The events of the Holocaust of European Jews (and others) by the Nazi state between 1939 and 1945 deserve to be remembered and studied by the nursing profession. By approaching literary texts written by Holocaust ‘survivors’ from an interpersonal dimension, a reading of such works can develop an ‘ethic of responsibility’. By focusing on such themes as rationality, duty, witness and the virtues, potential lessons for nurses working with people in a variety of settings can be drawn. Implications for the (...) teaching of nursing ethics are made in the areas of the virtues, relationships, professional ethics and the moral community of nursing. (shrink)

Finally, our argument suggests that the relationship and the distinction between literature and philosophy cannot be made in terms of a distinction between aesthetic and epistemological categories. All philosophy is condemned, to the extent that it is dependent upon figuration, to be literary and, as the depository of this very problem, all literature is to some extent philosophical. The apparent symmetry of these statements is not as reassuring as it sounds since what seems to bring literature and (...) philosophy together is, as in Condillac's argument about mind and object, a shared lack of identity or specificity. Contrary to common belief, literature is not the place where the unstable epistemology of metaphor is suspended by aesthetic pleasure, although this attempt is a constitutive moment of its system. It is rather the place where the possible convergence of rigor and pleasure is shown to be a delusion. The consequences of this lead to the difficult question whether the entire semantic, semiological, and performative field of language can be said to be covered by tropological models, a question which can only be raised after the proliferating and disruptive power of figural language has been fully recognized. Paul de Man, Tripp Professor in the humanities and chairman of the comparative literature department of Yale University, is the author of Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism. His previous contribution to Critical Inquiry, "Political Allegory in Rousseau," appeared in the Summer 1976 issue and appears in his book Allegories in Reading. (shrink)

Rosso: Can you say something more about the differences between your work and Derrida’s?De Man: I’m not really the right person to ask where the difference is, because, as I feel in many respects close to Derrida, I don’t determine whether my work resembles or is different from of Derrida. My initial engagement with Derrida—which I think is typical and important for all that relationship which followed closely upon my first encounter with him in Baltimore at the colloquium on “The (...) Languages of Criticism and the Sciences of Man”—had not to do with Derrida nor with me, but with Rousseau. It happened that we were both working on Rousseau and basically on the same text, by sheer coincidence. It was in relation to Rousseau that I was anxious to define, to try to work out some … not discrepancies … but some change of emphasis between what Derrida does and what I’m doing. And there may be something in that difference between us that remained there, to the extent that in a very genuine sense—not as denegation or as false modesty —my starting point, as I think I already told you, is not philosophical but basically philological and for that reason didactical, text-oriented. Therefore I have a tendency to put upon texts an inherent authority, which is stronger, I think, than Derrida is willing to put on them. I assume, as a working hypothesis , that the text knows in an absolute way what it’s doing. I know this is not the case, but it is a necessary working hypothesis that Rousseau knows at any time what he is doing and as such there is no need to deconstruct Rousseau. In a complicated way, I would hold to that statement that “the text deconstructs itself, is self-deconstructive” rather than being deconstructed by a philosophical intervention from the outside of the text. The difference is that Derrida’s text is so brilliant, so incisive, so strong that whatever happens in Derrida, it happens between him and his own text. He doesn’t need Rousseau, he doesn’t need anybody else; I do need them very badly because I never had an idea of my own, it was always through a text, through the critical examination of a text … I am a philologist and not a philosopher: I guess there is a difference there … I think that, on the other hand, it is of some interest to see how the two different approaches can occasionally coincide, at the point that Gasché in the two articles he as written on this topic says that Derrida and myself are the closest when I do not use his terminology, and the most remote when I use terms such as deconstruction: I agree with that entirely. But, again, I am not the one to decide on this particular matter and I don’t claim to be on that level … Stephano Rosso teaches English literature at the University of Verona and is writing a dissertation in comparative literature at SUNY—Binghamton. Among other works, he has coedited, with Naurizio Ferraris, Decostruzione tra filosofia e letteratura and Estetica e decostruzione. He is presently translating Paul de Man’s Resistance to Theory into Italian. (shrink)

In today’s business world, the phenomenon of overqualification is widespread. Organizations need to consider – how to motivate the overqualified employees to utilize their qualifications, for example, promoting creative performance. Based on person-organization fit theory, this study explored when and how employees, who feel overqualified can engage in creative performance. Data were collected from 170 supervisor-subordinate dyads of 41 groups in 10 manufacturing companies across two timepoints in China. Results revealed that perceived overqualification is positively related to organizational identification when (...) employee development-oriented organizational culture is strong but negatively related to organizational identification when employee development-oriented organizational culture is weak, organizational identification is positively related to creative performance, the indirect relationship between perceived overqualification and creative performance via organizational identification is moderated by employee development-oriented organizational culture. We provide several theoretical contributions to the overqualification literature and make some suggestions to motivate the overqualified employees to use their surplus qualifications within the organizations. (shrink)

Learn Buddhist principles that can help enrich your romantic life, your life in general, and the lives of those around you. Surely a happy marriage for a normally adjusted couple is a simple matter of give-and-take-some patience, tolerance, and just trying to be cheerful as often as possible. There is no shortage of books providing relationship advice that can help us with these matters. But Buddhist teachings address more than just surface knowledge, and guide us to delve deeper into our (...) psyches. With an emphasis on self-compassion, Buddhism for Couples explains how to apply Buddhist teachings to your relationships to patch things up, hold things together, and, even on good days, scale the heights of relationship happiness. Written for both men and women, this book tackles the loaded subjects of housework, anger, sex, conflict, and infidelity, and introduces Buddhist strategies that can enrich a relationship. Humorous and informative, Buddhism for Couples provides a fresh approach to living as a couple, persuading us to leave behind stale, habitual ways of relating that don't work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Simone de Beauvoir: The Making of an Intellectual WomanCatharine Savage BrosmanSimone de Beauvoir: The Making of an Intellectual Woman, by Toril Moi; xii & 324 pp. Oxford: Blackwell, 1994, $54.95 cloth, $21.95 paper.Eschewing linear patterns and other conventional ways of writing lives, feminist critic Toril Moi has undertaken instead to construct a “personal genealogy” of Beauvoir, using notions derived partly from Michel Foucault and Pierre Bourdieu (Jacques (...) Lacan and Freud are cited likewise). This manner of understanding what the French existentialists called the human project seeks “to achieve a sense of emergence or production and to understand the complex play of different kinds of power involved in social phenomena” (p. 7). The human subject is viewed as a product of forces; individual choice—emphasized continually, and probably excessively, by existentialists—is secondary. All types of evidence, not only writing, are considered germane: social institutions and the subject herself are “text,” part of a “discursive network” (p. 5). The point is to illuminate Beauvoir’s “speaking position” (p. 9) and what it means, for herself and others, and concurrently to explain the rather low disregard in which she appears to be held in France presently.The chief social factor identified is, not surprisingly, what is called the patriarchal order, which Moi sees even today as powerful enough to threaten thinking women’s chances for fulfillment. “Displaying a pernicious imagery of ugly bluestockings and dried-up spinsters, patriarchal ideology seeks to enforce the split between body and mind with particular rigor in the case of intellectual women” (p. 256). Cited in this connection are novels by Germaine de Staël and George Eliot; but, although Eliot influenced the young Beauvoir, these nineteenth-century models pertain little to today’s situation in America and England, for instance (where Moi, a Norwegian, has resided). But Moi needs to believe that such strictures still operate, in order to argue for Beauvoir’s unique position as “a mythological figure, an imago that has made its presence felt in the thoughts and dreams of every intellectual woman in the Western world since the early 1950s” (p. 5)—a claim no less absurd for being unoriginal.The study investigates three “moments” or crucial questions. The first is Beauvoir’s discovery in 1929 (justified or not, and made chiefly perhaps through sexual desire) that she was intellectually inferior to Sartre, despite her stellar academic performance; this led to her positioning herself as second among equals. Moi explores this momentous choice in personal and sociological terms, examining the French academic establishment that formed her and asking what it meant to be a woman agrégée in philosophy, in love with a brilliant man.The second major topic is Beauvoir’s writing itself, as it springs from and refers to her self-image, especially in She Came to Stay and The Second Sex. The former provides telling evidence of what happens when an intelligent woman persuades herself that her lover considers her an equal, whereas actually the [End Page 417] authority remains his. Moi views this novel as more revealing, although oblique, because it is more affectively nuanced and apparently genuine, than direct accounts in Beauvoir’s memoirs of the triangle involving her, Olga Kosakiewicz, and Sartre. The Second Sex—said to be unrivaled in any field in this century, in terms of influence—is examined in light of Beauvoir’s tardy revelation in the 1940s (if one believes her) that being a woman meant something different from being a man. Beauvoir’s understanding of woman’s position is compared to Sartre’s (expressed in fiction and essays, and deduced from his behavior) and to Frantz Fanon’s concept of racial oppression.Lastly, Moi focuses on the bitter conclusion to Force of Circumstance, in which Beauvoir confesses, in her fifties, feeling cheated by life. The problematic quality of this admission can escape no one, in light of her repeated assertions elsewhere that her relationship with Sartre—central to her self-image—constituted an unreserved success, involving utter transparency and union of thought. Moi studies this in terms of other statements—some by Sartre—and Beauvoir’s true accomplishments, and shows how Beauvoir’s... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Buddhist Literature as Philosophy and Buddhist Philosophy as Literature ed. by Rafael K. StepienVesna A. Wallace (bio)Buddhist Literature as Philosophy and Buddhist Philosophy as Literature. Edited by Rafael K. Stepien. Albany, NY: State University of New York Press, 2020. Pp. xi + 381. Paperback $26.95, isbn 978-1-4383-8070-1.The editor of the Buddhist Literature as Philosophy and Buddhist Philosophy as Literature should be commended (...) for bringing together an excellent collection of essays and producing the first comprehensive volume that offers a coherent study of the relationship between Buddhist literature and philosophy. This book is an ambitious and praiseworthy project, which covers a wide range of Buddhist literary genres produced in India, Tibet, and East Asia over two millennia. As a whole, the volume invites the reader to reexamine a centuries-long binary division between the categories of literature and philosophy, which have been often approached in academic studies as mutually exclusive. It does so by demonstrating that in the context of Buddhism, philosophy and literature continuously converge, diminishing the overarching binary and broadening their scopes. Most contributions to this volume demonstrate that Buddhist philosophy as presented and enacted in Buddhist literature is not limited to what some would consider a "pure philosophy." The volume is divided into the two, mutually mirroring sections, with each section containing six chapters. Chapters forming the section one, "Buddhist Literature as Philosophy," aim at broadening our perspective about literary forms, such as tales, novels, hymns, and court poetry, which have not been usually explored as the means of articulating Buddhist philosophical views. Chapters grouped in the section "Buddhist Philosophy as Literature" focus on Buddhist literary theories as philosophy of language and introduce the Buddhist biographical and autobiographical genres characterized by practical philosophy to further challenge our preconceptions of what it is that constitutes literature and philosophy. While some contributors endeavor to demonstrate the presence of rational, analytical reasoning in unexpected literary forms, other contributors problematize a strict distinction between literature and philosophy as inapplicable to Buddhism, which is undeniably cross-disciplinary.The first two chapters in section one, authored by Amber Carpenter and Sarah Shaw respectively, draw examples from jātaka stories to show us how Buddhist ethical lessons work in the narrative tales of the Buddha's former births. These two chapters also draw our attention to an accessible and engaging, [End Page 1] narrative manner that presents the Bodhisattva's philosophical exercises to the audience, a manner that stands in contrast to the a priori reasoning characteristic of philosophical treatises. In the first chapter, titled "Transformative Vision: Coming to See the Buddha's Reality," Carpenter analyzes two jātaka stories--"Bodhi the Wandering Ascetic" and "The Man Without an Heir"--taken from Āryaśūra's Jātakamālā. In the first story, a renunciant Bodhi, while repudiating the king's ministers who are intent on disqualifying him as a king's advisor on morality, makes metaphysical claims regarding the nature of reality, causation, and the universe, and provides the reasons and arguments. According to Shaw, by offering an insight into the Buddhist worldview and morality, jātaka tales have a transformative power not only with regard to ethics but also in transforming the reader's vision of reality. In the chapter "Jātakas and the Abhidhamma: Practical Compassion and Kusala Citta," Shaw suggests that a reason why jātaka stories are rarely discussed seriously in the way that they were intended is their literary format based in narrative and mundane situations. Analyzing the concepts of momentariness and kusala citta ("virtuous consciousness") in these stories, Shaw shows that by communicating the technical and insight-based Buddhist doctrinal elements, jātaka tales significantly contribute to Buddhist practical ethics. The Pāli Javanahaṃsa-jātaka, a tale about the friendship between a goose and a king, introduces the reader to some of the most complex Buddhist ideas such as impermanence, momentariness, and mental states, expounded in the Abhidhamma in extraction. Through her analysis of the Kurudhamma-jātaka and Mahosaddha-jātaka, Shaw further shows the integration of narrative literature and Buddhist philosophical tenets, of Buddhist tales and the Abhidhamma, of the relationship between the intention and consciousness... (shrink)

Social capital has as its key element the value of social relationships to generate positive outcomes, both for the key parties involved and for wider society. Some authors have noted that social capital nevertheless has a dark side. There is a moral element to such a conceptualisation, yet there is scarce discussion of ethics within the social capital literature. In this paper ethical theory is applied to four traditions or approaches to economic social capital: neo-capitalism; network/reputation; neo-Tocquevellian; and (...) development. Each is considered in detail and subject to ethical analysis by the application of utilitarianism, Kantianism, justice and rights, and ethic of care. Accordingly, the assumption that social capital is either value-neutral or a force for good is critiqued, and a framework for understanding social capital from an ethics perspective is presented. (shrink)

In this article, the author makes attempts to demonstrate that, from the educational standpoint, the relationship between philosophy and literature cannot be overlooked. Even the most remote cultures testify their transmission of moral teaching through literary accounts. In this sense, the author promotes this methodology hence argues that the axial concept structured by ethics is the concept of acknowledgment. Secondly, the author explains how the concept of acknowledgment has been present in contemporary ethical discourses and proposes which he considers (...) fundamental on the basis of a theory of knowledge which closely relates understanding and will together. He sustains that fundamental acknowledgment is that which is established by the recognition that the other is a person, a thesis which precedes the acknowledgment of the other as a legitimate interlocutor or a responsible subject. Next, the author aims his effort to explain two ways (among many other possible ones) in which literature applies to education as empathy and as paradigm. With respect to empathy, he argues that the self-recognition the reader can establish with a literary character is essential. In this sense, he considers that the empathy attainable can be only analogical, as it can only be partial. Empathy requires a point in common, which the author places in ?humanity?; thus, a certain form of equality between the empathic subject at the subject he attempts to be relate to, becomes possible. As for paradigms, the author sustains that literature is abundant in models and icons of virtue and vice and that such paradigms turn out to be essential for the ethical-moral upbringing of an individual. He takes up the concept of paradigm as analogical representation, that is, as a model-sign of man, and on these grounds, he reassumes some theses which have become recurrent in contemporary moral philosophy, as is the case with Max Scheler, Karol Wojtyla, Luis Pareyson, and Fernando Salmerón, among others. The author argues that the reader can recognize himself in the character; the later can then exert an aspirational force, which allows a connection to be established, by which the reader tries to approach the paradigm. (shrink)

A definition of [George] Eliot as renunciatory culture-mother may seem an odd preface to a discussion of Silas Marner since, of all her novels, this richly constructed work is the one in which the empty pack of daughterhood appears fullest, the honey of femininity most unpunished. I want to argue, however, that this “legendary tale,” whose status as a schoolroom classic makes it almost as much a textbook as a novel, examines the relationship between woman’s fate and the structure (...) of society in order to explicate the meaning of the empty pack of daughterhood. More specifically, this story of an adoptive father, an orphan daughter, and a dead mother broods on events that are actually or symbolically situated on the margins or boundaries of society, where culture must enter into a dialectical struggle with nature, in order to show how the young female human animal is converted into the human daughter, wife, and mother. Finally, then, this fictionalized “daughteronomy” becomes a female myth of origin narrated by a severe literary mother uses the vehicle of a half-allegorical family romance to urge acquiescence in the law of the Father.If Silas Marner is not obviously a story about the empty pack of daughterhood, it is plainly, of course, a “legendary tale” about a wanderer with a heavy yet empty pack. In fact, it is through the image of the packman that the story, in Eliot’s own words, “came across my other plans by a sudden inspiration”—and, clearly, her vision of this burdened outsider is a re-vision of the Romantic wanderer who haunts the borders of society, seeking a local habitation and a name.11 I would argue further, though, that Eliot’s depiction of Silas Marner’s alienation begins to explain Ruby Redinger’s sense that the author of this “fluid and metaphoric” story “is” both Eppie, the redemptive daughter, and Silas, the redeemed father. For in examining the outcast weaver’s marginality, this novelist of the “hidden life” examines also her own female disinheritance and marginality.12 11. Eliot to Blackwood, 12 Jan. 1861, quoted in Ruby V. Redinger, George Eliot: The Emergent Self , p. 436. As Susan Garber has suggested to me, the resonant image of the “packman” may be associated with the figure of Bob Jakin in The Mill on the Floss , the itinerant pack-bearing peddler who brings Maggie Tulliver a number of books, the most crucial of which is Tomas à Kempis’ treatise on Christian renunciation .12. Rediner, George Eliot, p. 439; Eliot, “Finale,” Middlemarch, p. 896. Sandra M. Gilbert, now professor of English at the University of California, Davis, will join the Department of English at Princeton University in fall 1985. Her most recent works include a collection of poems, Emily’s Bread , and, coedited with Susan Gubar, The Norton Anthology of Literature by Women: The Tradition in English . In addition, she is at work on Mother Rites: Studies in Literature and Maternity, a project from which “Life’s Empty Pack” is drawn, and, with Susan Gubar, on No Man’s Land: The Place of the Woman Writer in the Twentieth Century, a sequel to their collaborative Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination . “Costumes of the Mind: Transvestitism as Metaphor in Modern Literature” appeared in the Winter 1980 issue of Critical Inquiry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Il Mostro e il sapiente: Studi sull'erotica grecaEva CantarellaRiccardo Vattuone. Il Mostro e il sapiente: Studi sull'erotica greca. Studi di Storia 11. Bologna: Pàtron, 2004. 345 pp. 15 black-and-white figs. Paper, €24."Il mostro e il sapiente" (the monster and the wise man), referred to in the title of Riccardo Vattuone's book, are, respectively, the loathed figure of the modern pedophile and an elected official who stands almost as (...) a symbol of wisdom, the great Athenian legislator Solon. Each of them, as Vattuone observes in the introduction, "loves" boys. No one, however, has ever for this reason considered the wise man Solon to be a monster, as today's media tend to view the modern pedophile. Thus it is clear from the title and made explicit in the foreword (7–10) that Vattuone is not merely interested in the past. As he repeats several times, "It is the past that puts the most significant questions to the contemporary age, and not vice-versa" (9, and passim). In this case, the past that interrogates the present is the pederastic relationship, and the question that this has asked Vattuone is whether or not there is a relationship between so-called Greek love and modern pedophilia. According to Vattuone, from the nineteenth century on, the immense quantity of literature about the pederastic relationship oscillates between radical condemnation and attempts to defend the past by "distancing it" (8). Il Mostro e il sapiente, he declares, was written to get away from this "ideological hypocrisy" and to dispel, if possible, "the suspicion that behind the contemporary pedophile there lurk the worst vices, the most obvious repressions of Western culture... and that that person is a creation of the system, constructed as a scapegoat for the unspeakable Other" (9).The following eight chapters are therefore dedicated to this objective. In the first, "Osservazioni preliminari: i crimini di Solone" (Preliminary Observations: the Crimes of Solon), Vattuone begins with an epigram of Straton (AP 12.246) to contest—in my opinion correctly—the reading of pederasty that he calls "anesthetic," according to which the pais would have experienced his relationship with the adult as a kind of social obligation, without feeling desire or pleasure. It is not only the adult that loves and desires, says Vattuone. Pederasty implies reciprocity of affection. On this point, as I observed years ago, I believe it very likely that Vattuone is approaching the truth. (See E. Cantarella, Bisexuality in the Ancient World [2d ed., Yale University Press, 2002], xii–xiii, and, at greater length, "A proposito di C. Calame, L'Amour en grece," Annales ESC 1999.)The second chapter, "Pais kalos. Una bellezza incomparabile" (Pais Kalos. An Incomparable Beauty), argues, correctly, against the idea that the boy's attractions depend on his resemblance to a woman. The scarce contact that Greek [End Page 461] men had with women has nothing to do with the reasons for which the paides from the age of approximately twelve to seventeen years were irresistible to the Greek man. Though their face and gaze might be soft, their body structure and ethos were virile. Pederasty was a relationship between males, among other things allowed and culturally valued only within the age limits to which an ample and exhaustive part of the chapter is dedicated.The third chapter, "Eros, un 'dovere' sociale?" (Eros, a Social "Duty?"), goes into the erotic aspect of the relationship, dedicating ample space to the problem of the so-called origins of pederasty. The Greeks considered that pederasty originated with a crime (the rape of Chrysippus), and modern scholars, according to Vattuone, have followed this line of thinking, concentrating their efforts on the attempt—this is a leitmotif of the book—to save the Greeks from accusations of immorality and perversion. A long section of criticism follows, attacking hypotheses of the historic-psychoanalytic type and those that link the social role of pederasty to "rites of passage," with the objective, according to Vattuone, of distancing it from us and the present world. I do not agree, however. As I have pointed out elsewhere, to connect a sexual relationship with a rite does not necessarily... (shrink)

A collection of one man's essays in book form tends to be viewed today with some suspicion, if not hostility, by philosophical critics. It would seem that the author is guilty of an academic sin of pride: causing or helping to cause separately conceived articles to surpass their original station and assume a new life, a grander articulation. It can hardly be denied that the essays which follow must face this sullen charge, for they were composed at different times for (...) different sorts of audiences and, for the most part, have already been published. Their appearance in a new form will not allay commonplace criticisms: there are repetitions, certain key terms are defined and defined again in various places, a few quotations reappear, and, beyond this, the essays are unequal in range, depth, and fundamental intent. But it is what brings these essays together that constitutes, I trust, their collective merit. Underlying the special arguments that are to be found in each of the chapters is a particular sense of reality, not a thesis or a theory but rather a way of seeing the world and of appreciating its texture and design. It is that sense of reality that I should like to speak of here. Philosophy stands in a paradoxical relationship to mundane ex istence: it is at once its critique and one of its possibilities. (shrink)

"Literature and the Right to Marriage," which bears the same title as the special issue that it introduces, takes up the challenge of the claim that marriage is a universal right. Framing the questions that traverse the five essays in the collection with a close reading of the sections on marriage from Hegel's Elements of the Philosophy of Right, the authors argue that if marriage can be considered a right, this right both guarantees access to and is founded upon (...) each partner's vow to abide by his or her vows to the other. Hegel's text is important because it underscores the linguistic dimension of the marriage ceremony; and it thus helps to show that, if the right to marriage were universal, it must be understood as the right to an irreplaceable kind of ritual speech. Moreover, this text is remarkably modern in its emphasis upon love as the condition of rightful marriage. Hegel considered the exchange of marriage vows to be a political event at which love becomes ethical , and ethics becomes political ; and thus also the point at which the model for "ethical love" becomes the verbally solemnized love between a man and a woman rather than the priestly love of the neighbor. Marriage, for Hegel, is always a turning point, both in the lives of the couple and in the history of the state. But this means that the importance of any marriage cannot be measured in terms of a norm; it can only be measured in terms of the amorous situation that precedes the event of marriage. Hegel's analyses are indispensable for grasping the stakes of the essays collected in this special issue and for addressing contemporary questions about which couples have the right to marry and what marriage becomes when those who would marry already have shared long and complex lives together. (shrink)

Although narcissism is an important factor influencing entrepreneurial activity and outcomes, not much research has been conducted on the relationship between narcissism and entrepreneurship. To summarize the current literature on this relationship and provide an agenda for further in-depth research, a systematic review was conducted based on the PRISMA guidelines using Web of Science, Elsevier ScienceDirect, and EBSCO host databases. Accordingly, 33 articles have been identified as being eligible for the final synthesis. The findings of the present study showed, (...) in general, that (1) life history theory, person-environment fit theory (P-E theory), and career choice theory were mostly used to explore the topic of narcissism and entrepreneurial intention, social exchange theory was used to analyze narcissistic entrepreneurs' entrepreneurial motives and attitudes, and upper echelons theory (UET) was applied to research on the relationship between narcissism and entrepreneurial outcomes, (2) Narcissistic Personality Inventory (NPI) and narcissistic sub-dimension of the Dark Triad were frequently used self-report scales among 23 identified empirical studies, and (3) narcissism has both bright and dark sides to entrepreneurial activities and outcomes. While narcissism makes potential entrepreneurs have higher entrepreneurial intentions and greater willingness to take risks, it also prevents entrepreneurs from discovering opportunities, acquiring resources, and learning from failure. Besides, results also showed that relations between narcissism and entrepreneurial intentions and performance are more complex. For a deeper understanding of this complex relations and advancing research on narcissism and entrepreneurship, more research is necessary to explore the relations between narcissism and entrepreneurship-related variables from a temporal perspective and at the team level, examine the relationship between narcissism and entrepreneurship ethics, and investigate the interaction effects of narcissism and other personalities. (shrink)

What is a woman? And what does it mean to be a feminist today? In her first full-scale engagement with feminist theory since her internationally renowned Sexual/Textual Politics (1985), Toril Moi challenges the dominant trends in contemporary feminist and cultural thought, arguing for a feminism of freedom inspired by Simone de Beauvoir's The Second Sex. Written in a clear and engaging style What is a Woman? brings together two brand new book-length theoretical interventions, Moi's work on Freud and (...) Bourdieu, and her studies of desire and knowledge in literature. In the controversial title-essay, Toril Moi radically rethinks current debates about sex, gender, and the body - challenging the commonly held belief that the sex/gender distinction is fundamental to all feminist theory. Moi rejects every attempt to define masculinity and femininity, including efforts to define femininity as that which 'cannot be defined. In the second new book-length essay, 'I am a Woman', Toril Moi reworks the relationship between the personal and the philosophical, pursuing ways to write theory that do not neglect the claims of the personal. Setting up an encounter between contemporary theory and Simone de Beauvoir, Moi radically rethinks the need, and difficulty, of finding one's own philosophical voice by placing it in new theoretical contexts. A sustained refusal to lay down theoretical or political requirements for femininity, and a powerful argument for a feminism of freedom, What is a Woman? is a deeply original contribution to feminist theory. (shrink)

Michèle Le Dœuff considers the relationship between Jean-Paul Sartre and Simone de Beauvoir as a paradigmatic case of what she calls an "erotico-theoretical transference" relationship: De Beauvoir devoted herself to Sartre theoretically by adopting his existentialist perspective for the analysis of reality in general and the analysis of women's oppression in particular. The latter is especially strange since Sartre used strongly sexist metaphors and adopted a macho attitude towards women. In her book Hipparchia's Choice, Le Dœuff speaks in this context (...) of "theoretical masculinism." She convincingly shows in this book that Sartre without using images could not have closed his existentialist philosophy: without the feminine drawback he would not have been able to explain why man cannot become god. Sartre not only understands gaining knowledge as a rape of a woman he also fears that the possessed feminine (body) could reverse its position from being dominated to the dominating force by appropriating the masculine through slime. In Being and Nothingness Sartre states that "slime is the revenge of the In-itself. A sickly–sweet, feminine revenge." Despite of the fact that De Beauvoir used Sartre's heterosexist ontology and metaphysics she managed to provide a highly influential depiction of women's condition and offered an original approach to the understanding of selfhood which places woman inside the subject. (shrink)

This article aims at studying the evolution of the woman-dragon relation by comparing texts from English and French medieval literature and contemporary fantasy literature texts, in French and English as well. We will first determine the similarities between the two corpora, especially regarding the narrative triad composed of the knight, the princess and the dragon. We will then deal with the reorganization of the narrative space by examining the shift in focalization from the knight to the (...) class='Hi'>woman and the dragon, thus placing them as heroes of the story. We will eventually try to explain the evolution of the values born by these two characters and demonstrate if there is, or not, a new woman-dragon relation in contemporary literature. (shrink)

This anthology of previously published essays brings together some of the best scholars in the growing dialogue between two manifestations of man's existence, the literary and the religious. This is not simply a discussion of how theologians influenced literature, or how literature influenced theology, but treats the variety of approaches to the relationship as well as the impact of each manifestation upon the other. Attention is given to the humanizing function of both in a period when humanizing, even (...) among the educated, is long overdue. Special attention is given to the various and ambiguous ways in which literature and religion deal with man's ultimate perplexities. That they do is clear, but how they differ in doing so is far from clear. Hence one notes the religious character of the literary creative process, the development of literary models of theological criticism, the revelatory function of poetry, and the evaluative function of literature. Insight is offered the philosopher regarding literature as the extension of conviction, the logic of literary expression, and the development of a logic of the possible. The growing dialogue between religion and literature evidenced in this volume as already quite mature leads to regret that one might seek in vain for comparable maturity in the parallel dialogue between literature and philosophy.--H. A. D. (shrink)

The relationship of words to the things they represent and to the mind that forms them has long been the subject of linguistic enquiry. Joseph Graham's challenging book takes this debate into the field of literary theory, making a searching enquiry into the nature of literary representation. It reviews the arguments of Plato's Cratylus on how words signify things, and of Chomsky's theory of the innate "natural" status of language (contrasted with Saussure's notion of its essential arbitrariness). In the process, (...) Graham explores the issues of meaning and intentionality in representation, and questions of how the mind represents the world. Graham's use of linguistic theories and models leads him to a new response to Wimsatt's notion of the verbal icon, Stanley Fish's concept of literature as self-consuming artifact, and de Man's idea of its function as an allegory of reading. In showing them in fact to be complementary, he transcends the current controversies among literary theorists, arguing that the solution lies not in epistemology or philosophy, but in psychology and the study of how literature teaches and why humans learn best by example. (shrink)

“…we must move into theological anthropology if we are to do justice to the wisdom literature. In the Old Testament man can be defined in terms of his relationship to the Lord as his saviour, creator, sustainer. The working out of these ideas is not possible apart from the concern of Old Testament wisdom…”.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Liberating Sexuality: Justice Between the Sheets by Miguel A. De La TorreSimeiqi HeLiberating Sexuality: Justice Between the Sheets Miguel A. De La Torre SAINT LOUIS: CHALICE PRESS, 2016. 232 pp. $27.99What lies at the heart of Miguel De La Torre's provocative and refreshing collection of essays Liberating Sexuality is his lifelong commitment to a justice-based society. He is deeply concerned with "how oppressive social structures, [End Page 191] (...) rooted in a two-thousand-year-old misunderstanding of Christian sexuality, prevent us from a more just social order" (vii).De La Torre rigorously engages with the biblical literature and considers it a vital ground for ethical reflection. He first returns to Genesis and successfully argues that "God blesses sex and declares it good" (4). He closely examines the story of the first man and woman and proposes the concept of "cleave to" in Genesis 2:24–25 as the guiding definition for a healthy marriage in our modern society. By revisiting and creatively retelling the stories of women in the Bible—Lot's wife, Sarah, Dinah, Rebekah, and Tamar—he restores the humanity and dignity of women and calls for our responsibility to dismantle the patriarchal structures that foster sexual abuse. He also provides alternative interpretations of the troubling biblical texts for LGBTQ communities to consider. After thoroughly surveying the biblical justification of patriarchy and the subjugation of women in the Hebrew Bible, he proposes that "the entire Bible should be read through the lens of the Gospel message, specifically passages like John 10:10" (13). Though a creative attempt to liberate the sacred text from oppression, this approach requires caution, as there may be possible anti-Semitic ramifications for reading the Hebrew Bible through a New Testament lens.One of the major contributions of De La Torre to the field of sexual ethics is the proposal of "orthoeros" through a liberative method that seriously considers liberation theology and goes beyond the inadequate approaches of both conservatives' sexual legalism and liberals' permissiveness toward sexual ethics. "Orthoeros" promotes a "familial relationship based on mutual giving and vulnerability" (21) and is made up of five biblically based principles: safe, consensual, faithful, mutually pleasing, and intimate.As an ethicist who is invested in the public discourse, De La Torre actively and boldly engages with issues of various sexual practices. He critiques Fifty Shades of Grey and envisions an ethical, Christian-based sadomasochism by employing "orthoeros" principles. He also examines the historical reasons against masturbation and argues for its constructive role in the sexuality of Christians.Deeply disturbed by the prevailing injustice that corrupts our society, De La Torre focuses much of the volume on exposing the sources and the detrimental effects of sexism, heterosexism, and racism. He reveals misogynist legislation by mapping out the "war on women," specifically the issues of equal pay, rape, reproduction rights, and global sexism. He reflects on his own "sin of heterosexuality" of being a macho man, conquering, and celebrating cojones. He also examines the Euro-American history of owning black bodies and critiques the stereotyping of Latino bodies in Hollywood.Another major contribution of De La Torre is the indecent approach to justice-based praxis—an ethics para joder—that "screws" with the prevailing power structures by utilizing a nonviolent survival strategy based on love, designed to liberate the abused and the abusers from the death-dealing social structure. [End Page 192]Liberating Sexuality, situated at the intersection between Christian ethics, biblical hermeneutics, and cultural studies, is a successful interdisciplinary endeavor. The essays gathered here remain highly engaged with the public reality and should benefit both general readers and scholars. Furthermore, this volume provides much-needed guidance on how a sexual ethics should be implemented and is, hence, a vital resource for those engaged in the practices of ministry.Simeiqi HeDrew UniversityCopyright © 2018 Society of Christian Ethics... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:172. THE HUME LITERATURE FOR 1981 The Hume literature from 1925 to 1976 has been thoroughly covered in my book Fifty Years of Hume Scholarship : A Bibliographical Guide (Edinburgh University Press, 1978; jê9.50), which also lists the main earlier writings on Hume. Publications of the years 1977 to 1980 were listed in Hume Studies for the last four Novembers. What follows here will bring the record (...) up to the end of 1981. Readers are invited to inform me of any omissions, and to send me offprints of their own articles and reviews. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of an annual bibliography covering the previous year, with addenda consisting of items omitted through ignorance in previous years. References to recently-appearing reviews (of books from earlier lists) are given at the end. The following abbreviations of journal titles are used here: APQAmerican Philosophical Quarterly JHIJournal of the History of Ideas JHPJournal of the History of Philosophy JPJournal of Philosophy PASProceedings of the Aristotelian Society PBPhilosophical Books PQPhilosophical Quarterly PRPhilosophical Review RIPReview Internationale de Philosophie RMReview of Metaphysics TLSTimes Literary Supplement Other abbreviations should be obvious enough, and mainly fol· low the British Standard (no. 4148). BAGOLINI, L. 'Legal Obligation in Hume', Hume Studies 7, 85-93. BAIER, A. 'Frankena and Hume on Points of View', The Monist 64, 342-58. BATTERSBY, C. 'An Enquiry concerning the Humean Woman', Philosophy 56, 303-12. 173. BEAUCHAMP, T. L. & ROSENBERG, A. Hume and the Problem of Causation, (xxv, 340 pp.) New York. [PB 23 (1982) 129-48 (Mackie, Flew, Beauchamp & Rosenberg) ] BOTWINICK, A. 'Hume on Is-Ought', Auslegung 8, 19-30. BURNS, R. M. The Great Debate on Miracles, esp. chs. 6-8. Lewisburg, London & Toronto. COSTA, M. J. 'Hume and Justified Belief, Can. J. Phil. 11, 219-28. CRONIN, R. Shelley's Poetic Thoughts, 77-83. London. DE MARTELAERE, P. 'Hume's "Gematigd" Scepticisme: Futiel of Fataal', Tijdschrift voor Filosofie 43, 427-64. DILMAN, I. Studies in Language and Reason, chs. 4-5. London. FARR, W. Hume and Kant: Studienbuch zum Erkenntsnisproblem. (250 pp.) Freiburg & Munich. FEINSTEIN, R. 'Some Problems in Humean Philosophy', Ind. phil. Q. 8, 527-32. FLAGE, D. E. 'Hume's Relative Ideas', Hume Studies 7, 55-73. GARCIA ROCA, J. Positivismo e Ilustración : La filosofía de David Hume. (304 pp.) Valencia. GARRETT, D. 'Hume's Self-Doubts about Personal Identity', PR 90, 337-58. GUPTA, B. 'Scepticism: Ancient "East" and Modern "West"', Ind. phil. Q. 9, 29-44. HAAKONSSEN, K. The Science of a Legislator, the Natural Jurisprudence? of David Hume and Adam Smith. Cambridge. HALL, R. 'The Hume Literature for 1980', Hume Studies 7, 184-90. íiARRISON, J. Hume's Theory of Justice. (xxvi, 304 pp.) Oxford. [THES no. 440 (3 Apr. 1981) 15] IMLAY, R. A. 'Hume's Of Scepticism with regard to reason: A Study in Contrasting Themes', Hume Studies 7, 121-36. JOHNSON, 0. A. 'Hume's "True" Scepticism', Pacific phil. Q. 62, 403-10. JONES, G. E. 'Vindication, Hume, and Induction', Can. J. Phil. 12, 119-29. 174. KING, J. 'Hume's Classical Theory of Justice', Hume Studies 7, 32-54. KULENKAMPFF, J. 'David Hume (1711-1776)', in 0. Hoffe, Klassiker der Philosophie, vol. 1, 434-56. Munich. LOEB, L. E. From Descartes to Hume, sec. 39 (354-63). Ithaca & London. MACLEOD, A. "Rule-Utilitarianism and Hume's Theory of Justice', Hume Studies 7, 74-84. MAHER, P. 'Probability in Hume's Science of Man', Hume Studies 7, 137-53. MALHERBE, M. 'Les études humiennes: anatomie et problèmes1, Archives de Philosophie 44, 637-71. MILLER, D. Philosophy and Ideology in Hume's Political ThoughtT (218 pp.) Oxford. [London Rev, of Bks 4 (1982), no. 7, 22-4; PB 23 (1982) 206-9] MONTEIRO, J. P. 'Hume's Conception of Science', JHP 19, 327-42. NEWMAN, R. 'Hume on Space and Geometry', Hume Studies 7, 1-31. NIELSON, H. A. 'Inference and Experience in Hume's Enquiry', Phil. Res. Archives 7, no. 1471. NORTH, T. 'What if I'm Indifferent?', Phil. Investigations 4, 24-37. PAPPAS, G. S. 'On McRae's Hume', Hume Studies... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 10.2 (2000) 175-188 [Access article in PDF] Scope Note 38 Bioethics Resources on the Web * Once described as an "enormous used book store with volumes stacked on shelves and tables and overflowing onto the floor" (Pool, Robert. 1994. Turning an Info-Glut into a Library. Science 266 (7 October): 20-22, p. 20), Internet resources now receive numerous levels of organization, from basic directory listings (...) to elaborate "links" (cross-references to other Internet documents) that flash and glow in the dark. In many ways, the Internet functions as a direct extension of the traditional library. Following linked references across various sites is an electronic version of browsing library stacks, and the serendipitous discoveries made while "surfing the Net" recall the wonders of physically going "book-to-book." Although many of the Internet's best aspects augment library strengths by eliminating physical distance from sources, Net resources pose unique problems for researchers. It is not always clear who is responsible for the content of Web documents, when the document was produced, or how often (if ever) it is updated. Internet resource tools, then, must enable researchers to identify appropriate resources and to evaluate what they find when they get there. Web Research as Taking "Snapshots" Given the Internet's visual nature and fluid content, the process of conducting research on the Web has been likened to taking an informal picture of information on a specific date at a particular time. This metaphor also conveys the "zoom-in" aspect of searching through Web pages by going from general to specific categories. In the first section of this Scope Note, National Reference Center for Bioethics Literature (NRCBL) staff present a snapshot of bioethics resources taken during the spring months of 2000. Entries are divided into the categories of directories, electronic journals, full-text documents, news/current awareness, and teaching resources. In the two subsequent sections, this series of categories is repeated for entries on a specific topic within bioethics-genetics-and again for general search and evaluation tools. Where a Web site may contain pages applicable [End Page 175] to more than one category, multiple entries are made for that site with appropriate information for each category.Much as telecommunication advances have strengthened the relationship of patients and providers as partners, the dynamic nature of the Internet acknowledges that the researcher functions as a librarian whenever accessing the Web. It is our hope that BIOETHICSLINE and the other NRCBL databases not only will enable researchers to search the Web more efficiently, but also will help them to evaluate what they find when they get there. Bioethicsline on the Web: An International Plan in Progress Once only available through libraries, the U.S. National Library of Medicine (NLM), the funding agency for the ongoing development of the BIOETHICS LINE® database from the Kennedy Institute, has provided free Web access to that database of 63,000 citations since September 1998 through Internet Grateful Med. Plans are now underway to eliminate such specialty databases and incorporate all citations into PubMed (for journal articles) or LOCATORplus (for book-like materials and chapters in books). Both of these databases are likewise available at no cost on the Web. In the transition to PubMed and LOCATORplus some features of BIOETHICSLINE that presently are available may be lost. Researchers are encouraged to contact the National Reference Center for Bioethics Literature with search requests or for search strategy assistance with either the current or the future system (medethx@georgetown.edu).The inclusion of bioethics citations in PubMed and LOCATORplus will have several advantages. First, unique keywords from the Bioethics Thesaurus will be considered for inclusion in Medical Subject Headings (MeSH), the indexing vocabulary for PubMed and LOCATORplus, thereby enhancing retrieval of relevant clinical literature by offering more precise terminology covering ethical issues. Second, it will be easier to identify foreign-language materials, which are not currently included in the scope of BIOETHICSLINE. Third, the updating schedule will become more frequent. On the other hand, there may be some loss of searching precision because certain specialized features... (shrink)

First published in 1993, this is a new edition of the classic text in which Clenora Hudson-Weems sets out a paradigm for women of African descent. Examining the status, struggles and experiences of the Africana woman forced into exile in Europe, Latin America, the United States or at Home in Africa, the theory outlines the experience of Africana women as unique and separate from that of some other women of color, and, of course, from white women. Differentiating itself from (...) the problematic theories of western feminisms, Africana Womanism allows an establishment of cultural identity and relationship directly to ancestry and land. (shrink)

Feminist studies in the history and philosophy of science have suggested that supposedly neutral and objective discourses are shaped by pairs of dualisms, which though value-laden are assumed to inhere in the order of nature. These hierarchical pairs devalue women, particularly their bodies and their labor, as they sanction the domination of nature. Readers of literature can draw on these studies to address texts and genres which do not thematize gender but rather purport to portray "the human condition." Samuel (...) Beckett's Molloy, with its clear structure of Cartesian divisions, provides a dramatic example of how an examination of dualisms reveals the presence of a language of gender informing a minimalist literary text. (shrink)

Michèle Roberts: Female Genius and the Theology of an English Novelist Since Simone de Beauvoir published The Second Sex in 1949, feminist analysis has tended to assume that the conditions of male normativity—reducing woman to the merely excluded "Other" of man—holds true in the experience of all women, not the least, women in the context of Christian praxis and theology. Beauvoir's powerful analysis—showing us how problematic it is to establish a position outside patriarchy's dominance of our conceptual fields—has helped (...) to explain the resilience of sexism and forms of male violence that continue to diminish and destroy women's lives because they cannot be seen as questionable. It has also, I would argue, had the unintended consequence of intensifying the sense of limitation, so that it becomes problematic to account for the work and lives of effective, innovative and responsible women in these contexts. In order to address this problematic issue, I use the life and work of novelist Michèle Roberts, as a case study in female genius within an interdisciplinary field, in order to acknowledge the conditions that have limited a singular woman's literary and theological aspirations but also to claim that she is able to give voice to something creative of her own.The key concept of female genius within this project draws on Julia Kristeva's notion of being a subject without implicitly excluding embodiment and female desire as in normative male theology, or in notions of genius derived from Romanticism. Roberts' work as a writer qualifies her as female genius in so far as it challenges aspects of traditional Christianity, bringing to birth new relationships between theological themes and scriptural narratives without excluding her singular female desires and pleasures as a writer. This paper—as part of a more inclusive, historical survey of the work of women writers crossing the disciplinary boundaries between literature and Christian theology over the last several centuries also asks whether, in order to do proper justice to the real and proven limitations imposed on countless women in these fields across global and historical contexts, we need, at the same time, to reduce the Christian tradition to something that is always antithetical or for which women can take absolutely no credit or bear no responsibility. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Don Quijote and the Law of LiteratureCarl Good (bio)The part is one of these beings, the whole minus this part the other. But the whole minus a part is not the whole and as long as this relationship persists, there is no whole, only two unequal parts.—Rousseau, Social Contract, cited by Paul de Man in Allegories of ReadingBut it is not just that, because it is also a performative.... (...) There is first a performative, the act of positing..., which then moves to a system of tropes; a kind of anamorphosis of tropes takes place, in which all the tropological systems are engendered, as a result of this original act of positing.... It is circulation which is out of hand,... the sheer circulation or play of the signifier, and which is, as you know, the root of error, madness, stupidity and all other evil.—Paul de Man, “The Concept of Irony”Amid a confusion of narrative inversions, misleading appearances, and unresolvable disputes, at least two things are consistent in Don Quijote de la Mancha: first, the knight’s singular fidelity to what I will refer to as a law of literature, which persists like a phantasm of continuity throughout the larger narrative; and, second, the many interruptions of this narrative by the stories, or episodes, recounted by the characters who cross don Quijote’s path (including the knight himself), in the form of speeches, testimonies, plays, jokes, poems, and so on. In at least one strict sense, these other stories have nothing to do with that path other than their interruptions of it and by it. Such a claim has its own strategic value and does not entirely contradict the reasonings of a long history of critics of the Quijote who have tended to argue from a variety of different standpoints for some kind of ideological cohesion that would bind the smaller episodes to the larger story that they interpolate. But at a certain ground zero of interpretation—albeit a paradoxical ground that prohibits a scholarly shelter to be built on it—no argument would be sufficient to establish such a coherence among the work’s separate narrative parts, since such an argument would live in the brief, oneiric intensity of the critic’s testimony and that testimony’s potential effects rather than in the composition of the work itself somewhere beyond its apprehension by reading. Nonetheless, out of the dismembered ensemble of the Quijote what does perhaps effect its own strange kind of life is the very play of ironic interruptions and frictions between the dismembered parts, the profusion of which seems to impose itself as the work’s own aggressive insistence on itself as something which makes sense possible by constantly provoking and unsettling sense. That is where we could begin to speak of don Quijote himself, not only as the phantasmatic agent of this unsettling but also as the mad promise of justice that could be said to motivate it.The play of interruptions in don Quijote’s own story begins to outline the shifting contours and living contradictions of this novel as a “text” in the sense in which Derrida [End Page 44] and others have used the term: that which “names or relates in its way... [a] conflict without encounter between law and singularity” [“Before the Law” 187]. Although the story of this “encounter” has been often recounted, it bears another citation here, at least because it seems to be forgotten more often than it is told. Even when it is told, the story is often muted in homage to the name of Derrida by writers who tacitly assume that Derrida’s is the only possible version of this “conflict without encounter.” That version would be better described as merely one particular ethical shaping or forcing—a powerful one—of a story that has been told, and remains untold, in uncountable ways. Nonetheless, such a democratic assessment of Derrida does not quite justify a dismissal of his version as merely one among others, since, for one thing, it would be unable to account for the astonishing hold that different versions of Derridean “deconstruction” continue to have on the imagination of North American... (shrink)

This essay explores the symbiotic relationship between European modernity, its vision of woman and water. The union of these three metaconcepts is consecrated by the Ovidian story of Narcissus and his other, Echo. The West finally found itself completely through Hegel, the Ur-narcissist, who explains the immutable link between that European monopoly, history (by which he means the potential for becoming modern), and the sea. The narcissism of modernity is the great theme of Marx and Engels in the Communist (...) Manifesto, which shows how the bourgeoisie seeks to remake the entire world in its own image. Psychoanalysis, through the writings of Ferenczi, joined in cementing the connection, likening woman to the primal sea to which the male ever yearns to return. And Foucault suggests a potential conclusion from this metaconceptual constellation: that Man, a Western creation, may well disappear like a face drawn on a sandy beach. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page (...) opens to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to (...) reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

While standard histories of Western political thought represent women’s rights as an offshoot of the earlier movement for the equal rights of men, this essay argues that the eighteenth-century push for democracy and equal rights was grounded in arguments first used to defend women’s right to moral and religious self-determination, based on their rational and spiritual equality with men. In tandem with the rise of critiques of absolute monarchy, ideal marriage, which had previously involved lordship and subjection, was transformed into (...) an equal companionate relationship based on inclination and affection. The essay argues that the transformation, by the time of the American and French revolutions, of neo-Roman republicanism—which had been aristocratic and oligarchic—into egalitarian, democratic republicanism had been mediated by the extension of arguments, widely distributed in the literature criticizing the slavery of marriage, into a general critique of slavery and support for the equal rights of men. (shrink)

The aim of this article is to reveal with an overall approach, how the psycho-social background, starting from woman image in first periods and reach modern day, is embraced by outstanding theorists of modern psychology, and also how these collected works are reflected in their definitions of woman. If it is considered that woman has been discussed with reflections against and not from primary sources throughout history, it can be seen that the most essential roots of (...) class='Hi'>woman narrations can be found in oral culture and the parts of written texts are made over symbol, metaphor, proposition and story. However myths (stories) that take place in oral and partly written culture about primitive man, are sacred tales, they will also present data regarding human image. Therefore with a limited effort of human being to understand the infinite, it can be understood what human being think, feel and how they interpret rather than gods/goddesses ontology. From this point of view, this article that consists of two parts, first of all will mention especially about perception of Goddess in those reflected to image of God, maintaining its efficiency in conscious or unconscious as a system of symbols intrinsic to human nature and cultural code background and then the woman image will be roughly discussed with a descriptive style over the world of mythology, psychology and faith. In the second part, it will be examined in detail how all the written and oral information about understanding woman by modern anthropologists are interpreted with the perspective of modern psychology specific to theorists such as Freud, Jung and Fromm. Eventually, it will be emphasized that past and future are integrated with information, experience and feelings with an active relationship; perception and approach of woman have stayed up to date in time continually; mythology, psychology and religion are important factors within this matter.Summary: Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy. Despite the dominance of male gender in the images of God in these analogies which are the products of human experience, female Gods that is to say Goddesses are not few. The matter of how the image of goddess come to the fore in a distinctly male-dominant society is a noteworthy matter. The narration of Earth Mother over female symbol in myths in which the harmony is constantly secured within the inner and exterior world and mention about living in harmony with the universe is an important data in order to understand female characteristics attributed to God. Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy.The woman subject is influenced by transferred life experience within the historical process, and it is an undeniable fact that ancient “woman perception” has reflections to the present day. Within the history of humanity, striking definitions about woman can be seen in sacred statements in symbol language. Therefore, it is proper to examine primarily the image of sacred and then examine female meaning that is charged on that image. The aim of this study can be summed up with two themes: a) try to understand the general framework of reflections of the present image of woman, style of narration and comprehension in psychological, sociological, and religious terms by getting help from myths which mention about ancient image of God, although there is centuries old difference between those stories and us, b) reveal the image of woman in Freud, Jung, and Fromm’s approach which establishes a bond between mythology that is a system of symbols special to human nature and human psychology and discuss this subject by using psychology of religion.When reviewed ancient Far East and Middle East myths and also Ancient Greek mythology, it can be seen that gods are not cloistered supernatural beings who do not have abstract personalities and also do not lead a wholly metaphysic life. The crucial issue here is; the reality that Gods and Goddesses are shown as a model to both man and woman. Psychologists who examine religion in terms of psychology state that first outcomes about the image of God come up not with behavior but with emotion. The attributions of gender, related to the emotion in question are cited during the transfer of those emotions as well. Therefore; philosophers, culture and religion historians, theologians, anthropologists, archaeologists, psychologists, and sociologists have contributed to this transfer when they discuss the cult of God or Goddess throughout the history. It is interesting that the usage of the term of God maintains while the usage of the term of Goddess decreases. Civilization historians claim that the appearance of divine religions particularly quickens the course of transition from goddess to god. According to them, during this period in which there is a transfer from polytheist image of God to monotheist image of God, the quantitative change in the perception of God comes with a qualitative change. According to Fromm, during this power gathering period, there has been a transfer from mother and feminine (woman) centered religion to father and masculine (man) centered religious experience/ God image. According to him, in the second stage of humanity development, “the children of Earth Mother turn into the children of divine father”, there is a transition from unconditional love of mother to authoritarian sympathy of father, from an image of supplemental and surrounding Goddess to authoritarian image of God who makes requests by his nature, lays down principles and laws, and supports the power and search for a successor to deliver the power.The perception of women who led to Prophet Adam deviated from the truth and expelled from heaven is spread around especially the regions of one-God religions. This has strengthened the idea that divine religions have a negative view towards women. Including Islam, the reason of all divine religions’ encountering with claims that they have a negative approach against woman stem from applying to that religions’ human resources rather than essential religious sources which are existing or lost earliest forms.Oedipus complex is an important thesis of Freud which explains the development of religion and morals; establish the base of his psychology, and in fact, important in terms of his making connection with difference of kinds and flow or non-flow of request and needs while explaining human behaviors. According to Freud who points to sexuality and aggression which are the most powerful two instinct in the biology of male or female; the first three or five years of a newly born human- this is the period in which the basic part of personality is formed- the definition of self is extremely influenced by his/her gender (in both biological and sociocultural terms). Freud who put forward father-son conflict in the struggle to survive between Zeus and his sons in Moses and Monotheism (1998c) and Totem and Taboo (1998a), makes an explanation about the origin of religion and humanity over two male characters. Jung pays attention to goddess image as much as the image of god and do not approach this situation only as a polytheism or sociocultural explanation or childish appearances of a primitive mind. He accepts goddesses as a reflection of archetypes in human. Male has a feminine side, female has a masculine side, and a unity occurs when both complete each other. According to Fromm, a taxonomy referring to woman and man is primarily a sociology-based approach rather than a biology-based one. Fromm (1995) thinks that the whole depiction shows individuals’ own desire and needs, that is to say, their psychology rather than a theology. Transition from mother (woman) centered religion to father (man) centered religious experience and God image is essentially one of the most important breaking/inversion points of human being, not humanity. As a result, it can be said that it is an important point to clearly understand the story of mankind to examine that intense freshness at hand and centeredness of quantitative and qualitative changes of divine or God image of ancient societies come down after psychological, sociological, religious, economic, political, and cultural changes. (shrink)

This article reads Levinas’s “And God Created Woman” in light of its socio-political context, Mai soixante-huit. It explores themes from his “Judaism and Revolution,” in which he reframed concepts of revolution, exegesis, the revolutionary, and human alienation. Following these themes, which run subtly through his Talmudic remarks on women and indirectly on feminism, I examine his arguments about a “signification beyond universality” and the fraught relationship between formal equity in gender relations and the practice of justice, as embodied by (...) the Antigone-like Rizpah bath Aiah and analyzed in Levinas’s Talmudic reading “Toward the Other.” I summarize the Rabbinic debate about the meaning of an extra yod in the term often translated as “to create” in Genesis, turning to the significance of dissymmetry between the Hebrew names of “man” and “woman,” Ish and Isha. In light of this, Biblicist and psychoanalyst Daniel Sibony opens further insights into gender, naming, and identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 368-370 [Access article in PDF] Book Review Skeptical Music: Essays on Modern Poetry Skeptical Music: Essays on Modern Poetry, by David Bromwich; xvii & 256 pp. Chicago: University of Chicago Press, 2001; $49.00 cloth, $16.00 paper. In his preface to this gathering of his essays and reviews on twentieth-century American and British poetry, David Bromwich regrets that it is "too late to suppress (...) the evidence of a critic educating himself in public" (p. xi). But even the earliest work reprinted in Skeptical Music--"The Making of the Auden Canon," published in the Times Literary Supplement in 1976, when the author was still a graduate student at Yale--hardly qualifies as juvenilia. Indeed, in Bromwich's case, evidence of a critic educating himself in public seems to have been suppressed from the start. No single explanation will account for an author's precocity, but the consistency of Bromwich's critical voice over the last quarter century is certainly related to his early preoccupation with William Hazlitt, the subject of his first book. In choosing Hazlitt as his model, Bromwich rejected what he took to be the legacy of systematic and professional literary theory extending from Coleridge to each new school of academic criticism. Bromwich's own development as a critic has therefore been subtler and more introspective than the critical retooling of so many of his colleagues. Although never far from the evaluative art of the reviewer, Bromwich has come to favor the more speculative dimension of his work. The more recent the piece, the more overt the attempt to imagine "what was in the poet's mind, or what was in the poem's mind, on the theory that certain thoughts and feelings are worth the trouble to characterize because of their strangeness and originality" (p. xi).Some of the most compelling chapters in Skeptical Music imagine what was in the poet's mind, or the poem's mind, by telling stories about complex relationships between poems by different poets--between the work of Marianne Moore and Elizabeth Bishop, or T. S. Eliot and Hart Crane. These are stories about literary influence, or deep temperamental affinity. As in Harold Bloom's work, the stories are grounded in close readings, usually of the passages the critic prizes for their aesthetic superiority.A related procedure is at work in "Stevens and the Idea of the Hero"--a long speculative piece on Wallace Stevens's transfer of allegiance, at a crucial moment in his career, from the pragmatism of Nietzsche to the pragmatism of William James. What Stevens found "most persistently attractive" in Nietzsche's pragmatism, Bromwich coolly explains, was "the suggestion that the good of existence is change" and that "our most vivid acknowledgment of that good comes from the ability to imagine a life wiped clear of ourselves" (p. 71). But the Nietzschean sublime proved insufficient for Stevens. During the Second World War, the poet was confronted by "the reality of American soldiers going off to fight... for a cause which, as Stevens saw it, they could only make true by their fighting" (p. 68). Stevens turned to James for "the less brutal idea of a [End Page 368] man or woman who is made great by an enterprise in which others have a part" (p. 78).Bromwich's argument that Stevens became a more valuable poet when he located heroism in human solidarity, not just Nietzschean contingency and self-creation, bears a family resemblance to the work of one of James's heirs, Richard Rorty. Like Rorty, Bromwich often feels the pressure to adjudicate between the claims of the individual artist and the claims of the community; and like Rorty, he makes his judgements on a case by case basis, without recourse to a set standard, rule, or theory. In the closing chapter of Skeptical Music--"Is Taste Moral?"--Bromwich directly addresses the tension between aestheticism and the social good, a subject that also surfaces at the close of his preface and at numerous moments throughout the book. But the claims of the community seem relatively muted... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Bad, the Ugly, and the Need for a Position by PsychiatryLloyd A. Wells (bio)Keywordsvice, psychiatric education, psychiatry-law interface, medicalizationSadler’s paper is thought provoking and will resonate with many psychiatrists who deal with the interface of vice and psychiatric syndromes. This interface and the dilemmas it poses are perhaps most discussed by residents, who are dealing with the issue for the first time and who often debate what is (...) “psychiatric” about these cases. Many residents have their own informal systems of classifying vice, often with a divide between the criminal population and those perceived as avoiding work and responsibility. These unofficial classifications are usually judgmental and often pejorative, but the residents rarely get much help from faculty in this area. Indeed, many of the faculty have equally judgmental and pejorative views, which are neither systematized nor subject to systematic analysis.By clarifying the importance of the issue of the vice–mental disorder relationship (VMDR) to psychiatry, Sadler may move this topic to one that receives Socratic discourse in our training programs and serious consideration in the training of psychiatrists rather than an idiosyncratic lumping of these patients into the broad category of “patients I don’t like.”Sadler asks for comments in several categories: historical intractability, goals of psychiatry, taxonomy, implications for the criminal justice system, implications for the law, and ethical/political implications.Issues of historical intractability are long standing. In A Tour of the Whole Island of Great Britain, written in the early eighteenth century, Daniel Defoe (1724–1727) describes many asylums, often with the comment, “as it is a madhouse, so is it also a house of correction.” Some of the great public hospitals of the seventeenth and eighteenth centuries were built at least as much to get antisocial and homeless people off the streets as to provide care for the mentally ill. The moral treatment of France and Great Britain, which added much to the practice of psychiatry, clearly had punitive “treatments” for patients with vice-laden behaviors, and this was very explicit in the American moral model of treatment of the late nineteenth century with its obsessive need to prevent patients from masturbating. In the nineteenth and early twentieth centuries, there was great debate about the inclusion of Pritchard’s “moral insanity”—now sanitized into “personality disorders”—into the psychiatric domain, and Kraepelin referred to this group as “enemies of society.”Sadler next asks us to consider the goals of psychiatry in regard to “a proper VMDR.” He wonders [End Page 43] whether a strict medicalization account can be defended. I think it is clear from a large literature and from clinical experience that it cannot be defended —now. But it may become defensible in this century, which will pose enormous challenges to psychiatry, lawmakers, and the courts (vide infra). A strict moralization model is defended by many in society, including some psychiatrists, but has severe limitations and seems illogical. It is hard to make a case (though juries have done so) that, for example, a very delusional young woman with postpartum psychosis who murders her children because of the belief that far worse things than death will happen to them imminently if they live, fits the moralization approach. The Dahmer case is especially instructive. Although there was enormous “vice” (and perhaps “evil”), it is hard to make a case that a sane man would make temples out of the body parts of victims and would attempt to commune with the dead through them.He wonders whether a “mixed” version of medicalization/moralization can be developed and defended. I would argue for both a mixed approach and a “shared” approach. A middle adolescent with bipolar disorder burned his house to the ground. (Fortunately, he and family members were injured but not killed.) He was wildly manic at the time and set the fire because he wanted to prove that he was immortal and totally impervious to flames. He was delusional, extraordinarily impulsive, and completely without judgment, and it would be extraordinarily difficult to exclude the medical frame in any consideration of the vice involved. The vice, indeed, may be more involved in his decision while euthymic to stop taking... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Meeting the Great Bliss Queen: Buddhists, Feminists, and the Art of the SelfBrian KarafinMeeting the Great Bliss Queen: Buddhists, Feminists, and the Art of the Self. By Anne Carolyn Klein. Boston: Beacon, 1995. 307 pp.“When the iron bird flies and carriages run on wheels, the dharma will come to the land of the red man”: this saying attributed to the semilegendary founder of Buddhism in Tibet, Padmasambhava, stands as (...) an oft-cited marker for the sense that the meeting between Tibetan Buddhism and North American culture was somehow a [End Page 227] fated one, a confluence emergent from some karmic relationship or mythical dependent-arising. Karmic connection or historical product of the near-simultaneous exile of Tibetans from their homeland in 1959 and the burgeoning of Western interest in Eastern religions and philosophies, the encounter of these two mutually and exotically other traditions is, nearing the second Christian millennium, proceeding apace. Especially since the 1989 awarding of the Nobel Peace Prize to the spiritual and temporal leader of the Tibetans—and now international pop icon—the Fourteenth Dalai Lama, the Western fascination for things Tibetan has exponentially increased, transforming what had been the preserve of scholars and eccentric spiritual seekers into a media sensation.The reception of Tibetan Buddhism in the West has proceeded in stages and phases that overlap and mutually affect each other, from pop phantasms of Tibet as a mythical Shangri-La (as in James Hilton’s Lost Horizon) and theosophical hopes in Tibet as the domain of the Wise Mahatmas overseeing the spiritual evolution of humanity to the relatively recent development of Tibetan studies as an academic discipline centered on the translation of texts, as well as the growing population of westerners practicing Tibetan Buddhist religion under the guidance of exiled lamas. With these latter two groups—scholars and practitioners who often overlap memberships—the phenomenon of Tibetan Buddhism in the West has reached a point where critical self-reflection is now possible. Donald Lopez’ recent Prisoners of Shangri-La: Tibetan Buddhism and the West is the first full-length critical examination of the cultural confluence I’ve been noticing thus far. Lopez represents a movement in the field of Tibetan studies from philological scholarship of texts, in which the scholarly effort consists largely of translation along with commentary that closely follows the commentarial literature of the Tibetan tradition being translated, to cultural criticism of the underlying dynamics in the encounter itself.This critical self-consciousness in the field of Tibetan studies is likewise the motivating impetus behind Anne Klein’s recent work as represented by the book under review here. Klein, like Lopez, was a student of the dean of American Tibetan studies, Jeffrey Hopkins, at the University of Virginia. As such, her early work followed Hopkins in pursuing an essentially philological approach to Tibetan tradition with a focus on the philosophical scholasticism of the Gelukpa lineage. Klein’s three philological-philosophical books—Knowledge and Liberation; Knowing, Naming, and Negation; and Path to the Middle—are excellent examples of the genre of translation/commentary above mentioned, treating the Sautrantika and Madhyamika tenet systems in which the Gelukpa tradition systematized Indian Buddhist philosophy for the purposes of monastic study and debate. Meeting the Great Bliss Queen is something else entirely; in this work Klein blazes a trail out from recondite translation work toward cultural critique and psychosocial self-reflection in which the previously submerged subtext of the encounter between the Tibetan tradition and the Western psyche and society is allowed to surface and its issues probed and reflected upon.Klein frames her work in terms of a dialogue between Buddhism (by which she mainly means meditation practices and some associated philosophy) and feminism (by which she means both academic feminist theory and her own autobiographical [End Page 228] experience as a Western woman personally experiencing the confluence of Western and Tibetan exigencies). Klein is a salient example of a scholar-practitioner, someone who occupies positions both in the academic field of Tibetan studies and in the population of students of Tibetan lamas in exile. As such, she is exactly situated to embark on such a project of cultural and psychological reflection. She knows... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Run Away from HistoryKazim Ali (bio)I’m at the tail end of this conversation but also at the tail end of history. Fanny Howe says five Black boys on a corner (any corner) are “runaways from history.” Meaning they are still enslaved. Still a slave. Tongo Eisen-Martin says, “I am arrested all the time for nothing.” And yet there is no white crime in America, statistically speaking, no police crime.When (...) a dog wagged its tail and approached Christian Cooper in Central Park a white woman began screaming. That is the mythic beginning of the end for a Black man: a white woman screaming. It doesn’t matter what laws apply to his body because Blackness is the first law. It happened exactly when George Floyd was expiring. I thought of his breathlessness when I read about Amy Cooper screaming into her phone in Central Park. “Cooper,” every newspaper found it necessary to mention, “is of no relationship to Cooper.”Floyd being pressed from breath is what Cooper in her brutal imagination wanted to happen to Cooper.Fanny is the mother of a novelist and a designer, mother-in-law of another novelist and a poet, aunt to a novelist, sister to a poet, daughter of an actress and a Pink Boy, mentored by a playwright called Beckett, mentor to an aspirant named Ali, who followed her from the Vineyard to the Western shore, as did the characters in her novels, obsessed also with understanding race in America, trying to understand what is the worth of a person.I saw Tongo Eisen-Martin recite his poetry twice, and each time—for twenty minutes or a half hour—he recited off the page, only from memory, no, not from memory, membery, but from breath. In breath his lines arose. I kept checking against the page because I thought he might be engaging in a more ancient practice of inspiration, but no, not that: the words were as inscribed. [End Page 139]What words inscribe laws on bodies? Old Western ones that began with the representation of wealth: value placed upon labor and bodies required to transfer wealth. But from whom to whom? One Cooper was looking for birds. But in Black life in America the most ordinary event brushes up against death. [End Page 140]Kazim Ali Kazim Ali is the author of numerous books of poetry, fiction, nonfiction, and cross-genre work. He is professor and chair of the Department of Literature at the University of California San Diego.Copyright © 2022 State University of New York... (shrink)

The perception of the relationship between humans and nature is important for promoting not only pro-environmental behaviors but also psychological well-being. The present research explored how people’s self-construal would moderate the relationship between the need to belong, the desire for social acceptance and connectedness and perceived nature relatedness. Two studies using community samples with diverse demographic characteristics in two different cultures obtained consistent findings. The results showed that independent self-construal, which emphasizes separateness from others in the social contexts, moderated the (...) relationship between the need to belong and nature relatedness. Specifically, the need to belong was negatively associated with nature relatedness among people with a stronger independent self-construal, while this pattern was not significant among those with a weaker independent self-construal. No evidence for the moderating role of interdependent self-construal was found in the two studies. These findings highlighted the importance of non-nature experience in understanding people’s perception of human–nature relationships. (shrink)

That the pattern into which Lentricchia seeks to assimilate Stevens is politically charged becomes clearest when we turn to the following oddly incomprehensible statement: “In the literary culture that Stevens would create, the ‘phallic’ would not have been the curse word of some recent feminist criticism but the name of a limited, because male, respect for literature” . At the point where he makes this assertion, Lentricchia has been persuasively demonstrating that Stevens was “encouraged … to fantasize the potential (...) social authority of the literary as phallic authority” . But suddenly the critic’s measured discourse is disrupted by obviously personal feelings about the “curse word of some recent feminist criticism” and by a dazzlingly illogical definition of “respect for literature.” Such a disruption suggests that, in making his apparently objective argument about Stevens, Lentricchia has some other not so hidden agenda—and, of course, his peculiar decision to link his discussion of Stevens with an attack on The Madwoman in the Attic further supports this conclusion. What most strikingly reinforces the point, however, is the hysterical—or perhaps, with some recent feminist linguists, we should say “testerical”—rhetoric in which he couches his assault on our work.14 14. The term “testeria,” for male “hysteria,” is proposed by Juli Loesch in “Testeria and Penisolence—A Scourge to Humankind,” Aphra: The Feminist Literary Magazine, 4, 1 : 43-45; quoted in Casey Miller and Kate Swift, Words and Women: New Language in New Times , pp. 60-61. Sandra M. Gilbert, professor of English at Princeton University, and Susan Gubar, professor of English at Indiana University, are coauthors of No Man’s Land: The Place of the Woman Writer in the Twentieth Century, Volume I: The War of the Words , the first installment of a three-part sequel to their Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination . They have also coedited The Norton Anthology of Literature by Women: The Tradition in English. (shrink)

This book is the fruit of an enormous amount of impassioned and careful historical research into the way in which Western philosophers have thought about the concept of woman and her relationship to man. To me the most refreshing thing about it is the absence of the sort of rancor and partisanship that one frequently finds in works on this subject. Allen tries to present a fair and balanced account of all the people she treats, and includes numerous quotations (...) from primary sources. This makes the book a very valuable resource for those doing research in this area. (shrink)

Pre-reading language skills develop rapidly in early childhood and are related to brain structure and functional architecture in young children prior to formal education. However, the early neurobiological development that supports these skills is not well understood. Here we acquired anatomical, diffusion tensor imaging and resting state functional MRI from 35 children at 3.5 years of age. Children were assessed for pre-reading abilities using the NEPSY-II subtests 1 year later. We applied a data-driven linked independent component analysis to explore the (...) shared co-variation of gray and white matter measures. Two sources of structural variation at 3.5 years of age demonstrated relationships with Speeded Naming scores at 4.5 years of age. The first imaging component involved volumetric variability in reading-related cortical regions alongside microstructural features of the superior longitudinal fasciculus. The second component was dominated by cortical volumetric variations within the cerebellum and visual association area. In a subset of children with rs-fMRI data, we evaluated the inter-network functional connectivity of the left-lateralized fronto-parietal language network and its relationship with pre-reading measures. Higher functional connectivity between the FPL and the default mode and visual networks at 3.5 years significantly predicted better Phonological Processing scores at 4.5 years. Together, these results suggest that the integration of functional networks, as well as the co-development of white and gray matter brain structures in early childhood, support the emergence of pre-reading measures in preschool children. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Reviews Die Megariker: Kommentierte Sammlung der Testimonien. By Klaus D~ring. (Amsterdam : Verlag B. R. Griiner N.V., 1972. Pp. xii q- 185) D~Sring has assembled the first complete collection of textual fragments concerning the Megarian philosophers of the fourth and third centuries B.c., together with a commentary. The fragments are divided by the author into four groups, each centered around one of the better-known figures of the school: (...) Euclid, Eubulides, Diodorus Cronus, Stilpo. Evidences concerning lesser-known personalities are included under the figure to whose "circle" they belonged. A fifth group of texts appears in an Anhang devoted to the sophist Bryson (often mistakenly associated with the Megarians) and his student Polyxenus. Divisions in the commentary parallel those in the text. The author also adds a stemma summarizing his conclusions about teacher-pupil relationships within the school, and there is a selective bibliography and a SteUenregister. An index, which in view of the work's organization would be helpful, is not included. Simply as a collection of texts, this is a major addition to the scholarship in its field; with the author's commentary, it is the most important work on the Megarians since Kurt von Fritz's Real-Encyclopiidie article.1 D~Sringpresents convincing evidence that some widely disseminated opinions about the school have little or no foundation. Some of his alternative views have important consequences, and not only for the history of the Megarians. DSring rejects the dates customarily assigned to the school's founder Euclid (ca. 450ca. 380), pointing out that there is actually no good evidence for them (pp. 73-74). His own figures (ca. 435-ca. 365) rely on the evidence of Plato's Theaetetus to give the year 369 as a terminus post quem for Euclid's death. The first consequence of this chronology is that the story of Euclid stealing into Athens disguised as a woman in order to avoid the anti-Megarian decree of 432 must be rejected; Dfiring feels that it is probably one of a family of tales elaborated by later writers "urn die Macht der Philosophie zu demonstrieren " (p. 74). A more important consequence is in store when this chronology is combined with a reassessment of the evidence relating to Euclid's philosophical position. D6ring rejects the traditional description of Euclid as a "neo-Eleatic" who attempted to combine a strict Parmenidean monism with Socrates' ethical views by identifying the "One" with the "Good." Following yon Fritz, he sees this as "eine ziemlich gewaltsame antike Doxographenkonstruktion" (p. 83). His own view reverses the importance of Socratic and Eleatic elements in Euclid's thought, making him "[ein] Sokratiker, der die dem Sokratischen Denken inh~ente eleatische Komponente weiterentwickelt hat" (p. 87). Together with the revision of Euclid's dates, this would appear to eliminate decisively Kr~imer's thesis that Euclid originated the "Gleichsetzung ontologischer und axiologischer Momente''e fundamental to Platonic metaphysics. First, Euclid was only a few years older than Plato (not "at least two decades," as KrOner requires); second, there is no evidence whatever that he had studied the Eleatic doctrines before meeting Socrates; and finally, the purported "Gleichsetzung" appears to be rather the work of doxographers (pp. 87-89). When we add DSring's skeptical assessment of the story of Plato's Megarian period (p. 76), there remains little evidence to support the theory that Euclid was the ultimate source of Plato'S metaphysics. The most famous achievements of the M~garians were in the sphere of logic. Here, x Suppl. V (1931), s. v. "Megariker." H. J. Kr~mer, Arete bei Platon und Aristoteles (Heidelberg, 1959), p. 506. [52H 522 HISTORY OF PHILOSOPHY Dtring's work should provide the impetus for further research; his collection of texts is much more comprehensive than anything previously available, and his commentary, although deliberately limited to an overview, at least provides a good account of the status quaestionis. The material on the paradoxes attributed to the Megarians (pp. 106-114) is particularly valuable; he gives a good conspectus of the extensive literature on the "Liar" and "sorites," and his remarks on the lesser-known paradoxes (the "Man Who Escapes Notice," the "Electra," the "Hooded... (shrink)

Writing About a Woman Writer's Writing: On Gender Identification and Being a Male Critic of Carol Shields's Work This essay takes as its starting point my experience as a male critic of Carol Shields's work. Throughout the researching and writing of my PhD on Shields, I have noted with curiosity the surprise registered by many people upon discovering that a male critic would choose to write about the work of a female author. This reaction, confirmed by other male academics (...) working on female authors, raises a number of interesting questions. What does it mean for a male critic to write about the work of a female author? Why is this still considered surprising, unusual, even strange? Is this view symptomatic of the kind of disturbing devaluation of women's fiction that Shields herself explores so candidly in her final novel Unless? I suggest that the anti-feminist backlash, and the profitable establishment of popular literary genres such as "Chick Lit" and "Lad Lit," have led to a retrogressive "hardening" of gender roles within popular culture, one which endorses a simplistic relationship between author and audience, presuming that texts "by" women must necessarily be "for" women only. Situated within the context of Shields's own professed ambivalence about her status as a "women's writer," and drawing on the theories of Emma Wilson, the essay attempts to broaden out into a wider reflection upon issues of gender and identification within contemporary literary culture. Shields's work, I argue, subverts assumptions about gendered reading patterns, encouraging through its polyphony and its use of dual narrators a mobile and flexible reading experience which allows the reader to inhabit a range of perspectives and to read productively across gender binaries. (shrink)

SEX AND GENDER: A SPECTRUM OF VIEWS provides a medium for discussion and debate about today's most provocative issues concerning human sexuality and the relationships between masculinity and femininity. Including a spectrum of views that ranges from the stridently conservative to the progressively feminist, this anthology engages students in these subjects using a wider range of standpoints than is typical of such readers.