The Septuagint Book of Judith and its derivatives have had an enormous influence on the history of Western Europe and the Christian church. Judith has been employed in various situations to incite violence against a perceived opposition. In this regard, this article focuses on the climax of this book (Jdt 13:1–9) as performance text. In this context, many of the insights proffered by Perry in his seminal work Insights from Performance Criticism (2016) have been expanded upon from the (...) perspective of a Greek and/or Hellenistic environment.Contribution: The value of reading LXXJudith as performance is clearly demonstrated. The conclusion is reached that this pericope is indeed highly subversive. Suggestion is also made that, contrary to more conservative wisdom, with reference specifically to LXXJudith 13:1–9, the Judith fabula is not really reconciliatory in nature. Rather, it seems to provoke conflict between competing powers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:324 BOOK REVIEWS Reading in Communion: Scripture & Ethics in Christian Life. By STEPHEN E. FowL & L. GREGORY JONES. Series: Biblical Foundations in Theology. Grand Rapids: Wm. B. Eerdmans Pub. Co., 1991. Pp. ix + 166. $13.95 (paper). This book represents the collaborative attempt of a biblical scholar and an ethicist to determine the precise sense in which scriptural texts can be taken as normative for the Christian (...) moral life. The collabora· tion is a fruitful one, its results illuminating not only the problem of method in ethics, but issues of biblical hermeneutics as well. This re· sult is not serendipitous; for the authors, the question of how one ought to live the Christian life and the question of how one ought to interpret Scripture are inextricably linked. Indeed, perhaps it would be more accurate to suggest that, on the account that Fowl and Jones supply, these are different formulations of the very same question. There is no rigid demarcation here between the hermeneutical and the ethical realm, no rigorous sorting out of issues appropriate to each field of inquiry. The authors make good on their introductory promise "to write a single text " rather than simply to generate a series of " alternating perspectives " (p. 3). In the very first chapter of the book, certain typical, even dominant, ways of construing the relationship between Scripture and ethics are briefly reviewed and then rejected. Ethics is commonly perceived as being primarily "concerned with right actions and decisions," the authors contend, while the Bible is viewed as a moral guide for the " particular decisions made by isolated individuals " (p. 5). In contrast, Fowl and Jones argue that " Scripture is primarily addressed not to individuals but to specific communities called into being by God " (p. 8). Moreover, our ethical deliberations ought not to be focused on particular decisions and the formulation of moral principles that bear on those decisions, but rather, on " issues of character and the formation of character in and through socially-embodied traditions" (p. 9). The consequences of such a general position are carefully and sen· sitively explored in this first and in subsequent chapters. The authors reject the assumption that one such consequence must be the conclusion that moral behavior is not, after all, ruled behavior, that one cannot formulate and articulate the principles that govern much of what we do. Their position entails the conclusion, rather, that such principles cannot be meaningfully detached from the communally embodied traditions that engender them. Indeed, they have meaning at all only in· sofar as the individuals describing, interpreting and employing these BOOK REVIEWS 325 principles possess the peculiar habits and beliefs characteristic of the :members of a specific community. In the analysis of any given moral situation, then, the discussion of principles will necessarily presuppose.a discussion of character, of the sorts of persons involved in the situation, their moral beliefs and capabilities. It is important to note that this discussion will often take a narrative form, precisely because the delineation of character is most readily accomplished by telling stories about persons, about their communities, their politics and practices, their interests and aspirations. Thus, moral capabilities are formed in " the friendships and prac-.tices " that constitute communal life. In asserting this, the authors defend an important but not terribly controversial claim. What is especially intriguing and insightful about their account, however, is the reIated claim that moral capabilities are also hermeneutical capabilities, that some of the patterns and habits of action acquired by living in a·Community also function as habits of interpretation. "Well-formed·character," Fowl and Jones explain, is crucial not only to "Christians'.ability to live faithfully in the various contexts within which they find themselves," but also to their " ability to read, speak and perform the word of the Lord " (p. 85). Moral virtue is, on their account, a kind of interpretive skill. (If not identical, character and interpretive skill.are, at the very least, formed in the same process, inextricably linked ;together as aspects of "practical wisdom." See page 31.) This result is especially meaningful once it becomes clear that the authors are employing a usefully broadened concept of " interpreta· tion." To interpret a scriptural text can and often... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading Audio BooksWilliam IrwinI hide my audio book habit because most of my colleagues, and even some of my snobbier students, regard audio books as a sign of an impending dark age of mass illiteracy. Feeling uneasy, I wonder: when The Brothers Karamazov comes up in conversation am I obliged to "confess" that I listened to the unabridged audio book, but did not silently read the massive tome? Is (...) there a difference that makes a difference between listening to an audio book and reading a printed book?IPeople read less today, partly because reading silently is not social; we crave the company of loved ones at the end of the day, and so prefer to watch television with them. Silent reading does not fit today's multitasking lifestyle; you can listen to music while you drive or jog, but you cannot read a book. Or, then again, perhaps you can, if listening to an audio book is reading after all. Time does not need to be specifically set aside for an audio book the way it does with a conventional book—the lights don't even have to be on. And surprisingly, it is satisfying to listen to a book ten minutes at a time while running errands. Perhaps this is because getting started is as easy as pressing a button. By contrast, few people read printed books in ten minute blocks, presumably because it takes something for most people to warm up to reading. If they are going to read, then they are going to do it for a sustained time—something longer than a ten-minute block. It is easier to "push through" and finish an audio book. I nearly gave up on Catch-22; it's too thick and over the top with satire for my taste. And I surely would have given up on it if I had been reading the book silently. I stuck with [End Page 358] the audio book, however, largely because it was easy to continue; I just pressed play every time I got in my car.Books on tape have been available for quite some time, but, despite often being abridged, they were too clunky and cumbersome for most people. The availability of books on CD and for MP3 download makes it all much more convenient. Audio books are now the fastest growing segment of the book industry and are likely to become even more common and popular, perhaps some day eclipsing the sale of conventional books, perhaps some day becoming the normal way of "reading" literature. And far from being abridged, some audio books today include extras. For example, the audio version of The Amber Spyglass includes epigrams before each chapter that are not in the print version.IIHarold Bloom says, "Deep reading really demands the inner ear as well as the outer ear. You need the whole cognitive process, that part of you which is open to wisdom. You need the text in front of you."1 Before listening to audio books myself I would have agreed with Bloom; but now I suspect he simply has never listened to an audio book. Skeptical of literature on audio, I started my audio experience with nonfiction. Pleasantly surprised with nonfiction, I tried listening to fiction and found the presentation very different. Nonfiction books are simply read, whereas works of fiction are typically performed—characters get distinct voices and the reader really puts on a show. Most audio book performances of literature are much like a one-man play, taking us back to the days of traveling bards and rhapsodes.In The Performance of Reading Peter Kivy highlights that for most of its history Western literature has been experienced out loud.2 As is well known, Homer's Iliad and Odyssey were performed out loud by bards, as Beowulf was centuries later. But less well known is the fact that even after the invention of the printing press, when books were still scarce and expensive, even people in possession of books generally read them out loud to themselves and to others. So it is odd that along with Harold Bloom, my colleagues and students, look with mistrust at... (shrink)

Reading, even when silent and individual, is a social phenomenon and has often been studied as such. Complementary to this view, research has begun to explore how reading is embodied beyond simply being ‘wired’ in the brain. This article brings the social and embodied perspectives together in a very literal sense. Reporting a qualitative study of reading practices across student focus groups from six European countries, it identifies an underexplored factor in reading behaviour and experience. This factor is the (...) sheer physical presence, and concurrent activity, of other people in the environment where one engages in individual silent reading. The primary goal of the study was to explore the role and possible associations of a number of variables (text type, purpose, device) in selecting generic (e.g. indoors vs outdoors) as well as specific (e.g. home vs library) reading environments. Across all six samples included in the study, participants spontaneously attested to varied, and partly surprising, forms of sensitivity to company and social space in their daily efforts to align body with mind for reading. The article reports these emergent trends and discusses their potential implications for research and practice. (shrink)

Reichle et al. show that saccades in reading are controlled by linguistic processing. The authors' Figure 13 shows the parietal and frontal eye fields as parts of a neural implementation. This commentary presents data from dyslexics performing nonreading saccade tasks. The dyslexics exhibit deficits in antisaccade control. Improvement of the deficits is achieved in 85% of the cases and results in advantages in learning how to read.

A Wittgensteinian Way with Paradoxes examines how some of the classic philosophical paradoxes that have so puzzled philosophers over the centuries can be dissolved. Read argues that paradoxes such as the Sorites, Russell’s Paradox and the paradoxes of time travel do not, in fact, need to be solved. Rather, using a resolute Wittgensteinian ‘therapeutic’ method, the book explores how virtually all apparent philosophical paradoxes can be diagnosed and dissolved through examining their conditions of arising; to loosen their grip and therapeutically (...) liberate those philosophers suffering from them (including oneself). The book contrasts such paradoxes with real, ‘lived paradoxes’: paradoxes that are genuinely experienced outside of the philosopher’s study, in everyday life. Thus Read explores instances of lived paradox (such as paradoxes of self-hatred and of denial of other humans’ humanity) and the harm they can cause, psychically, morally or politically. These lived paradoxes, he argues, sometimes cannot be dissolved using a Wittgensteinian treatment. Moreover, in some cases they do not need to be: for some, such as the paradoxical practices of Zen Buddhism (and indeed of Wittgenstein himself), can in fact be beneficial. The book shows how, once philosophers’ paradoxes have been exorcized, real lived paradoxes can be given their due. (shrink)

This text studies the corporeality of attentive reading. It relies and builds upon philosopher Jean-Luc Nancy’s suggestion that there is, each time, arecitative voicewithin the heart of our advancement through a textual body. This text examines the intriguing figure of recitative voice by paying attention to two bodily variations of reading: reading aloud and reading silently. Nancy’s recitative voice, as a sonorous, resonant, oral, buccal and vocal notion, can help us in explicating how our bodies condition our experiences of reading, (...) yet ultimately he remains rather implicit on how we advance through textual bodies. This short text argues that we can explicate the bodily weight implicit to reading, if we interpreted it as a recitative act. When we read aloud, our experience of a text consists of an advancement of our conjoined gaze and voice through the letters, words and sentences making up our text; when we read silently, our closed and silent mouth is still conjoined with our advancing gaze, advancing as desirous for speech and with words already grasped, even when no words are folded in (or with) exhaled warm air. (shrink)

This paper introduces the Special Issue on 'post-truth'. The contributions to this special issue try between them to strike a right balance. To establish how new ‘post-truthism’ really is – or isn’t. To seek a point of reflection on whatever is new in our current socio-political straits. And to consider seriously how philosophy can help. Whether by wondering about the extent to which reason, or truth, may rightly, if one follows Wittgenstein, be viewed in certain respects as a constraint (...) upon thought or opinion. Or indeed by wondering whether we still have a long way to go in approaching truth at all. (shrink)

Ecological Psychology and Enactivism both challenge representationist cognitive science, but the two approaches have only begun to engage in dialogue. Further conceptual clarification is required in which differences are as important as common ground. This paper enters the dialogue by focusing on important differences. After a brief account of the parallel histories of Ecological Psychology and Enactivism, we cover incompatibility between them regarding their theories of sensation and perception. First, we show how and why in ecological theory perception is, (...) crucially, not based on sensation. We elucidate this idea by examining the biological roots of work in the two fields, concentrating on Gibson and Varela and Maturana. We expound an ecological critique of any sensation-based approach to perception by detailing two topics: classic retinal image theories and perception in single-celled organisms. The second main point emphasizes the importance of the idea of organism-environment mutuality and its difference from structural coupling of sensations and motor behavior. We point out how ecological - phenomenological methods of inquiry grow out of mutualism and compare Gibson’s idea of visual kinesthesis to Merleau-Ponty’s idea of the lived body. Third, we conclude that Ecological Psychology and varieties of Enactivism are laying down different paths to pursue related goals. Thus, convergence of Ecological Psychology and Enactivism is not possible given their conflicting assumptions, but cross-fertilization is possible and desirable. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading Style In DickensRobert AlterIt is a sad symptom of the devolution of literary studies and of our culture’s relation to language that it should at all be necessary to explain that style is crucial to the experience of reading. As the language of literature has been variously designated a mask for ideology, an expression of the “poetics of culture,” or a medium of communication not different in kind (...) from menus and graffiti, the academic study of literature in many cases seems to have lost the essential sense that style has its unique enchantments, and that those enchantments can often be a privileged vehicle of insight, even of vision. As someone who is temperamentally a rationalist, I do not want to sound mystical, but I find it an empirical fact as a reader that great writers are able in a variety of surprising ways to tap into occult connections between words and social, historical, psychological, or moral realities. Saul Bellow has aptly stated this commingling of uncanny insight and deep satisfaction that style can give its readers:A small clue will suffice to remind us that when we hear certain words—“all is but toys,” “absent thee from felicity,” “a wilderness of monkeys,” “green pastures,” “still waters,” or even the single word “relume”—they revive for us moments of emotional completeness and overflowing comprehension, they unearth buried essences. 1A novel is a whole world reconstituted through words. Style in a novel is that world’s very air which we breath (I shall presently cite a rather literal illustration of this principle in Dickens), the rhythm of relation [End Page 130] of the represented objects and personages, the depth of field in which they are seen. When we read style in Dickens, or in any other novelist, we of course are reading all sorts of other things at the same time—plot, character, moral dilemma, historical predicament, and so forth—but we can see all these in their full complexity only if we attend to the illuminating play of style.Despite the great length of his major novels, Dickens deserves to be read slowly, with delectation, with occasional pauses to reread a choice passage, because he is one of the most inventive and vigorous stylists in the whole range of English literature. Style, as we know, has many facets, and Dickens’s powerful rhythms, his supple patterns of alliteration, the hammer-blows of the anaphoric insistence he often favors, the cunning interplay of different linguistic registers he sometimes introduces, are all worthy of attention. But he is above all the great master of figurative language in English after Shakespeare, and what I want to concentrate on here is how I focus as a reader on Dickens’s use of figurative language, and what it reveals to me about the world of his novels.Dickens is one of those novelists who is preeminently a rhetorical performer, and so there is a good deal of self-conscious display of virtuosity, sheer exuberant verbal high jinks, in his writing. The high jinks are there for the reader to enjoy—in historical context, to keep the reader’s interest from one monthly serial to the next—but as Dickens grows in mastery and gravity, they are more and more a means of what Bellow calls unearthing buried essences. Let me glance quickly at the operation of style in a passage from Dombey and Son (1848), an approximate midpoint in Dickens career, and then consider more closely the visionary power of his prose at two moments in his last completed novel, Our Mutual Friend (1861). Here is the description in chapter thirteen of the company office of Dombey and Son as its august proprietor enters:The wit of the Counting-House became in a moment as mute as the row of leathern fire-buckets hanging up behind him. Such vapid and flat daylight as filtered through the ground-glass windows and skylights, leaving a black sediment upon the panes, showed the books and papers, and the figures bending over them, enveloped in a studious gloom, and as much abstracted in appearance, from the world without, as if they were assembled at the... (shrink)

What makes necessary truths true? I argue that all truth supervenes on how things are, and that necessary truths are no exception. What makes them true are proofs. But if so, the notion of proof needs to be generalized to include verification-transcendent proofs, proofs whose correctness exceeds our ability to verify it. It is incumbent on me, therefore, to show that arguments, such as Dummett's, that verification- truth is not compatible with the theory of meaning, are mistaken. The answer (...) is that what we can conceive and construct far outstrips our actual abilities. I conclude by proposing a proof-theoretic account of modality, rejecting a claim of Armstrong's that modality can reside in non-modal truthmakers. (shrink)

In his recent study, Concepts, Fodor identifies five nonnegotiable constraints on any theory of concepts. These theses were all shared by the standard medieval theories of concepts. However, those theories were cognitivist, in contrast with Fodor’s: concepts are definitions, a form of natural knowledge. The medieval theories were formed under two influences, from Aristotle by way of Boethius, and from Augustine. The tension between them resulted in the Ockhamist notion of a natural language, concepts as signs. Thus conventional signs, (...) spoken and written, signify things in the world by the mediation of concepts which themselves form a language of thought, signifying those things naturally by their similarity. Indeed, later thinkers realised that everything signifies itself and what is like it naturally in a broad sense by means of the concept of its natural likeness. (shrink)

Gillett argues that there are unexpected confluences between the tradition of Frege and Wittgenstein and that of Freud and Lacan. I counter that that the substance of the exegeses of Frege and Wittgenstein in Gillett's paper are flawed, and that these mistakes in turn tellingly point to unclarities in the Lacanian picture of language, unclarities left unresolved by Gillett. Lacan on language is simply a kind of enlarged/distorted mirror image of the Anglo-American psychosemanticists: where they emphasize information and representation, he (...) emphasizes evocation and connotation. Neither contrasting emphasis is remotely adequate to linguistic action-in-the-world. Is "the unconscious", as Lacan claims, a "network of signifiers"? Arguably, yes; but most ordinary / actual language does not involve such "signification". Words primarily "signify" concepts or things only in exceptional circumstances; normally, words are transparent, and nothing at all is meant by them except in an actual situation of use of a sentence. Second, is "the unconscious" structured like a language? Again, yes-- if we understand by "language" what Lacan asks us to. "The unconscious" arguably is structured like a language--as Lacan (inadequately) understands language. (shrink)

Examining the famous section 133 of the Philosophical Investigations, I seek to elucidate Wittgenstein’s extraordinary writing-stratagem. His writing has often been criticised as ‘obscure’—this evinces a fundamental failure to understand the way Wittgenstein writes, especially in those works where he laboured for years over how to present them. In his two masterworks, Wittgenstein operates as, in broadly Modernist terms, as an unreliable narrator. Wittgenstein seems to offer a theory to end all philosophical theories, in his early work. In his (...) later work, he seems to offer a discovery to end all philosophical discoveries. Both appearances are subtly, deliberately, seriously delusive. And necessarily so: any stratagem that does not involve such ‘indirection’ will tend to fall back into the very thing it criticises. I examine the well-known invocation of therapies and the discussion of ‘the real discovery’—the one that allegedly enables one to stop philosophising, in §133. The translation of 133 is pondered, and a reading proposed wherein this passage certainly does not amount to any crude ‘end of philosophy’ thesis, but is rather profoundly manifestative of the kind of aspect to Wittgenstein’s writing that Cavell has taught: i.e. 133 too turns out not to be a ‘statement’ of Wittgenstein’s ‘position’, but a set of temptations that need careful work by one to avoid entrapment by. (shrink)

In line with the Principle of Uniform Solution, Graham Priest has challenged advocates like myself of the “multiple-meanings” solution to the paradoxes of truth and knowledge, due to the medieval logician Thomas Bradwardine, to extend this account to a similar solution to the paradoxes of denotation, such as Berry’s, König’s and Richard’s. I here rise to this challenge by showing how to adapt Bradwardine’s principles of truth and signification for propositions to corresponding principles of denotation and signification for descriptive phrases, (...) applying them to give a “multiple-meanings” solution to the denotational paradoxes. (shrink)

Does Henry Thoreau have a positive politics? Depending on how one conceives of politics, answers will vary. Hannah Arendt famously portrayed Thoreau's commitment to the sanctity of individual conscience as distinctly unpolitical. More recent commentators grant that Thoreau has a politics, but they characterize it as profoundly negative in character. This essay argues that Thoreau indeed sponsors a positive politics-a politics of performing conscience. The performance of conscience before an audience transforms the invocation of consciencefrom a personally political act (...) into a publicly political one. The aim of the performance is to provoke one's neighbors into a process of individual self-reform that will make them capable of properly vigilant democratic citizenship and conscientious political agitation. I establish this claim through a sustained reading of a relatively neglected text that deserves wider attention in political theory: Thoreau's 1859 lecture defending insurrectionary activities by radical abolitionist John Brown. (shrink)

Distributive justice relies on metaphors about spatial distribution. Modelling cross-temporal relations on cross-spatial relations in this way obscures how earlier groups become the later ones. Procedural justice metaphors rely on metaphors of contract and thereby on impartial reasoning. Their dominance is already problematic in the case of contemporary relations, but is even more so in the case of relations across time, where the conditions for later parties are controlled and created by earlier ones. Future generations should not be thought of (...) as a distinct group living at a different temporal “location,” but as who we will become. Thus, the frame of “justice” is much less appropriate for our relations to them than the frame of “care”. (shrink)

The author argues that Fuller’s book, with the single exception of its correct reinterpretation of Kuhn as no apostle of postmodernism—such that his “fans” and “foes” alike are boxing with (or cheering on) only a shadow Kuhn—is worse than worthless. For, in a disreputable and outright propagandistic fashion, it consists in a series of serious distortions of and outright falsehoods about Kuhn and recent philosophy of science, distortions and falsehoods which may well mislead the unwary reader. Nickles’ s collection by (...) contrast is a competent, useful, and workmanlike performance, although the author argues that the editor’s focus on cognitive science uses of Kuhn (and of Wittgenstein) is unhelpful, in that these uses again distort the philosophy of Kuhn (as of Wittgenstein), who was on balance no apostle of cognitive science either. (shrink)

In this article, we discuss the notion of merely confused supposition as it arose in the medieval theory of suppositio personalis. The context of our analysis is our formalization of William of Ockham's theory of supposition sketched in Mind 86 (1977), 109-13. The present paper is, however, self-contained, although we assume a basic acquaintance with supposition theory. The detailed aims of the paper are: to look at the tasks that supposition theory took on itself and to use our formalization to (...) relate them to more modern ideas; to explain the notion of merely confused supposition and to defend it against certain criticisms; and to discuss two issues closely related to the idea of merely confused supposition which we could not broach in a shorter article: the mode of supposition of terms in intensional contexts, and the possible existence of a fourth mode, often called suppositio copulatim. (shrink)

It is proposed that one musically interesting way to characterise and compare different performances or recordings of the same piece is by correlating them with different Schenkerian interpretations through the medium of grouping. This approach is demonstrated through an examination of four 'either/or' passages from the first movement of Beethoven's Piano Sonata in E Major, Op. 81a, passages in which at least two Schenkerian interpretations are possible. Schenker's own published and unpublished sketches, among others, are considered alongside recordings (...) by Vladimir Ashkenazy, Emil Gilels, Richard Goode, Murray Perahia and Artur Rubinstein. The approach is not meant to be self-sufficient, but rather to contribute a new set of tools to the emerging multidisciplinary field of performance studies. (shrink)

ABSTRACTJason Wirth's Mountains, Rivers, and the Great Earth: Reading Gary Snyder and Dōgen in an Age of Ecological Crisis challenges complacency in two significant ways. First, it performs a commitment to philosophy as creative and capacious practice in contrast to orthodoxies or technical provincialisms. Second, it disrupts unreflective usages of “wealth” and “development” as inherently economic in developing a compelling argument about the way that spiritual poverty informs contemporary ecological pathology. In this review, I present six key claims in Wirth's (...) text and offer unfolding thoughts in response. (shrink)

This commentary on Søren Riis’s paper “Dwelling in-between walls” starts from a position of solidarity with its attempt to build a postphenomenological perspective on architecture and the built environment. It proposes however that a clearer view of a technological structure of experience may be obtained by finding technological-perceptual wholes that incorporate perceiver and perceived as well as the mediating apparatus. Parts and wholes may be formed as nested human-technological interiorities that have structured relations with what is outside—so that the outside (...) constitutes an interiority in its turn which contextualises and situates the first. This nested structure raises questions about the way architects and urbanists see the built environment and understand inhabitation. It is hoped that this effort continues with conceptual and empirical work to research ways to make the human places of our built environment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 104-117 MuseSearchJournalsThis JournalContents[Access article in PDF]Performative Somaesthetics: Principles and ScopeEric C. MullisJohn Dewey's aesthetic has been invoked in recent discussions because many have realized that it resists the pull toward conceptualism that characterizes a great deal of aesthetic theory. Further, Art as Experience—Dewey's chief work on the philosophy of art—is rich with ideas that call for development. Richard Shusterman's work does just (...) this as it suggests that Dewey's approach is a practical alternative to those that hinder a comprehensive understanding of art and/or ignore art's capacity to enrich the quality of lived experience. More specifically, Shusterman develops key Deweyan ideas by considering the aesthetic merits of popular music and by exploring Dewey's "somatic naturalism," that is, a naturalism that strives to understand the role played by the human body in aesthetic experience. Somaesthetics is the pragmatic discipline that explores somatic practices and ultimately demonstrates how they can lead to the attainment of fulfilling experiences. Shusterman argues that various disciplines can be taken up in order to improve the clarity of somatic functioning, perception, and thought as they "help us reconstruct our attitudes or habits of feeling to give us greater flexibility and tolerance to different kinds of feeling and bodily behavior." 1 Ultimately, Dewey's emphasis on the everyday origins of aesthetic experience is combined with his rejection of mind-body dualism in order to demonstrate how aesthetic experiences can be cultivated through such practices. One is not limited to going to museums and reading art criticism in order to have meaningful aesthetic experiences because somaesthetics shows how one's body can be transformed into a locus of aesthetic value.This said, we also find that similar techniques are used in the training of actors, dancers, and other performance artists. Performative somaesthetics explores the body disciplines that are instrumental to the performer's craft—that allow him or her to master the body and to enhance its expressive powers. In this article I would like to explore a few elements of this [End Page 104] craft in order to flesh out what the performance arts can reveal about the aesthetic body. In order to do so I will need to first say something about Shusterman's pragmatist aesthetic and the Deweyan foundation of that approach. After this is done I will discuss what I take to be a few core principles of performative somaesthetics and, with them in mind, will go on to discuss the relationship between practical and performative somaesthetics.Aesthetic MeliorismIn Art as Experience Dewey describes the process of "doing and undergoing," in which the energies and forces of the environment mix with those of the organisms that inhabit it. 2 For human beings life is lived to its fullest when difficult situations arise and are efficiently dealt with, that is, when the energies of particular situations are ordered and brought into accord with those of the individuals within them. This, in turn, renders experience meaningful as it simultaneously produces a sense of agency and solves particular problems. Ultimately, Dewey notes that the process of doing and undergoing is the foundation of aesthetic experience because it marks those intense organic moments that stand out from the broader context of humdrum or chaotic experiences: "Art... unites the very same relation of doing and undergoing, outgoing and incoming energy, that makes an experience to be an experience." 3 Aesthetic experience, like any instance of doing and undergoing, involves the organization of energies, which solves a characteristically aesthetic problem. For artists this may be the problem of adequately expressing emotion and for observers it may be interpreting or judging the quality of a work. Regardless, for Dewey the aesthetic must not be conceptually or institutionally divorced from its broader context, for doing so not only ignores its natural origins but also limits its ability to imbue the world with meaning. Hence, Shusterman writes that for Dewey, "if anything is to have human value, it must in some way serve... (shrink)

Several studies have highlighted that reading comprehension is determined by different linguistic skills: semantics, syntax, and morphology, in addition to one’s own competence in reading fluency. On the other hand, according to the Linguistic Interdependence Hypothesis, linguistic skills developed in one’s own native language facilitate the development of these skills in a second one. In this study, we wanted to explore the linguistic abilities that determine reading comprehension in Spanish and in English in Secondary Education students. To do this, 73 (...) Secondary Education Students participated in this study. The students carried out a battery of tasks in English and Spanish, all of them related to reading comprehension and different linguistic skills, which included syntactic awareness tasks, synonymy judgment tasks, and morphological awareness tasks. The results indicated a positive correlation between linguistic competencies in both languages, which were determined by school year, with a lower performance in the 1st year than in the 3rd year. Moreover, we found more skills with correlations in English reading comprehension than in Spanish. Finally, reading comprehension in L1 was mainly explained English reading comprehension, while English reading comprehension was predicted by grade, and syntactic awareness, as well as Spanish reading comprehension. This could be explained by the different levels of exposure to L1 and L2 of sample subjects, as the linguistic variables have different influences on the reading comprehension of both languages. (shrink)

Silent reading is markedly different from loud reading. For loud reading it is necessary that the spoken words match the printed or written words in accord with rules of pronunciation and grammar. Ordinarily, a loud reader can repeat or describe what he has read, but the acquisition of this ability is not necessary for loud reading. However, for silent reading it is necessary that the reader can repeat or describe the printed or written words that he has read. (...) Inner voicing may be part of the experience of silent reading, but it isn’t necessary. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art as PerformanceMichael WehArt As Performance, by David Davies. Oxford: Blackwell Publishing, 2004, 278 pp.If we accepted the claims that David Davies makes in his Art as Performance, we would have to rigorously revise our conception of what kinds of entities artworks are. Art as Performance is a study in the ontology of art, and whereas other well-known theories about the ontological status of artworks say (...) that artworks are to be identified with, forexample, types, classes, or kinds, Davies holds that they are performances that lead to the production of a "focus of appreciation" — the latter being the objects we usually take to be artworks. So according to Davies, a painting presented in a museum or a novel we can buy in a bookshop is in fact not the artwork x.The artwork is rather the performance that cumulated in bringing x into existence.Davies characterizes our "common sense theory" of art as including views about the epistemology, ontology,axiology, and definition of art. It maintains that in order to appreciate an artwork, a direct experiential encounter with it is sufficient; that artworks are those things that are exhibited in our museums or performed on stages; that the value of artworks lies in immediately experiencing them; and that artworks differ from other objects by virtue of possessing aesthetic properties. But the common sense theory conflicts with many, if not most, of the art phenomena of the twentieth century. The puzzlement of audiences in the face of certain contemporary pieces of art is caused by the incompatibility of the common sense theory with those artworks. A philosopher of art can try to solve this problem by either accommodating modern art to the common sense theory or by dismissing the theory as inappropriate. With his performance theory, Davies goes for the [End Page 114] second option, while at the same time constraining his theory to the principle that an ontology of art should not contradict our dealing with art — at least after we have critically revised it — too excessively.Davies's first major step in elaborating his theory is a discussion of whether it is necessary to take contextual properties of artworks into account in order to be able to appreciate and understand them. Defenders of "aesthetic empiricism" (a term coined by Gregory Currie) deny that an artwork's history of production is relevant and would be the philosophical business partners of the common sense theory. According to empiricism, only an artwork's manifest properties matter. The context of an artwork's making is at best of art-historical interest. Building upon the works of Currie, Jerrold Levinson, Arthur Danto, and others, Davies forcefully argues against empiricism in defense of a contextualist epistemology of art. And since he takes an artwork's history of production to be epistemologically indispensable, Davies infers that it also has to be considered concerning the ontology of art.Davies's ontology of art is monistic. He claims that all artworks are not the products of creative activities, but rather "intentionally guided generative performances that eventuate in contextualized structures or objects...or events...performances completed by what I am terming a focus of appreciation" (p. 98). The focus of appreciation, in turn, is defined as "an artistic statement as articulated in an artistic medium realized in a vehicle" (p. 60). Davies understands an artistic medium as a set of social conventions or understandings of how to describe the way an artist articulated his statement — for example by manipulating a physical object. The vehicle can be — as in the case of painting — exactly that physical object, or, for example, an action in the case of conceptual art. The main point is that the focus of appreciation is not the artwork. The focus of appreciation — for example, the object Les Demoiselles d'Avignon — completes the performance that was carried out by the artist, and that performance is the artwork.If artworks are performances, it is clear that artworks possess the properties on whose existence contextualism insists and that are ignored by empiricism. But though Davies emphasizes the role of the properties an artwork has due to its provenance, he is also concerned about the weaknesses of... (shrink)

In this paper I discuss two recent readings of Kant’s schematism that are productive for my take on performativity. The first stems from Sibylle Krämer’s Figuration, Anschauung, Erkenntnis from 2016, in which Krämer examines Kant’s writings on schematism, while taking a special look at the notion of figurality. Krämer is keen on describing that intuitions and concepts are dissimilar, and the schema is required to make them similar. The transcendental schema or schematization, Krämer underlines, is a method or (...) act. It is not an image but figurality, and in Kant it is temporal figurality, which acts as a hinge providing homogeneity between concepts and intuitions and thereby making intuitions into something that the categories can latch onto. The second reading of the schematism I discuss is outlined in Maja Soboleva’s Das Denken des Denkens from 2016. Soboleva’s reading is monist and realist, claiming that the understanding does not judge in its primary activity but “shows” in its ability to make rules; it mimics an object for the human understanding. Intuition is crucial for thinking, since we are presented with a system of images, a sphere of semantically undetermined objects that we then judge in a concept. Finally, I conclude with my own reading of Kant’s schematism in outlining two kinds of imagination – one that imagines (Einbildungskraft) the connection in the intelligible realm and the other that emagines (Ausbildungskraft) the connection in the sensible realm. This is how in experience we take in with the senses and subsume under the concepts after concepts have been ordered or prefigured through this double schematization, which effects that intuitions and concepts are the same. (shrink)

James Klagge aims to shed light on Wittgenstein’s philosophy by situating it in its biographical–cultural context. While Klagge is not alone in pursuing this aim, his claim to originality lies in his thematic focus on Wittgenstein’s relationship to his time and culture as one of “alienation” (3), expressed by the metaphor of being “in exile” (61). A central concern of Klagge’s is how we, as modern readers living in a “civilized” culture not dissimilar to the one from which Wittgenstein felt (...) himself estranged, can hope to understand the philosophical writings of such a radically distant “other.” Klagge’s suggestion is that through acknowledging and engaging with just how different Wittgenstein was, we can .. (shrink)

On a global platform we are witnessing the increased visibility of the people we call children and teenagers as political activists. Meanwhile, across the contemporary performance landscape, children are participating as performers and collaborators in ways that resonate with this figure of the child activist. Beyond Innocence: Children in Performance proposes that performance has the ability to offer alternatives to hegemonic perceptions of the child as innocent, in need of protection, and apolitical. Through an in-depth analysis of (...) selected performances shown in the UK within the past decade, alongside newly gathered documentation on children's participation in professional performance in their own words, this book considers how performance might offer more capacious representations of and encounters with children beyond the nostalgic and protective adult gaze elicited within mainstream contexts. Motivated by recent performative attempts to reimagine the figure of the child by working with children on stage, the book offers a new approach to both reading age in performance and also doing research with children rather than on or about them. By redressing the current imbalance between the way we read children and adults' bodies in performance and taking seriously children's cultures and experiences, Beyond Innocence asks what strategies contemporary performance has to offer both children and adults in order to foster shared spaces for social and political change. As such, the book develops an approach to analysing performance that not only recognises children as makers of meaning but also as historically, politically, and culturally situated subjects and bodies with lived experiences that far exceed the familiar narratives of innocence and inexperience that children often have to bear. (shrink)

A growing body of research suggests that children with autism spectrum disorder are at risk of reading and learning difficulties. However, there is mixed evidence on their weaknesses in different reading components, and little is known about how reading skills characterize in ASD. Thereby, the current study aimed to systematically review the research investigating this function in children with ASD. To this purpose, we reviewed 24 studies that compared children with ASD and children with typical development in word and nonword (...) reading performance, children with ASD and normative data of word and nonword reading tests, and the results obtained by children with ASD in word and nonword reading tests. Most of the comparisons contrasting the reading performance of children with ASD and children with TD did not find significant differences between groups in both word and nonword reading. However, all the comparisons that reported standardized results showed that children with ASD had scores that fell within population norms. Regarding the third comparison of interest, about 54% of the studies presented data for both word and nonword reading, but only one study tested the difference between them and showed that children with ASD had higher levels of word than of nonword reading. Despite these results, the heterogeneous and small samples do not allow to draw sound conclusions regarding the strategies that children with ASD use to read words. As consequence, the nature of reading difficulties presented by children with ASD are still unknown, requiring future research conducted with larger and well-characterized samples of ASD and TD, using homogeneous specific tasks designed to assess word reading strategies. (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they can come together.

Learning a second language (L2) proceeds with individual approaches to proficiency in the language. Individual differences including sex, as well as working memory (WM) function appear to have strong effects on behavioral performance and cortical responses in L2 processing. Thus, by considering sex and WM capacity, we examined neural responses during L2 sentence processing as a function of L2 proficiency in young adolescents. In behavioral tests, girls significantly outperformed boys in L2 tests assessing proficiency and grammatical knowledge, and in (...) a reading span test (RST) assessing WM capacity. Girls, but not boys, showed significant correlations between L2 tests and RST scores. Using functional near-infrared spectroscopy (fNIRS) and event-related potential (ERP) simultaneously, we measured cortical responses while participants listened to syntactically correct and incorrect sentences. ERP data revealed a grammaticality effect only in boys in the early time window (100–300 ms), implicated in phrase structure processing. In fNIRS data, while boys had significantly increased activation in the left prefrontal region implicated in syntactic processing, girls had increased activation in the posterior language-related region involved in phonology, semantics, and sentence processing with proficiency. Presumably, boys implicitly focused on rule-based syntactic processing, whereas girls made full use of linguistic knowledge and WM function. The present results provide important fundamental data for learning and teaching in L2 education. (shrink)

Christopher Marlowe’s Doctor Faustus, like Goethe’s Faust, begins in Faustus’ study. Faustus, renowned for his learning, is reading, going through the entire range of medieval disciplines — Aristotelian logic, Galenic medicine, Justinian law, Jerome’s Vulgate. His rapid deductions, after quoting to himself snatches from the concerned texts, read like a pastiche of the vanity of all human knowledge one encounters in De vanitate scientiarum by Cornelius Agrippa, a rumored alchemist and master of the occult.1 Faustus rejects logic as sterile, and (...) medicine and law as “mercenary,” unfit for the gentleman-scholar, who, according to the contemporary code,2 did not study or work for gain — these are.. (shrink)

How children learn number concepts reflects the conceptual and logical distinction between counting numbers, based on a same-size concept for collections of objects, and natural numbers, constructed as an algebra defined by the Peano axioms for arithmetic. Cross-cultural research illustrates the cultural specificity of counting number systems, and hence the cultural context must be taken into account.

It is no longer socially-acceptable to exhibit prejudice against ethnic minority people on grounds of their ethnicity, women on grounds of their gender, or working-class people on grounds of their class. The last bastions of discrimination are being overcome: such as prejudice against gay and lesbian people, and against disabled people. …Or, is there one more, crucial bastion of discrimination still strongly in place?

Affective polarization is characterized by deep antagonism between political opponents and is an issue of growing concern. Some philosophers have recently suggested empathy as a possible remedy. In particular, it has been suggested that empathy might mitigate the harm resulting from affective polarization by helping us find common ground across our differences. While these discussions provide a helpful starting point, important questions regarding the conditions under which empathizing and finding common ground are morally appropriate and likely to be useful, given (...) the many risks associated with taking this approach, remain unaddressed. In this paper, I therefore give an account of the risks that we must reckon with if empathy and common ground are to help remedy affective polarization and repair damaged relations between political opponents. Far from suggesting that empathy is morally unimportant or intrinsically harmful, my goal is thus to extend and amplify previous discussion to promote a more nuanced understanding of empathy's role in this important aspect of the moral life and to ensure that our efforts to empathize are appropriate and fruitful. (shrink)

Jason Read takes up the relation between the individual and collectivity in Althusser’s work. Read focuses on Althusser’s interest in the “ideological dimension of the individual,” primarily by tracing his interest in the law and in particular the moral supplement to the law within its historical dimensions.

Critics of empathy—the capacity to share the mental lives of others—have charged that empathy is intrinsically biased. It occurs between no more than two people, and its key function is arguably to coordinate and align feelings, thoughts, and responses between those who are often already in close personal relationships. Because of this, critics claim that empathy is morally unnecessary at best and morally harmful at worst. This paper argues, however, that it is precisely because of its ability to connect people (...) by coordinating and aligning their feelings, thoughts, and responses, that empathy is especially well suited to perform one particular moral task that has been largely overlooked in moral philosophical discussions. That is, helping people, including those who are antagonistically opposed on matters of moral, social, and political importance—what I call antagonistic moral opponents—find common ground: a set of shared beliefs, attitudes, values, or experiences that lays the requisite ground for even minimally positive relationships. Doing so can contribute to a number of morally, practically, and epistemically important outcomes, including resolving fraught disagreements, mitigating antagonism, promoting cooperation, learning from differences, and even forging positive relationships of various sorts. Contra critics, I therefore maintain that empathy is important for at least one area of the moral life. (shrink)

In Volume Three of Capital in a striking but somewhat uncharacteristic formula, Marx argues that the labor relation is the “hidden basis” of the entire social edifice including the state and politics. As an attempt to clarify and develop this insight I examine the dual nature of labor as abstract and concrete labor, arguing that the two sides of labor correspond not just to two sides of the commodity, but to different ethics and alienations of labor, and ultimately to different (...) philosophical anthropologies. (shrink)

Louis Sass disputes that schizophrenia can be understood successfully according to the hitherto dominant models--for much of what schizophrenics say and do is neither regressive (as psychoanalysis claims) nor just faulty reasoning (as "cognitivists" claim). Sass argues instead that schizophrenics frequently exhibit hyper-rationality, much as philosophers do. He holds that schizophrenic language can after all be interpreted--if we hear it as Wittgenstein hears solipsistic language. I counter first that broadly Winchian considerations undermine both the hermeneutic conception of interpreting other humans (...) in general and Sass's hope of interpreting schizophrenics in particular. I then go on to argue that even if these Winchian considerations are not accepted, Sass in any case doesn't take sufficiently seriously Wittgenstein's use of nonsense as a term of criticism. Solipsism is not something we can understand so as to be able to understand analogically the schizophrenic's "world"--for there is no such thing as understanding it. Solipsism is nonsense, is nothing--there is no "world" there, in solipsists (as I show by reference to Cora Diamond's reading of Wittgenstein). Nor in any actually analogous cases of schizophrenia. Their "alienness" is the alienness of nothingness; roughly, of the fantasy of "logically alien thought". (shrink)

Ankeny and Leonelli propose “repertoires” as a new way to understand the stability of certain research programs as well as scientific change in general. By bringing a more complete range of social, material, and epistemic elements into one framework, they position their work as a correction for the Kuhnian impulse in philosophy of science and other areas of science studies. I argue that this “post-Kuhnian” move is not complete, and that repertoires maintain an internalist perspective, caused partly by an asymmetrical (...) emphasis on the scientists’ side of practice. If we compare “repertoires” to alternative frameworks, like “sociotechnical imaginaries” of Jasanoff and Kim, it is evident that repertoires are missing two specific things. First, I argue that the framework needs to include the role of audience, without whom the repertoires of science are unintelligible. Second, I suggest that the framework also lacks an explicit place for ethical and political imagination, which provide meaning for otherwise mechanical promotion of particular research programs. With these modifications, Ankeny and Leonelli’s framework might fulfill its post-Kuhnian potential. (shrink)

If one is impressed with Wittgenstein's philosophizing, then it is a deep mistake to think that the terms that he made famous-philosophical terms like 'form of life', 'language-game', 'everyday', 'bedrock'-are the key to his philosophy. On the contrary, they are in the end an obstacle to be overcome. The last temptation of the Wittgensteinian philosopher is to treat these terms as providing a kind of ersatz foundation. They are rather a ladder that takes one... to where one already is, only (...) now undeluded. Provided, that is, that one throws them away, at the first sign that one feels oneself to be securely grounded by-or holding onto-them. (shrink)

That our ecological future appears grave can no longer come as any surprise. And yet we have so far failed, collectively and individually, to begin the kind of action necessary to shift our path away from catastrophic climate collapse. -/- In this stark and startling little book, Rupert Read helps us to understand the direness of our predicament while showing us a metaphor and a method — a way of thinking — by which we might transform it. From the relatively (...) uncontroversial starting point that we love our own children, we are introduced to a logic of care that iterates far into the future: in caring for our own children, we are committed to caring for the whole of human future; in caring for the whole of human future, we are committed to caring for the future of the natural world. Out of such thinking, hope emerges. -/- As Read demonstrates in this urgent call to action, accepting that we care for our own offspring commits us to a struggle on behalf of us all. (shrink)

Climate change and the destruction of the earth is the most urgent issue of our time. We are hurtling towards the end of civilisation as we know it. With an unflinching honest approach, Rupert Read asks us to face up to the fate of the planet. This is a book for anyone who wants their philosophy to deal with reality and their climate concern to be more than a displacement activity. -/- As people come together to mourn the loss of (...) the planet, we have the opportunity to create a grounded, hopeful response. This meaningful hopefulness looks to the new communities created around climate activism. Together, our collective mourning enables us to become human in ways previously unknown. -/- Why Climate Breakdown Matters is a practical guide on how to be a radical, responsible climate activist. (shrink)

Philosophy for Life is a bold call for the practice of philosophy in our everyday lives. Philosopher and writer Rupert Read explores a series of important and often provocative contemporary political and cultural issues from a philosophical perspective, arguing that philosophy is not a body of doctrine, but a practice, a vantage point from which life should be analysed and, more importantly, acted upon. -/- Philosophy for Life is a personal journey that explores four key areas of society today: Politics, (...) Religion, Art, and the Environment. Taking tangible examples from modern politics, from climate change to the war on terror, and culture, from Peter Jackson's Lord of the Rings film trilogy to the poetry of T.S. Eliot, Read shows that philosophy is already an active part of today's world. This captivating and timely book offers a philosophical response to some of the key questions facing today's society and encourages us to use philosophy as a kind of therapy. Philosophy for Life shows that we can improve our perspective on the world and our place in it by doing philosophy everyday. (shrink)

Frege’s project has been characterized as an attempt to formulate a complete system of logic adequate to characterize mathematical theories such as arithmetic and set theory. As such, it was seen to fail by Gödel’s incompleteness theorem of 1931. It is argued, however, that this is to impose a later interpretation on the word ‘complete’ it is clear from Dedekind’s writings that at least as good as interpretation of completeness is categoricity. Whereas few interesting first-order mathematical theories are categorical or (...) complete, there are logical extensions of these theories into second-order and by the addition of generalized quantifiers which are categorical. Frege’s project really found success through Gödel’s completeness theorem of 1930 and the subsequent development of first- and higher-order model theory. (shrink)