk - to both analyst and analysand. Stephen Toulmin examines Freud's artistic sensibility - and places the historical significance of Freud's art collection in bold relief - by looking at the many contemporary art objects Freud chose _not_ to collect. Danielle Knafo identifies key events in the early life of Austrian Expressionist Egon Schiele that were "primary determinants" of the content and form of his self-portraits. And Barbara Almond examines the spontaneous healing process depicted in Margaret Drabble's novel _The Needle's Eye _as an analogue to the kind of growth and development mobilized by the psychoanalytic process. Section II, "Psychoanalysis and Development," begins with Barbara Fajardo's appreciation of the contribution of biology to analyzability; she reviews findings from both infant research and biogenetic research that tend toward an understanding of "constitution" as resilience in development and, subsequently, in treatment. Benjamin Garber adds to the psychoanalytic understanding of childhood learning disabilities by presenting the three-and-a-half-year analysis of a learning-disabled child. In a fascinating two-part contribution, "Bridging the Chasm Between Developmental Theory and Clinical Theory," Joseph Palombo sheds light on some of the knottiest problems in contemporary analysis, including the relationship between childhood events and the reconstruction of those events in treatment. In Section III, "Psychoanalysis and Empathy," Mary Newsome presents case material in support of her claim that the analyst's empathic understanding catalyzes the coalescence of the patient's affect and aim, that is, the patient's capacity to believe in and then realize his ambitions. The acquisition of the capacity, she contends, not only betokens a specific kind of structure formation, but is the bedrock of emerging self-cohesion. Her challenging paper is thoughtfully discussed by David Terman and Jerome Winer. Section IV of _The Annual_ offers Jerome Kavka's appreciation of the work of N. Lionel Blitzsten. Blitzsten, the first Chicago psychoanalyst and one of America's most gifted clinicians and teachers, anticipated modern concepts of narcissism in identifying "narcissistic neuroses" with special treatment requirements. Morris Sklansky furthers our understanding of Blitzsten in his discussion of Kavka's essay. Ranging across the analytic canvas with presentations as edifying as they are provocative, volume 19 of _The Annual of Psychoanalysis_ challenges readers to wrestle with issues at the cutting edge of the discipline. It takes a well-deserved place in the preeminent continuing series in the field. (shrink)

A number of recent works in the metaethics of practical rationality have suggested that features of a person’s character, commitments, projects, practical identities and social roles have important normative consequences. For instance, I might commit to caring for a loved one, or I might become an artist, or take on the role of father to a child. In each case, it seems right to say that the normative landscape I face has been altered by this new fact – to (...) put them under one general heading, the new fact about my self. In this paper, I explore the normative significance of self and how best it is to be understood. Typically, views that posit the normative significance of self hold that the content of one’s self can create practical reasons to behave in particular ways. For instance, if I become a father, this means that there are additional reasons to care for my child than there were prior to this fact of self. I argue, however, that this suggestion cannot be plausibly sustained – facts of self do not give rise to practical reasons. I show that, while there are two ways that facts of self might give rise to or create new practical reasons, both succumb to very serious problems. However, or so I also argue, we can salvage the normative significance of self via an alternative mechanism. Facts of self, such as the fact that one is an artist or a father, do not create new reasons. Rather, they strengthen certain pre-existing reasons, viz., those reasons to which I am especially susceptible given this fact of self. (shrink)

The essay provides a critical assessment of the objections raised, especially by P. Destrée, against the cognitivistic interpretation of the pleasure of tragedy. It is pointed out that in the Poetics, chapter 4, it is unsound to distinguish between the pleasure of artistic imitation and the child’s pleasure for learning through imitation or the pleasure of the philosopher engaged in theoria. Moreover, the reference to children and philosophers proves that it is uncorrect to distinguish in the verb manthanein between (...) the meaning “to understand” and “to learn” and to say that the latter does not fit the example of painting. Consequently, this example cannot mean that contemplating the picture has as its only out-come a trivial recognition of the identity of the real object and the painted subject-matter. Actually, the tragedy’s audience sees in the plot a case which is exemplary (because it is universal) for particular actions and states of affair already known; and of these situations the audience understands and learns the causes with pleasure. Also the position of chapter 4 in the opening section of the book (chapters 1-5), which is entirely devoted to a general treatment of mimesis, confirms that all is said there of the pleasure must be a general premise for the treatment of all particular kind of pleasure recorded in the book: consequently, for the treatment of tragic pleasure in chapter 14 as well. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 12-19 [Access article in PDF] Seeking the Aesthetic in Creative Drama and Theatre for Young Audiences Nellie McCaslin Introduction Is an aesthetic experience ever achieved in a creative drama class or in attending a performance of a children's play? If it is, how do I know and how can it be achieved? This is a question to which I have given much (...) thought and in so doing have been flooded with memories of my own passion for theatre in all its forms, first as a child and years later as a teacher. These memories have shaped my perception of the aesthetic presence, elusive but powerful, which comes in its own way and in its own time. The following is an account of revisiting those memories in the light of today's practices and objectives. The result is not a scholarly piece or approach to the question but simply a record of one person's journey through the theatre arts as she experienced it at a particular point in time, when the pedagogy and the terminology of today were nonexistent, or at least were not generally known. Nor, I might add, was the question.From that journey through time, I have reached a few tentative convictions. First among them is that the most important element in teaching creative drama or producing children's plays is the one too often marginalized by practitioners today in their pursuit of practical ends and contemporary issue-oriented scripts.1 It is the aesthetic. Is theatre an art form worth studying in its own right or is it an educational tool, appealing to administrators and producers because it is effective? I believe that it is an art and should be taught as an art form first and foremost, but that skillfully done, it can accomplish both objectives. The grey area between art and education is difficult for the inexperienced teacher to negotiate without the loss of one goal or the other. It is the intent that charts the course. [End Page 12] Early Recollections What was it that first drew me to the theatre? Was it the play? The players? Or the combined skills of all who were involved in the production whether it was a professional company in a theatre downtown; a puppet show at a community center; "dramatics" in the classroom, when the teacher allowed us to "act out" a history lesson or favorite story; or an assembly program put on by the eighth grade in the school auditorium? To me, they were all theatre, and theatre in whatever form it took was magic. To us, theatre was real, regardless of the performers or the venue. Even the puppets ceased to be inanimate figures in the hands of an artist who shared his belief in their reality with his young audiences. Indeed, the puppets assumed human proportions before our eyes and have remained so in my memory ever since. Was this not just as much of an aesthetic experience for us, the viewers, as the performance of living actors? I believe that it was, although at the age of eight I had never heard the word "aesthetic" or stopped to analyze my reactions.The reason, among others, for my lack of discrimination as a child was the fact that in America at that time no differentiation was made between what we did and what we saw, never mind who did it. There was a clear distinction between the amateur and the professional; it didn't concern us. We flocked to the few shows, both amateur and professional, deemed appropriate for children, and we made up shows of our own in our own backyards. Our shows were improvised (another term we didn't know then), but even minus a script, it was still theatre because we believed in it and so did the little ones on our block who were the audience.It was Winifred Ward, an American pioneer in the field, writing a few years later, who was to distinguish between process and product... (shrink)

Now, as soon as man suspects that he has another side of himself Jenseits] within himself, and that he is not enough in his mere natural state, then he is driven on to divide himself into that which he actually is, and that which he should become. Just as the youth is the future of the boy, and the mature man the future of the innocent child, so that othersider Jenseitiger] is the future man who must be expected on (...) the other side of this present reality. Upon the awakening of that suspicion, man strives after and longs for the second other man of the future, and will not rest until he sees himself before the shape of this man from the other side. This shape fluctuates back and forth within him for a long time; he only feels it as a light in the innermost darkness of himself that would elevate itself, but as yet has no certain contour or fixed form. For a long time, along with other groping and dumb others in that darkness, the artistic genius seeks to express this presentiment. What no other succeeds in doing, he does, he presents the longing, the sought after form, and in finding its shape so creates the - Ideal. For what is then the perfect man, man's proper character, from which all that is seen is but mere appearance if it be not the Ideal Man, the Human Ideal? The artist alone has finally discovered the right word, the right picture, the right expression of that being which all seek. He presents that presentiment - it is the Ideal. 'Yes! that is it! that is the perfect shape, the appearance that we have longed for, the Good News - the Gospel. The one we sent forth so long ago with the question whose answer would satisfy the thirst of our spirit has returned!' So hail the people that creation of genius, and then fall down - in adoration. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Justifying the Right to Music EducationMarja HeimonenIn this study I will explore legal philosophical questions related to music education.1 I will begin by asking, "Is there a right to music education?" and move on to consider what constitutes a right and what kind of music education is at issue. My argument is that there is a right to music education and to a certain kind of music education in (...) terms of content.In the Nordic countries, Finland, Sweden, Denmark, Iceland, and Norway, the right to general music education is based on law. All these countries belong to the Nordic legal culture. They are part of the Continental civil-law system consisting of enacted statutes with abstract norms. Case- and judge-centered common law that develops from decision to decision is used in Anglo-American societies such as the United States and England.2 The law usually leaves the contents of education more or less open.This study explores music education in the light of the ideas of Aristotle and some of his modern followers.3 Philosophers of music education significantly influenced this study, in which I argue that the principal aims of education are connected not only to musical skills, but also to virtues, moral philosophy, and the education of the human being as a whole. My objective is to make the differences [End Page 119] between the aims and content of music education in various societies more explicit and understandable.The right to music education is closely connected to its justification. In practice, music education is justified in terms of internal goods (in other words, by self-justifying values emphasizing personal well-being and self-expression) and external goods (favoring the effective training of future professionals, for instance). I will suggest that external goods should be subordinate to internal goods, and that an optional balance between the two is needed. This balance is achieved through continuous debate in a living tradition that focuses on the holistic view of the aims in music education.However, deeper arguments are needed in justifying the right to music education. According to Estelle Jorgensen, a dynamic and dialectic process characterizes music and education, both of which are part of the changing society and the culture that surrounds them: transformation is ongoing all the time.4 I will argue that music education has an important role not only for the individual, but also for society as a whole, since music could be regarded as an instrument in the teaching of virtues.The question that follows is: what kind of virtues? This essay explores the role of music education in developing one of the fundamental virtues in society, the sense of justice. The role of the music teacher could be compared with that of the judge: to build cases in real practical situations in the framework of general principles, which may be both written (such as law and curricula) and unwritten (tradition). Theory and practice have to go hand in hand—general principles always have to be adapted to individual situations (and not vice versa)—when music educators are acting in the present society.The ApproachThe right to music education includes not only the question of the right of every child and adolescent to receive a certain number of music lessons or to attend a music school. It also involves aspects related to values, aims, and contents. To clarify the complexity of rights in this context, we might think of several levels. The first level of ideological options comprises training for a professional career for which the notion of legal philosophy leans on analytical legal positivism. The second level of ideological options refers to artistic self-expression and the notion of law for this is outlined in terms of "law as culture" and natural law philosophy. The third level consists of the maintenance of societal or cultural values through music education and its notion of legal philosophy is given in terms of the historical school of law and natural law philosophy. A child's rights to music might be regarded as a negative freedom right, with protection against illegal interference on the part of the state, a positive welfare right (an [End... (shrink)

The purpose of this paper is to reflect on the uniqueness of the aesthetic reading of children’s literature and child hermeneutics as foundations for reading education. The first section examines Louise Rosenblatt’s transactional model of aesthetic reading and Wolfgang Iser’s phenomenological approach, as well as their theoretical implications for reader-response criticism. The paper’s second section focuses on some more recent reader-response criticism research directions, which investigate postmodern picturebooks whose proposals within the educational scene have generated conflicting opinions. However, empirical (...) studies that have investigated the point of view from which real children authentically live the experience of reading have demonstrated the surprising ability of younger readers to fathom and interpret these ambitious narratives, which invite readers into an experience that enhances interpretive resourcefulness. The characteristics of this variety of books reveal an implicit trust in the hermeneutic potential of younger readers, which contradicts the deep-rooted idea that continues to paint them as incapable of artistic-aesthetic experiences and unable to express their own hermeneutics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE PARTY'S OVER (ALMOST): TERMINAL CELEBRATION IN CONTEMPORARY FILM Tony Bartlett Syracuse University Movies are a universal language, and as we approach more and more integrated levels of global economy and communication they increasingly become a universal symbol system. At these levels a modern movie from China orNigeria will display swiftly recognizable sensibilities and situations to any viewer in Europe or the USA, and vice versa. But should we (...) not, therefore, also feel prompted to indicate a universal de-symbolization, if movies along with the modern world reflect constitutive elements of decomposition and collapse. For I would like to suggest in this essay that not only do movies constitute a kind ofplanetary envelope, literally a "film" of collective imaginai references wrapped around the world, but that this "film" is peculiarly apt to dismemberment, to breaking up before our eyes even as it still holds together, to abuilt-in "crisis" that is part ofits very nature. The two films that form a background to these remarks, Natural Born Killers and Pulp Fiction, are, I suggest, movies that set out actively to represent this cinematic crisis. In Adam Smith's The Wealth ofNations (Bk. 2, Vol. 5, 795-97), the grandfather ofmodern capitalism discusses the fate ofthe laborer who leaves arural village in which he is known and his life observed, or "attended to," by others. He moves to a great city where promptly "he is sunk in obscurity and darkness." Smith's concern is not directly to remedy this misery ofthe worker forced to seek employment in the anonymity ofthe city, but to avoid a possible course ofaction he might take. He wishes to divert him from the possibility of joining "a small religious sect," in whose company the newly depersonalized worker will achieve "a degree of consideration which he never had before." 2 Tony Bartlett Adam Smith does not relish the prospect ofthe mushroom growth ofclosed, "unsocial" religious factions within the heart of industrialized political economies, and he proposes two remedies by which the state, "without violence," might correct these tendencies. His proposals are remarkable both for their conjunction ofcertain themes and their prescience. The first is a plan for the imposition of the study of science and philosophy on the middle ranks ofthe poor, for science is "the great antidote to the poison of enthusiasm and superstition." Next to this classic Enlightenment nostrum comes the following: The second ofthose remedies is the frequency and gaiety of publick diversions. The state, by encouraging, that is by giving entire liberty to all those who for their own interest would attempt, without scandal or indecency, to amuse and divert the people by painting, poetry, musick, dancing; by all sorts ofdramatic representations and exhibitions, would easily dissipate, in the greater part of them, that melancholy and gloomy humour which is almost always the nurse ofpopular superstition and enthusiasm. Publick diversions have always been the object of dread and hatred, to all the fanatical promoters ofthose popular frenzies. Here are the movies before the fact. Adam Smith in his charter for emergent industrial capitalism sketches an alliance between education and entertainment that together will prevent any reversion to the darkness ofsmallscale society and its ready excrescence of religious fanaticism. All of the components of cinema aesthetic are assembled in Smith's prophetic vision: cinematography, script, score, choreography, plot, spectacle. The only thing lacking was the technology to capture them together on film, and with the release ofinventive energies attending division oflabor that would only be a matter of time. Cinema is the born ally ofrational modernity, and is in itself the child of industrial alienation and the need to find a mass aesthetic to substitute for the control exercised by the sacred in a traditionally local setting. But, ofcourse, there are several levels ofirony that are not lost on us here. First, Smith says explicitly that the state has a direct interest in such mass entertainment. What then is the relationship between the much prized freedom ofthe creative artist and the very concrete concern for self-preservation on the part ofthe state? He specifies that the people's entertainment must be without scandal or indecency: what now should be said when political leaders... (shrink)

Traditional theories of autonomy argue for rational agents who are free to make decisions about the moral law and justice. Adopting these theories entails that children lack of autonomy; they are not fully developed rational agents, and, because of that, they are unable to engage in the complex cognitive capacities required by autonomy, such as critical self-reflection or substantive independence. Amy Mullin who, as part of a new area of philosophy called Philosophy of Childhood, argues for granting children minimal or (...) local autonomy. She argues that children's attachments to those they love can be a source of autonomy in a minimal sense. She claims that it is in the relationship with those the child loves that the child is able to find meaningful activities and is able to care for someone or something. I argue that Jeff Lemire’s Essex County Vol. 1 Tales from the Farm, is a depiction of childhood that illustrates Mullin’s ideas. However, I will argue that through the use of images as a form of language, Lemire offers an insight that is unique to the medium of the graphic novel. Lemire as an artist negotiates the optical physical surfaces and uses these surfaces as a language to bridge the gap between the child and the adult and help us understand the mind of children as autonomous agents. This is an important contribution since it will allow us to understand how children can demonstrate autonomy in some of the ways in which they conduct their lives and how this may be reason enough to grant them a voice when decisions that would affect their lives are made on their behalf, such as custody cases or end of life decisions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Children's Perspectives:A Model of Aesthetic Processing in TheatreJeanne Klein (bio)Since the children's theatre movement began, producers have sought to create artistic theatre experiences that best correspond to the adult-constructed aesthetic "needs" of young audiences by categorizing common differences according to age groups. For decades, directors simply chose plays on the basis of dramatic genres (e.g., fairy tales), as defined by children's presupposed interests or "tastes," by subscribing to (...) Winifred Ward's broad descriptions of the "imaginative period" (ages six to nine), the "heroic period" (ages nine to twelve), and the "romantic period" (over age thirteen).1 Years later, Moses Goldberg elaborated upon these generalized divisions while cautioning that "no individual fits exactly into any set of categories."2 In his position paper on aesthetic development, he argued for individual access to aesthetic techniques, processes, and products for all ages, paralleled by four stages of cognitive capabilities, based on exposure to (1) arena-style participation theatre (for ages five to eight), which emphasizes story enactments; (2) a wide range of proscenium-style theatrical conventions; (3) relevant play content that directly relates characters' problems to spectators' lives and growing self-awareness; and (4) social issue plays that pose ethical dilemmas as cultural reflections.3 Meanwhile, Jed Davis compiled Age Group Profiles, organized by cognitive, spatial, emotional, and moral/ethical development, from his review of Piagetian literature; and Johnny Saldaña summarized stages of young interpretations of theatre from his seven-year longitudinal study.4Suffice it to say, the field of developmental psychology has come a long way since Piaget formulated his four constructivist stages. Since the mid-1950s, the cognitive revolution has spurred more integrated theories of information processing and depth-of-processing models that explain and predict how people construct schematic frameworks of knowledge and [End Page 40] assimilate and accommodate new information as a function of perception, attention, emotion, comprehension, memory, and social and moral behaviors. Although masculinist metaphors of hierarchical "staircases" and linear networks of associative learning still dominate computational models, feminist perspectives, which engender social cognitive, co-relational negotiations of narratives in situated contexts, have gained more widespread acceptance—by including theatre as an apt metaphor for development.5 Over the past twenty years or more, cognitive psychologists have finally discovered what dramatic theorists have known about narrative structures since Aristotle's Poetics: Powerful stories contain universal themes about the human condition through characters' conflicting actions. The most successful dramas are those that allow spectators to enter into a protagonist's psychological consciousness or "inner" vision in order to empathize with her "outer" reality.6While several developmental models of aesthetic understanding, experience, and appreciation exist in the realms of visual art and music education, few examples have been proposed in regard to theatre, particularly for child audiences.7 Instead, producers of Theatre for Young Audiences (TYA) tend to romanticize its social and moral "effects" upon youth by believing passionately that viewing one remarkable performance has the potential (the operative word) to "cause" positive, social changes in children's minds, hearts, and behaviors, given the presumed "power of human imagination."8 This obsession with progressive change foregrounds adults' desires to control human destiny by predicting "causes and effects" located in children's responses to live performances. However, this "folk theory" fails to explain how young imaginations actually function aesthetically from the contextual evidence of reception studies with child audiences. Just as feminists have argued for a distinctive "feminist aesthetics," based on women's alternative ways of knowing,9 I argue that children gaze upon theatre in differential ways by including age as a variable factor. "Children's aesthetics," their perceived interpretations of theatre, differ from that of adults' theorized postulations, based in part on their shorter life experiences with this medium. To this end, over the course of my career, I have sought to understand theatre from children's perspectives by focusing my research in the social cognitive theories and social science methods of child development, primarily through the vast literature of television and mass media studies conducted with young people over the past forty years. In particular, medium-specific studies that parse theatrical forms from dramatic content... (shrink)

In the discussion of religion and art, it is quite difficult to exactly define what makes art ‘religious’. In this article, the author suggest six different perspectives in which a work of art—any work of art—could be interpreted as ‘religious’, as an embodiment of the complex relationship between art and religion. These perspectives are not mutually exclusive: one and the same art work could be approached on multiple levels at once. Nor do they disqualify other methodologies of studying art and (...) religion. These perspectives provide conceptual windows to understand what people (could) mean when they discuss religious art. The six perspectives are: (1) material, (2) contextual, (3) referential, (4) reflexive, (5) ritual, and (6) existential. They vary from the more or less objective to the more subjective, and as such from artist-intended to viewer/listener-perceived (with or without help of clues provided by the artist and/or the object itself). The author illustrates who these different perspectives can vary in defining certain pieces of art as religious by using three very different case studies: the Isenheimer Altarpiece, one of Hugo Ball’s famous sound poems, and the digital game Child of Light. (shrink)

"I used to feel guilty at night. I live in, I always used to live in two countries, the diurnal one and the continuous very tempestuous nocturnal one.... What a delight to head off with high hopes to night's court, without any knowledge of what may happen! Where shall I be taken tonight! Into which country? Into which country of countries?"--Hélène Cixous, from _Dream I Tell You_ For years, Hélène Cixous has been writing down fragments of her dreams immediately after (...) awaking. In _Dream I Tell You_, she collects fifty from the past ten years. Cixous's accounts of her dreamscapes resist standard psychoanalytic interpretations and reflect her lyrical, affecting, and deeply personal style. The dreams, reproduced in what Cixous calls both their "brute and innocent state," are infused with Cixous's humor, wit, and sense of playfulness. Dreams have always been a crucial part of Cixous's writing. They are her archives and it is with them that she writes. Without dreaming, Cixous writes, "I would crumble to dust." As in many of her other texts, Cixous's mother, father, daughter, and friends populate this work, which offers artistic and provocative meditations on the themes of family, death, and resurrection. Scenes of a daily life-getting a haircut, caring for her child, preparing for work-become beautifully and evocatively skewed in Cixous's dreams. She also writes of dreams, both amusing and unsettling, in which she spends an evening with Martin Heidegger, has her lunch quietly interrupted by a young lion, flees the Nazis, and tours Auschwitz. The "you" of the title is fellow philosopher and friend Jacques Derrida, to whom these texts are addressed. The book reflects on many of the subjects the two grappled with in their work and in conversation: the deconstruction of psychoanalysis, literary production, subjectivity, sexual difference, and the question of friendship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely ChildEllen Handler SpitzThere was the child, listening to everything...—Yasunari Kawabata1IntroductionPicture-book characters spring to life in both verbal and visual registers. Moving about the page before our eyes as well as speaking and acting in their respective stories, they often make a long-lasting impact on children. Pictures and words, moreover, may overlap but are never commensurate; like (...) the words and notes of a song, they mean and evoke differently even while being experienced together. This brief essay considers a small selection of works by two distinguished twentieth-century American authors-artists: William Steig (1907–2003) and Maurice Sendak (b. 1928). It argues that, with their artful words and pictures, Steig and Sendak construct very different—even contrasting—visions of childhood. By “ethos” in this context I mean to suggest a vision of what a child is, a sense of what it means both to be a child and to address one. Such visions differ not only through the ages and from one culture and locale to another but also from one author-artist of the same period and locale to another. Invited to speak on Sendak’s and Steig’s respective works at meetings scheduled just a week apart in New York City during the winter of 2007, I found in these paired invitations a fortuitous opportunity to juxtapose several of their works and thereby discover some arresting contrasts and formulate the following readings.2First, a word on the topic of methodology. Nearly one hundred years have elapsed since Freud published his celebrated-cum-notorious foray into psychobiography with Leonardo da Vinci and a Memory of His Childhood,3 wherein shards of circumstantial biographical evidence were laid out in seductive mosaic patterns secured with a grout of ingenious speculation. Despite subsequent decades of critical reflection, Freud’s method soldiers on nonetheless as a modus operandi in the psychological interpretation of art and literature.4 By bracketing a small selection of Steig’s and Sendak’s works here and limiting myself to extracting a tentative underlying ethos from them, I am [End Page 64] taking the position that to write psychologically one need not mention or exploit a creator’s personal life. This essay points gently toward psychological approaches that ask what we can see when we look carefully at the pages of works. What can we find when we share children’s books with children? Why, for example, has Sendak’s Where the Wild Things Are sold over seventeen million copies (and its Amazon rank last time I checked was around 145, which means that only 144 other books in the United States were selling more copies at that particular moment), whereas his later work Outside Over There—a book that apparently figures prominently in his personal life—comes nowhere close?5 While market figures do not correlate flawlessly with children’s actual preferences (adults, not children, are the buyers), I would aver that, in this case, they do reflect the success and beloved status of Where the Wild Things Are, since the figures tally with additional facts: the book continues to appeal in its fifth decade post publication; it is known and has been translated worldwide, dramatized, and set to music6; and its characters have been fashioned into ubiquitous stuffed toys. On the other hand, in my (limited) experience, young children seem to find Outside Over There unsettling, unintelligible, even “creepy” and often have trouble sitting still through a full rendition. Some adults, on the other hand, praise that book as poetic and admire its more complex art. Such discrepancies in reception deserve our attention; they hint at fallow fertile fields lying over the rainbow, far beyond the much-plowed tracts of authorial psychobiography. This essay gestures casually toward those fields.The Connected Child“My dear Deborah,” said Doctor De Soto, “you must have been reading my mind.7Let’s begin with William Steig, who is best known for his New Yorker cartoons. His work for children extends back to 1968,8 however, when he was already a man in his sixties. Setting aside the... (shrink)

We are discussing the interpretation of Nietzsche about Heraclitus as the most Greek and anti-Platonic of the pre-Platonic philosophers, from the statement of opposites in the agonic game of becoming. Representative of an attitude originally Hellenistic, Heraclitus is interpreted as a true philosopher, as he intuitively captured the flow of becoming as a process of internalization of knowledge, translated by an investigation of himself. Accordingly, the Nietzschean interpretation goes against the tradition that had described Heraclitus as tearful and dark and (...) re-invents the character as the solitude, tragic joy and innocence of becoming, items for which Nietzsche ordering the metaphors of the game, the artist and child. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Elementary Students Quilting through Social StudiesLinda Bennett (bio)IntroductionIt is enchanting when over twenty students' quilt squares make a quilt. The common yet diverse techniques for making a quilt transform the students' quilt squares into a shared quilting experience. A quilt made by students in one classroom can demonstrate a unique characteristic of each student by combining their squares into a quilt about a common theme in the social studies (...) curriculum. The quilts become a lasting record of the students' depictions of the theme under study and contributions to a class project. The six quilts described in this article demonstrate how to make class quilts using social studies themes. The lessons learned by the students and teachers are shared and additional resources are provided to extend the experiences of elementary students quilting through social studies.The Elementary CurriculumOne of the first decisions when making a quilt in elementary school is how the quilt connects to the curriculum. Each year I ask my child's classroom teacher what social studies themes are in the curriculum, and with the help of the classroom teacher, the students design a quilt that matches the curriculum. The teacher determines how much class time to use for discussion of the theme and the best quilting technique for the students.The typical elementary social studies curriculum centers around self, family, school, and community in kindergarten through third grades, and the local state (in this case, Missouri) and the United States in fourth and fifth grades. Quilts can depict social studies strands such as culture, history, [End Page 90] geography, psychology, sociology, or political science. Families, friends, the school, local or national history, state or national symbols, and social issues are among the themes of quilts made by first through fifth grade students. As a parent who is also a social studies educator, I contribute to my children's elementary education by making quilts about the social studies curriculum with the students in their classrooms. Click for larger view View full resolutionFigure 1."Rights of the Child" quilt.Quilting can integrate many curricula in elementary school. When elementary students make a class quilt based on a theme in the social studies curriculum, they are integrating content and skills from literacy, mathematics, science, or art into the social studies expectations. Within language arts, students read, write, and research the social studies theme and the art of quilt making. Students use mathematical skills when measuring, cutting, and stitching. Science is integrated into social studies through themes such nature, global issues, or changes in the environment.Visual arts objectives for elementary students are intertwined into the quilting lessons. The artistic design of the quilt is the result of each student's fabric selection, design, and applications to the squares. The students use their hands, hearts, and minds as they make the quilt squares, and they learn the purpose and value of the art of quilting through the connections to the social studies curriculum.Sharing the QuiltsMy desire is for the students' enthusiasm for quilting to inspire other elementary school teachers to quilt with students. Several specific quilts are discussed below; first through third grade students have made quilts depicting the themes of families, friends, and the Rights of the Child, while older students (in fourth and fifth grade) made the pioneer quilt and the freedom quilt. [End Page 91] Click for larger view View full resolutionFigure 2."Families" quilt with hearts.For the "Rights of the Child" quilt (see figure 1), made by first and second graders, the students considered the rights of children while the teacher read A Children's Chorus and For Every Child a Better World.1 Each student made a quilt square about a right using fabric crayons. The quilt hung in the local public library to celebrate the rights of the child. Next to the quilt was a diagram with the first name of the student and the theme of his or her square.2Learning the names of friends and sharing friendships in the classroom can be the focus of social studies for young students. To make the quilt squares in the friendship quilt, the students traced their hand... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dostoevsky and Schiller:National Renewal Through Aesthetic EducationSusan McReynoldsDostoevsky's novels pivot upon scenes of spiritual transformation, moments of revelation that resolve dilemmas for which no logical solution can be found. Raskolnikov, for example, analyzes his crime from philosophical and sociological angles until he almost dies; he is saved by his dream of the plague and by the image of Sonia's face. When insight and progress come to Dostoevsky's fictional characters, (...) they come as dream, memory, and rapture before images of beauty and suffering. The choice between spiritual and logical solutions confronting Dostoevsky's characters is also a choice between Russia and the West. The rationalism and corollary doctrine of egoism that drives characters like Svidrigailov, Stavrogin, and Ivan Karamazov to madness and death are clearly associated in Dostoevsky's novels with Western philosophy. The ability to surrender to the beneficial power of images is associated with characters like Dmitry Karamazov, who is able to accept the primacy of spiritual truth—the truth of his need for expiation—over the fact of his legal innocence of his father's murder. The breadth of spirit that renders Dmitry receptive to the truth revealed in his dream image of the suffering child is clearly identified in The Brothers Karamazov as a distinctively Russian national trait.The contrast between reason, death, and the West, on the one hand, and receptiveness to imagistic truth, salvation, and Russia, on the other, [End Page 353] drives the plots of Dostoevsky's novels. This familiar feature of Dostoevsky's art is first articulated in texts unfamiliar to most readers; the historical essays of the early 1860s that were among his first published works after his return from exile. In 1849, Dostoevsky was arrested as a member of the Petrashevsky Circle, an association dedicated to disseminating the tenets of Western socialism in Russia. For his participation in the Circle, Dostoevsky was initially condemned to death; the sentence was commuted to four years of hard labor in Siberian prison camp, to be followed by an indefinite period of military service in Siberian exile.When Dostoevsky returned to St. Petersburg and public life in 1860, he and his older brother Mikhail launched the journal Time. Mikhail served as editor. Dostoevsky would publish The Insulted and Injured and Notes from the House of the Dead in its pages, in addition to numerous essays dedicated to contemporary literature and events. The essays on Russia and Europe published in Time were a creative workshop in which some basic features of his later novels—most notably the contrast between Western positivism and Russian spirituality, conceived as the capacity to embrace imagistic revelations of the truth—were first developed. The pressure of Dostoevsky's developing artistic craft is clearly apparent in these non-fictional texts from the early 1860s, which narrate modern Russian and European history as a story structured by a dual plot of death and redemption.Before Dostoevsky wrote novels structured around the contrast between characters like Dmitry and Ivan Karamazov, he wrote essays structured around the contrast between Russia and Western nations like France and England. Before Crime and Punishment portrayed Raskolnikov's resurrection as the surrender to images offering glimpses of something that eludes rational analysis, Dostoevsky's essays in Time predicted national renewal for Russia through her embrace of the truths conveyed by the images of fine art. Some essays in Time compose a plot of national rebirth through the effects of artistic images for Russia, but others admonish readers with what Dostoevsky believed would be the terrible consequences of positivism for the West. Winter Notes on Summer Impressions, published in Time in 1863, casts France and England as mortally ill victims of a materialist worldview that can only grasp the challenges of modernity as scientific and political problems. The spiritual solutions that will be revealed to Russia through images of beauty, Dostoevsky warns, will elude nations ensnared in rational approaches to their problems. [End Page 354]Throughout his post-exile life, Dostoevsky believed that political improvement results from changes in the moral condition of individuals, inner changes that are catalyzed by images, not reached through rational deliberation. In 1861, he writes of the Imperial edict... (shrink)

Suppose a woman can carry to term only one of two viable embryos. One has the genetic potential to become a normal child. The other has a gene that gives it the potential for both the artistic genius and the severe manic-depression of the painter Vincent Van Gogh. I think it would be permissible to select either embryo. But I also believe that it would be impermissible to intervene to turn an embryo that has the potential to be normal (...) into a potential Van Gogh, and vice versa. The paper aims to resolve the tension between these beliefs. (shrink)

When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual (...) achievements, and this makes him optimistic and tolerant, as one is with a child, who has a right to demand credit for his future. Analyzing media in this way requires a very different temperament than analyzing the use people make of them. Studies of this latter kind, given the deplorable state of our civilization, often make a depressing reading. Among Rudolf Arnheim's latest publications are Toward a Psychology of Art, Visual Thinking, and Entropy and Art. A new version of Art and Visual Perception: A Psychology of the Creative Eye, will appear this fall. He is professor of the psychology of art, emeritus, at the Carpenter Center for the Visual Arts, Harvard University. Other contributions to Critical Inquiry are "A Stricture on Space and Time" and "THE LANGUAGE OF IMAGES: A Plea for Visual Thinking". (shrink)

Waking, Dreaming, Being is an unusual book in many ways. I mention two. First, in some ways it is a memoir. Few philosophers started as a child doing the sort of philosophy that they did as a grown-up. Evan did. Evan grew up in the intellectually fertile world of the Lindisfarne Association, the collaborative of scientists, artists, ecologists, and contemplatives founded by his father, William Irwin Thompson, a polymath, whom I had the pleasure of meeting in 2004 at (...) the Crestone Zen Monastery in Colorado.Evan’s dad taught him Raja Yoga as a boy—when he was seven!—and read him Upanishadic children’s stories. Lindisfarne was the antithesis of a C. P. Snow–style Two Cultures environment where the sciences and... (shrink)

A progressive and uncompromising work that merges fiction and theory to create an intense yet gloriously deviant look at the world through the eyes of controversial Brit-artist, Jake Chapman (of the Chapman Brothers). With protagonists who -- like his mutated Nike-wearing child mannequins -- exhibit similar aberrations, Chapman engages with Freudian theory, genetic engineering and consumerism, to create a highly original and intellectually stimulating work that is as challenging and confrontational as any of his acclaimed works of art.

The most notorious and celebrated forger of the twentieth century, Han van Meegeren (1889-1947), was born in the Dutch town of Deventer. He was fascinated by drawing as a child, and pursued it despite his father’s disapproval, sometimes spending all his pocket money on art supplies. In high school he was able finally to receive professional instruction, and went on to study architecture, according to his father’s wishes. In 1911 he married Anna de Voogt. His artistic talents were recognized (...) when he soon after won first prize and a gold medal from the General Sciences Section of the Delft Institute of Technology for a drawing of a church interior. He agreed to sell this drawing, but was discovered by his wife making a copy of it to sell as the original. She dissuaded him from carrying out this small swindle, but the incident is the first evidence of an interest in faking, even if in this case the artist was merely forging his own prize-winning work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Out of an Old Toy ChestMarina Warner (bio)The Soul of the ToyIn Baudelaire’s essay “La Morale du joujou,” written in l853, he remembers how the toyshop owner Madame Pancoucke, all wrapped in velvet and furs, beckoned the young Charles to choose something from her “treasure store for children.” Looking back down the years, the poet still sees in his mind’s eye the magic room overflowing with toys from floor (...) to ceiling that this “Fée du joujou” (Toy Fairy) opened to him. Without a second thought, he picked out “the most beautiful, the most expensive, the most garish, the freshest and the most bizarre of the playthings.” But his horrified mother insisted he choose another, less extravagant present, and the little Baudelaire had to resign himself and relinquish his toy.The word joujou (not jouet, the usual word for toy) is almost a pet name with a nursery ring like a “teddy” or a “dolly”; its repetition hints at baby talk and hence at playing, as when a child exchanges endearments and questions with a toy in imaginary conversations and elaborate scenarios. The toy in so many children’s games becomes part of an ongoing story and in this way initiates the first invented narratives in the child’s life.That scene of seduction, pleasure, and frustration with Mme. Pancoucke and his own mother catches Baudelaire’s lasting affection and reasoned admiration for toys. He called them “cette statuaire singulière” (this singular statuary); he was first a poet and then an art critic rather than a novelist, and as a flâneur of the boulevards and the galleries, he adopted a language of aesthetics, treating toys as an unusual form of sculpture. He recalls in pleasurable detail the miniature worlds conjured by Victorian nursery games and child’s play—from tiny “diligences” or mail coaches to detailed model furniture. But above all he muses in wonder at children’s ability to play without props or models, creating narratives, dialogue, and dramas [End Page 3] through fantasy alone: “All children talk to their toys; toys become actors in the great drama of life, reduced by the camera obscura of their small brains. Children bear witness through their games to their great faculty of abstraction and their high imaginative power. They play without playthings.”1Significantly, Baudelaire goes on to make the connection to creativity in general: “[The child’s] facility to satisfy the imagination shows the spirituality of childhood in its artistic conceptions. The plaything is the first initiation of a child to art.” Nothing will ever attain again, he says, the same degree of liveliness, or, crucially, the same intensity of presence or belief. For Baudelaire, the realization of childish make-believe cannot be regained: “Isn’t all of life found there in miniature, and much more vivid in colour, cleaner and shinier than real life?”2Yet Baudelaire’s essay lingers on the frustration that dims these vivid, shiny colors, for children, he says, also want to see the soul of a toy. He describes how they will turn about their playthings and shake them, hurl them to the ground, and often break them in their bafflement and even rage at their stubborn refusal to awaken into life. His meditation hints that at the point when make-believe fails, the vitality of toys vanishes and produces a primal encounter with mortality: “But where is the soul? It’s here that bewilderment and sadness begin.”3 The beginning of imagining stories brings with it frustration that the story is not powerful enough—it is not the real thing. In a connected prose poem entitled “Le Joujou du pauvre,” published nine years later, Baudelaire pursues this thought, as he observes an exchange between a beautiful, pampered child inside the exclusive railed park of a chateau. He has “a splendid toy, as fresh as its master, varnished, gilded, clothed in a purple dress and covered with plumes and glitter.”4 But the rich child is not interested in his doll, for on the other side of the railings a ragged street urchin shows him, in a little cage which he shakes about, a living rat—”drawn... (shrink)

El pintor Blasco de Grañén, uno de los principales exponentes de la pintura gótica aragonesa del segundo tercio del siglo XV, fue el autor de las pinturas de varios retablos realizados para las tres provincias aragonesas en las que se representaban escenas de la Virgen María con el Niño y la Coronación de la Virgen junto con ángeles músicos. En el presente artículo, además de describir estos temas y tipos iconográficos, se realiza un breve recorrido histórico-artístico de cada pintura, se (...) describen las escenas musicales y se identifican sus elementos. Finalmente, se obtienen ciertas conclusiones acerca del contenido musical de las pinturas de Blasco de Grañén, que se caracterizan por su rica iconografía musical. Painter Blasco de Grañén, one of the main exponents of Aragonese Gothic painting of the second third of the 15th century, was the author of the paintings of several altarpieces made for the three Aragonese provinces, on which scenes of the Virgin and Child and the Coronation of the Virgin were represented with angels musicians. This article, as well as summarizing these iconographic subjects and types, makes a brief historic-artistic outline of each painting, describes the musical scenes and identifies their elements. Finally, some conclusions are drawn about the musical content of the paintings by Blasco de Grañén, which are characterized by their rich musical iconography. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thomas G. Pavel INCOMPLETE WORLDS, RITUAL EMOTIONS' IN recent years, the notion of "fictional world" has enjoyed a considerable rise in fortune. The expression, however, is not entirely new. To refer to the world of a literary work, of a novel or of a play, has always been a favorite way of speaking for literary critics and aestheticians. In most cases, these were informal worlds. A discussion of the (...) world of Balzac, Dostoyevsky, HenryJames, or Proust often amounts to a description of each author's preferences in die selection and rearrangement of his material. Such discussion primarily fits authors who purposefully attempt to build comprehensive representational artifacts. One speaks quite naturally about l'univers balzacien, or about the universe of Musil. But is one entitled to refer with equal ease to the world ofBenjamin Constant, meagerly perceptible in his Adolphe, a short novel built in the spirit of economy, displaying just a few characters and a minimum of worldly information? Perhaps density and comprehensiveness are not indispensable characteristics of literary worlds. Aestheticians and narratologists using the "fictional worlds" terminology seem to believe mat any kind of artistic text projects a world, be it rich or poor. Such worlds are imagined in the fashion of modern philosophy of logic as states of affairs, more or less comprehensive. Some writers believe that the states of affairs comprised in fictional worlds must be fairly sizable, since diey should include "not only what the author indicates, but also whatever is required (entailed) by that which he indicates." 1 The laws of nature which are not specifically contradicted by the text would belong to its world. Thus, a few notorious cases aside, there is no reason to doubt that every child born in fiction has been engendered by a human fadier as long as the text does not report an exception. And if it does? Then, assuming that the laws of logic still govern if not fiction itself at least our understanding of it, we may appeal to what "possible world" philosophers have called "small miracles." * Editor's note: This article, as well as the contributions by Gerald Prince, Peter van Inwagen, and Kendall Walton which follow it, grew out ofa symposium on "Styles ofFictionality," organized by Professor Pavel and held at Harvard University in 1981. The Fall, 1983 issue of PHILOSOPHY AND LITERATURE will contain additional papers presented at the symposium. 48 Thomas G. Pavel49 Imagine, for instance, the world in which Notre Dame de Paris would be covered with blue paint. While everything else would preserve the properties it possesses in the actual world, with the laws of nature and the caused chains maintained, a small local change, somewhat miraculous, would modify only the color of the venerable building. Similarly, the world of Balzac may be understood as the world of early and mid-nineteenth-century France, slightly modified by the addition of a few hundred imagined characters. That diese conform surprisingly well to the general laws of French society of the time is so much the goal of Balzac's successful project, that for the sociologically-minded reader die' actual nonexistence of Rastignac, Rubempré, Vautrin, or Birotteau may appear a mere accident. These characters, one may surmise, display every trait that actual counterparts of theirs would possess, except existence. Hence, why would Rastignac's or Vautrin's emergence in a world omerwise identical to nineteenth-century France amount to anydiing more than a "small miracle"? On the other hand, Balzac's world being blessed wim hundreds of such miracles, the very magnitude of the project vindicates the attribute of "visionary," ascribed to Balzac by Béguin, or, if metaphorically undercut, mat of"God the Father" given him by Thibaudet. For, would not such magnitude entail more than just local changes in an otherwise faithful representation of the "actual" nineteenthcentury France? Similarly, would we interpret a fictional world in which a child has been engendered not by a human father, but by a divinity, as identical in all respects to the actual world, except for the limited modification attributed to a small miracle? 2 If we grant for a moment the improbable assumption that nineteenth-century France was a given and that Balzac... (shrink)

. As a discipline, semiotics has gained recognition in many fields. Cultural background plays an important part in the field of the visual art. Given the rich cultural context of the pictorial hybridization Chinese-European in the early Qing dynasty, the pictorial works can be used in studying semiotics. This article addresses a discourse on some semiotic reflections in painting. It focuses on the application of the theory of the semiotic scientist Charles Peirce that has proven to be suitable for analyzing (...) pictorial works. The model chosen as a subject for investigation is a painting in ink on silk titled “Portrait of Qianlong’s Consort with Yongyan as a Child,” painted using Western techniques in the eighteenth century. The analysis of the portrait offers an appropriate basis to develop some semiotic reflections on this work of art by contributing to aesthetic and artistic awareness. Semiotic structures were employed to develop an understanding of the pictorial forms by turning each element into a tool of communication. The semiotic reading of this work is concerned with the visual art education and sensorial message of the painting. (shrink)

The article presents theoretical generalization and offers new solutions to the problem of developing creative skills in preschoolers in painting classes, taking into account the postmodern tendencies which are becoming increasingly common in the post-Soviet countries. The relevance of the article lies in the need to reform today’s education system in the post-Soviet space and develop pedagogical technologies to enhance the effectiveness of preschool education and reveal the creative potential of each child in the context of the postmodernism and (...) the latest achievements in psychology of creativity. The paper aims to develop and theoretically justify a technology for developing creative skills in preschoolers in painting classes in educational institutions for the postcolonial democracies on the example of Ukraine based on the analysis of relevant scientific sources and teaching placement. The article also substantiates the technology for developing creative skills in preschoolers in painting classes, which is defined as a model for organizing artistic and aesthetic activity of preschoolers aimed at expanding their cognitive experience and emotional perception of the world, as well as cultivating their aesthetic attitude to its objects and ensuring creative self-expression of each child. The article proves the validity of the open performative postmodernist approach, according to which playing activities, perception and enjoyment from creativity act as the main drivers of the creative activity of primary school children. (shrink)

In the year 1842, Thomas Cole (1801-1848) painted a set of four oil paintings entitled THE VOYAGE OF LIFE. As the title indicates, the artist likened life to a voyage. This voyage begins with man emerging as a child from a dark cave into the river of life in a spring setting. As this voyage through the river of life continues, man is seen passing through the stages of youth, manhood, & then finally old age. Likewise, the setting of (...) nature is seen correspondingly passing through the stages of summer, autumn, & then finally winter. Any voyage must have a starting point, destination & duration. Also any voyage is a continuation of some sort of existence, & there is a continuity of existence after the voyage is complete. What is this voyage? Why does it have to exist? What existed before this voyage? What will happen after the destination is reached? Why is it short for some, long for others? Why is it easier for some, harder for others? Daheshism deals with these issues & many others. Daheshism is a revolution in the human approach to philosophy, life & religion. It is a new garment for the body of traditional thought & belief. The aim of Daheshism is to provide a universal belief that encompasses all other beliefs. It accomplishes synthesis rather than fragmentation of religious beliefs & expansion rather than contraction of philosophical thought. To order: P.O. Box 16680-8680, Alexandria, VA 22302. Telephone: 703-845-8223, FAX 703-845-8224 or Baker & Taylor Books. (shrink)

When the late Heinz Kohut defined psychoanalysis as the science of empathy and introspection, he sparked a debate that has animated psychoanalytic discourse ever since. What is the relationship of empathy to psychoanalysis? Is it a constituent of analytical technique, an integral aspect of the therapeutic action of analysis, or simply a metaphor for a mode of observation better understood via ‘classical’ theory and terminology? The dialogue about empathy, which is really a dialogue about the nature of the analytic process, (...) continues in this two-volume set, originally published in 1984. In Volume I, several illuminating attempts to define empathy are followed by Kohut’s essay, ‘Introspection, Empathy, and the Semicircle of Mental Health.’ Kohut’s paper, in turn, ushers in a series of original contributions on ‘Empathy as a Perspective in Psychoanalysis.’ The volume ends with five papers which strive to demarcate an empathic approach to various areas of artistic endeavour, including the appreciation of visual art. Volume II continues the dialogue with a series of developmental studies which explore the role of empathy in early child care at the same time as they chart the emergence of the young child’s capacity to empathize. In the concluding section, ‘Empathy in Psychoanalytic Work,’ contributors and discussants return to the arena of technique. They not only theorize about empathy in relation to analytic understanding and communication, but address issues of nosology, considering how the empathic vantage point may be utilized in the treatment of patients with borderline and schizophrenic pathology. In their critical attention to the many dimensions of empathy – philosophical, developmental, therapeutic, artistic – the contributors collectively bear witness to the fact that Kohut has helped to shape new questions, but not set limits to the search for answers. The product of their efforts is an anatomical exploration of a topic whose relevance for psychoanalysis and psychotherapy is only beginning to be understood. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:234 Feminist Studies 45, no. 1. © 2019 by Abigail G. H. Manzella Built for Two Abigail G. H. Manzella Arabesque, darling, arabesque. Then my grandmother would guffaw as my six-year-old leg lifted, pose unsteady Twisting, shifting in my first artistic throes still buoyant and raw. She could be brusque, Not grasping what could hurt a child’s heart, But her laughter was infectious Her eyes like mine—a smile. (...) At a distance, she supported my adventures in art. What became of your poems, she pried when I’d reached my full height. That’s kid stuff, my flippant response. She’d nod and at my next visit ask again, More shrewd than polite. A day arrived when she could ask no more. I sang to her the songs of her childhood Daisy, Daisy, give me your answer, do... She’d mouth the words and swing her leg The one still good. Just like a kid. And there I stood feeling like one, too.... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Road to Understanding and Acceptance of the Late Effects of Pediatric Brain Tumors and TreatmentJeanne CarlsonWe had little warning or time to adjust to our daughter’s diagnosis. A call from her third grade teacher reporting that Sarah seemed to be having vision problems rapidly led to eye exams, an MRI, and the discovery of a Germinoma brain tumor in the suprastellar region of Sarah’s brain. We were terrified (...) but began treatment feeling optimistic about the outlook for Sarah’s recovery. Luckily, Sarah’s treatment was relatively non–invasive and quick, chemotherapy and radiation, five months start to finish. We were thrilled to have Sarah’s treatment behind us.As any parent of a child with a life–threatening illness knows, family life is seriously disrupted by the countless doctor, lab, and hospital visits, the worry, and the financial strain that are suddenly added to the demands of everyday life. We did our best to balance our focus on both of our children as Sarah is a twin and we didn’t want her brother Will to suffer as a result of his sister’s illness. It wasn’t easy but we found a way to schedule Will’s usual play dates, baseball practice, and family time. We were all happy and relieved when Sarah’s treatment was completed, yet we would later learn that we had been incredibly naïve in two ways; we thought that our brain tumor journey was over after Sarah’s treatment was completed and we thought that we’d brought Will through the process without effect. We had a lot to learn.At the time of diagnosis we knew that Sarah’s memory and ability to express emotion had already been impacted by the tumor but we didn’t yet know what that would mean to her quality of life. We were virtually unaware however that at age nine the chemotherapy and radiation treatments that Sarah received would result in profound late effects. Following treatment Sarah successfully completed 3rd grade and even received excellent STAR test scores (California state standardized tests). In 4th grade however, Sarah’s performance began to diverge from that of her peers and she found herself struggling in school and unable to make friends. We began looking for ways to help our daughter.What followed was a five year long journey through testing, evaluations, individualized education plans (IEPs), and therapies, which, in the end, left our family needing to accept the fact that although Sarah remains intelligent and artistically talented, she suffers from a constellation of late effects that will always affect her ability to function in the world. As a result of Sarah’s tumor and treatment she struggles with Auditory Processing Disorder, word finding problems, poor executive function, inability to recognize how she feels, significant difficulty making decisions, inability to read social cues, poor memory, slow processing, an emotional age of about nine, and lots of anxiety. She is also panhypopituitary, meaning that she has no remaining pituitary function and must take replacement medications by pill and injection, has hypothalamic obesity (HO), which is primarily controlled by more medication, and Raynaud’s Disease. The HO is an ongoing challenge because if Sarah does gain weight she can’t lose it again and exercise is not an easy solution because, like many pediatric brain tumor survivors, Sarah is easily fatigued. Finally, although Sarah’s vision improved after treatment her vision loss is significant enough to prevent her from driving. We pieced together this understanding of Sarah’s challenges and disabilities slowly so it wasn’t until the end of our children’s middle school years that we finally accepted the magnitude of the damage caused by the tumor and treatment. Thereafter we changed our focus from what Sarah might achieve in life to how to support [End Page 21] her in the activities at which she still excels and how to keep her active, interested in life, and feeling good about herself.It would have been a huge gift if we had been provided with information about the possible late effects that can result from treating the brain of a 9–year–old... (shrink)

Abusive practices in elite women’s artistic gymnastics have been the focus of discussions about how to eliminate or reduce them. Both coaches and parents have been named as key actors in bringing about change. Our focus is on parents and their ability to safeguard their daughters in WAG. Parents are not independent actors, however, but are part of a larger web consisting of an entanglement of emotions and technologies and rationalities used by staff, other parents, and athletes, bounded by skill (...) development plans and by coaching expertise and authority. This entanglement may limit the ability of parents to bring about change. We draw on a Deleuzian notion of assemblage, Foucauldian concepts of discourse and governmentality and Ahmed’s assertion about the entanglement of discourses and emotions to explore how parents are disciplined into accepting dominant discursive practices of sport clubs for elite athletes. The data were drawn from a project called the Parental Awareness Program that was designed to make parents aware of practices in competitive WAG that may not be in their child’s best interest. Participants were parents of young gymnasts who had been identified as “talented” and who were members of an elite gymnastics club. The data analysis was based on focus group discussions with a total of 22 parents and semi-structured interviews with 8 parents. The results suggested that although parents problematized many practices during PAP, processes of governmentality involving an assemblage of discourses about coaching expertise, families, talent, enjoyment, long term skill development plans and its associated time demands, together ensured parental consent for dominant practices. The data suggested that a reduction of abusive practices lies in part in critical examinations of skill development plans that are presented as regimes of truth and are kept in place by emotions and the authority accorded to coaching expertise. These processes curtail parents in their ability to safeguard what is in the best pedagogical interest of their daughter. (shrink)

Children's vulnerability gives rise to duties of justice towards children and determines when authority over them is legitimately exercised. I argue for two claims. First, children's general vulnerability to objectionable dependency on their caregivers entails that they have a right not to be subject to monopolies of care, and therefore determines the structure of legitimate authority over them. Second, children's vulnerability to the loss of some special goods of childhood determines the content of legitimate authority over them. My interest is (...) in the so-far little-discussed goods of engaging in world discovery, artistic creation, philosophical pursuits and experimentation with one's self. I call these ‘special goods of childhood’ because individuals, in general, only have full access to them during childhood and they make a distinctive and weighty contribution to wellbeing. Therefore, they are part of the metric of justice towards children. The overall conclusion is that we ought to make good institutional care part of every child's upbringing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface That an overtly white-nationalist misogynist demagogue was voted into power in the United States is cause for alarm and despair. As the election results sink in and analyses take shape, we at Feminist Studies mark this moment via poetry, a tradition of feminist expression that we have long nurtured. We include in this issue a special section on poems responding to the election. Raw by necessity, they allow (...) for a collective processing of feelings experienced in this moment, even as we prepare for the courage and acuity needed in days ahead. The scholarly works in this issue offer reflections on the travels of the term gender: in French Canadian feminist circles; the misreadings of gender and sexuality in histories of post-WWII New York City; and the gains and gaps in activism against gender-based violence and inequality. Geneviève Pagé recounts how the term gender was taken up in French Canadian scholarship, while Alix Genter offers a visual history of what butchness meant in 1950s and 1960s New York City. Julie R. Enszer tracks the representation of women writers through literary grants offered by the National Endowment for the Arts and in Norton anthologies, making the case that gender parity remains an elusive goal. Elizabeth Jean Hornbeck narrates the 1980 horror film The Shining as a commentary on violence against women and child abuse that uses the Gothic form to salutary effect. Nikki Lane reviews recent scholarship in black queer ethnography, and Jennifer A. Wagner-Lawlor introduces us to the feminist eco-art of Pamela Longobardi. Our featured poets, apart from our special section, are Hannah Baker Saltmarsh and Karen An-hwei Lee. Our closing forum on trigger warnings narrates the innovative practices that Alexis Lothian and Ramzi Fawaz propose in response to a contentious pedagogical debate. 560Preface Geneviève Pagé describes the history of the journey of the term gender in feminist circles in Montreal, using this case to comment on the dilemmas that arise from Anglocentrism in feminism. Pagé argues that in many ways, the term gender was not well suited to the context she highlights: Quebec feminists already possessed an intellectual infrastructure for referencing the meanings of the term gender through alternative phrasing, such as rapport sociaux de sexe. Furthermore, the grammatical concept of genre was “a concept central to the French language, but only peripheral in the English language,” and therefore, its use in French carried a potential “naturalizing” connotation. Nonetheless, given the dominance of English in feminist theory, Pagé concludes that “the polysemic nature of gender” allowed “for a fluid and multiple account of the local and global processes at work in the construction of women and men” in this context. Alix Genter gives us a nuanced understanding of butch genders and butch-femme aesthetics. Rather than relying on a stereotypical version of the 1950s queerly legible butch in masculine clothes, Genter argues that butchness itself was visually nuanced and coded in different ways than expected. Referencing a rich archive of 1950s-era photographs, Genter demonstrates that butch-identified women “conveyed their identities through alternate means that included clandestine codes and plays on women’s fashions.” This approach to butch aesthetics and lesbian self-representation opens up the common notion of a strict butch-femme contrast and introduces the concept of conscious mutual survival between the two lesbian identities. The appreciation of nuance continues in Nikki Lane’s review essay of reflexive ethnographic research about black queer communities. Lane’s review of recent work by Jafari S. Allen, Marlon Bailey, Mignon Moore, and Mireille Miller-Young highlights the attention these authors give to the complex politics of sexuality in everyday experiences of black communities. With an emphasis on the illuminating potential of ethnography and qualitative methodologies, Lane discusses how each text adds to our understanding of processes of “racialization, gendering, and sexualization.” Lane concludes that black queer and feminist ethnographic methods help accrue an embodied knowledge—the “flesh”—of black queer experience. Preface 561 The art featured in this issue is by Pamela Longobardi, who uses found-plastic objects to create painting, sculptures, installations, assemblages, photographs, and community-art projects. As an artist with training in biology, Longobardi focuses on the... (shrink)

"Nietzsche Trauma and Overcoming " shows that Nietzsche suffered from Post-Traumatic Stress Disorder, and most probably was a victim of childhood sex abuse. I bring convincing evidence from his texts to support these claims, along with a discussion of corroborating psychological findings on these issues. I show that he teaches coping with pain and suffering, based on his life experience, with lessons from the school of war, the wisdom of reinterpretation, and artistic activity. His three themes of the Superman, Eternal (...) Recurrence, and the Will to Power, the heart of his philosophy and psychology, are understood in a new light, in relation to his personal suffering and overcoming. The book criticizes the attempts to diagnose Nietzsche as suffering from various psychiatric disorders, psychoanalyze him as a fatherless child grown old, and outing him as a closet homosexual. These approaches lead to a dead-end. Firstly, it is impossible to prove that someone is a paragon of mental health, not a covert homosexual, and unmoved by a parent’s death. Secondly, these speculations explain only a small part of Nietzsche’s personal statements, found in his writings. Thirdly, and most importantly, they do not change our understanding of his ideas and how they were arrived at; they do not increase our appreciation of him; and do not leave us with any lessons for life (the goal of any good writing according to Nietzsche). (shrink)