This volume contains "The Wireless Lectures", a series of lectures delivered during April and May, 1936 at Cheshunt College Lodge, Cambridge. The lectures pertain to the age-old problem of evil in Christian doctrine. This volume will appeal to those with an interest in Christian theology, and it would make for a worthy addition to collections of related literature. Contents include: "Four Classic Answers to the Problem", "The Answer of Theism", "The Christian Answer", "Listeners' Questions", and "Books Suggested for Further (...) Reading". Many vintage books such as this are becoming increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern, high-quality edition complete with a specially commissioned new introduction. (shrink)

Part of the greatness of great literature consists in the profound, philosophic ideas the works contain. These ideas may not be unknown to philosophy but, when rendered in literary form, they gain an aesthetic force often lacking in the philosophic treatise with its careful train of reasoning.In this insightful study, Burton Porter explores the philosophic content of some outstanding literary works, analyzing and evaluating the ideas that drive the narrative.Porter first examines the concept of free will and determinism in (...) Melville's Moby Dick, placing the quest for the white whale within the context of foreordination, hubris, prophecy, and defiance of divine power. Connections are also drawn to Euripides' Medea and Shakespeare's King Lear as well as the Old Testament.The good and the right are traced in Anouilh's Antigone and Tolstoy's Anna Karenina, showing the philosophic antagonisms in the literature and in the conflicted minds of the authors.Voltaire' Candide and Dostoevsky's The Brothers Karamazov are then explored insofar as they express the problem of evil--the tension between human suffering on earth and belief in a benevolent, wise, almighty God.Finally, the nature of the self is investigated in Rilke's The Notebooks of Malte Laurids Brigge and Kafka's The Metamorphosis, focusing on identity and the mind-body problem.Porter makes philosophy come alive by showing its expression in art and revealing the depth of ideas that make literature compelling.Burton Porter (Springfield, MA) is currently professor of philosophy at Western New England College and a visiting professor of philosophy at Mt. Holyoke College. He is the author or editor of numerous books including Philosophy Through Fiction and Film, The Voice of Reason, and Reasons For Living. (shrink)

Less Erroneous Pictures. Whalers’ Knowledge in Nineteenth‐Century Natural History, Oceanography, and Literature. This paper uses the iconoclasm of Herman Melville's Moby‐Dick as a point of departure to examine the problem of representing whales pictorially. Focussing on the use of images in cetological works and whaling logbooks, the paper investigates how the whalers’ knowledge, which served the hunting, killing, and economic exploitation of whales, came to be inscribed in the antithetical work of natural historians who were increasingly interested (...) in living organisms. This paper argues that Melville's juxtaposition of whalers’ and naturalists’ knowledge runs parallel with a dichotomy, along which natural histories, travelogues, and thematic maps of oceanography constitute the whale as an object of knowledge. It concludes by suggesting that, at the same time, this dichotomy is repeatedly undermined for the sake of the whale's representation. (shrink)

Cloud computing deals with voluminous heterogeneous data, and there is a need to effectively distribute the load across clusters of nodes to achieve optimal performance in terms of resource usage, throughput, response time, reliability, fault tolerance, and so on. The swarm intelligence methodologies use artificial intelligence to solve computationally challenging problems like load balancing, scheduling, and resource allocation at finite time intervals. In literature, sufficient works are being carried out to address load balancing problem in the cloud using traditional (...) swarm intelligence techniques like ant colony optimization, particle swarm optimization, cuckoo search, bat optimization, and so on. But the traditional swarm intelligence techniques have issues with respect to convergence rate, arriving at the global optimum solution, complexity in implementation and scalability, which limits the applicability of such techniques in cloud domain. In this paper, we look into performance modeling aspects of some of the recent competitive swarm artificial intelligence based techniques like the whale, spider, dragonfly, and raven which are used for load balancing in the cloud. The results and analysis are presented over performance metrics such as total execution time, response time, resource utilization rate, and throughput achieved, and it is found that the performance of the raven roosting algorithm is high compared to other techniques. (shrink)

“The Vegan Viewer in the Circum-Polar World” examines, in unprecedented detail, The Diana and Chase in the Arctic, a canvas by the little-known, early-nineteenth-century marine painter, James Wheldon, part of a local Hull School of painters focused upon depictions of Arctic whaling. The chapter contextualizes the iconography and materiality of the canvas within a broader discussion of the humanimal tragedy of Victorian whale hunting, as conceptualized, for the first time, by a specifically ethical vegan viewer, pondering not only how various (...) animals are represented in the image, but might have contributed to its painting in the first place. The chapter concludes by pondering questions of violence: what kinds we, as vegans, must tolerate, and which we might find ourselves drawn to. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

Abstract:Increasingly, issues of social justice have become the concern of educators. It is clear, however, that these issues are not concerning for everyone. Awareness of social justice exists in critical relationship to society: it is not synonymous with it. In my paper, I argue that the contemporary relationship society has with social justice is not new. A sense of social justice–of equality–existed in critical tension with eighteenth-century conventions, even if the scope of this tension was far more limited than today. (...) Some say classical music mirrors the values of the society of its production. It follows that classical music may mirror the dialectical relationship between convention and critique–that it may not only present conventional sound patterns but also be critical of them. As self-critical, music (all music) nurtures the ability of its participants to think critically. Ironically, then, I suggest that classical music has contributed to people's capacity to critique classical music. (shrink)

Daniel Barenboim, conductor of the Arab/Israeli West-Eastern Divan Orchestra, claims that “everywhere in the world... [Beethoven’s Ninth Symphony] speaks to all people.” But just how universal is Beethoven? Does his music exceed cultural boundaries or is Barenboim’s idea of a “utopian republic,” built, in part, upon Beethoven’s music, just “another Euro-American vision?” In his paper, Mark Whale explores two ways of understanding Beethoven’s music in line with two versions of the “idea of culture” proposed by literary theorist, Terry Eagleton. First, (...) he suggests that our experience of music has to do with its association with the specific cultural “loyalties and allegiances” built into our lives. Second, he argues that there is a mode of musical encounter, one which crosses cultural boundaries, in which we do not simply experience music but actively choose to care about, and to attend to, what we experience. In choosing to attend carefully to Beethoven’s music we discover that it invites and deepens our attention, not only to it, but also to ourselves. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Written on the Body, Written by the SensesJennifer L. Hansen"Explore me," you said and I collected my ropes, flasks and maps, expecting to be back home soon. I dropped into the mass of you and I cannot find the way out. Sometimes I think I'm free, coughed up like Jonah from the whale, but then I turn a corner and recognize myself again. Myself in your skin, myself lodged (...) in your bones, myself floating in the cavities that decorate every surgeon's wall. That is how I know you. You are what I know.1Ever since Plato wished to banish the poets from the republic (Republic 607b2),2 philosophy has stood in a vexed relationship to literature. There seem to be at least three reasons for philosophy's traditional contempt for literature as a reliable means to truth: (a) because literature engages the passions of a reader, it may cloud the reader's ability to deliberate calmly and rationally about any given account of how things really are; (b) literature most commonly deals with the particular and concrete and therefore cannot claim to a more general or universal truth, and; (c) literature is too open-ended and ambiguous in its meaning, which, again, obstructs the reader's view of how things really are. Though the writer is imitating the world, is holding up a mirror to it—a speculum mundi—literature's images are mere appearances.Philosophy, on the contrary, aims for a kind of "transcendental vision." Either philosophy looks beyond the particular appearances of things in the world to find the one structure which unites all instances of the thing, or philosophy claims that the structure of each object is supplied by consciousness, which then delimits and bounds each object, and places it in space and time so that the scientist can better dissect, measure, and catalogue it. That is, either philosophers, in the [End Page 365] tradition of Parmenides, aim to find the one in the many—as Socrates explains in the Republic "we are accustomed to assuming one Form in each case for the many particulars" (596a4–5)—or as in Kant's Copernican revolutionary thinking, consciousness renders the object of experience a knowable thing.While this transcendental vision proves quite useful for the scientist who deals with the empirical, it proves less useful where the task would be to conceptualize what is not a possible object of experience. While the scientist can indeed dissect and probe the body to understand how it functions, the scientist is less likely to discover what it means for a body to love, or to be free. In the "The Antinomy of Pure Reason" in the first Critique, Kant, in fact, left us with a choice about what philosophy's true object should be: either we restrict philosophy to the empirical world and its logic, or we pursue metaphysical questions about God or Freedom which cannot be grasped.3 On pain of contradiction, we cannot have both. In chapter three of the Transcendental Doctrine Judgment, "The Ground of the Distinction of all Objects in General into Phenomena and Noumena," Kant uses a wonderful metaphor to illustrate the dangers of Pure Reason venturing into metaphysical questions, and thereby employing the categories beyond the empirical: "This domain is an island, enclosed by nature itself with unalterable limits. It is the land of truth—enchanting name!—surrounded by a wide and stormy ocean, the native home of illusion, where many a fog bank and many a swiftly melting iceberg give the deceptive appearance of farther shores, deluding the adventurous seafarer ever anew with empty hopes, and engaging him in enterprises which he can never abandon and yet is unable to carry to completion" (CR, 257). If we allow ourselves to be allured by the deceptive appearance of farther shores, then we are not engaged in philosophy, but speculation or mysticism. We cannot provide an account for such knowledge in universal terms, in arguments, in logic. And yet, as Kant himself very well knew, these are questions that we are, as humans, compelled to raise. At the outset of the Transcendental Dialectic, Kant makes clear that reason will ineluctably be led... (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

Relationalität und Selbstdiskursivierung in den lebens -- und Sozialwissenschaften -- Selbstreflexion und Relationalität in der literatur.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 197-214 [Access article in PDF] The Origin of Stories:Horton Hears a Who Brian Boyd Works of art die without attention, and we should expect that any critical theory that cannot explain why we attend to art ought itself to be moribund. Yet the currently dominant approach to criticism, which I will dub Cultural Critique, 1 explains art in terms of the limited and (...) suspect perspectives of the culture (society, group, era) that produced it, or as the site of contestation or locus of imbrication of the ideological discourses of its time. Why anyone would want to attend to art, defined thus, becomes a mystery, unless audiences always do indeed crave ideological nourishment or indigestion. Surely we can do better.I would like to offer the outline of an alternative: an evolutionary explanation first for art, then for narrative, then for fiction. Then, since ontogeny recapitulates phylogeny, or at least sometimes helps us retrieve it, and since we have no printouts of Pleistocene potboilers, I will color in the outline by way of Dr. Seuss's children's classic, Horton Hears a Who, contrasting a sample evolutionary analysis of a single work of fiction with the kind of response typical of Cultural Critique.In art we do or make things simply in order to engage our attention, for the sake of attention, and we are not the only species to do so. Intelligence began to evolve because the world is full of potential information that can suggest advantageous courses of behavior. Curiosity evolved on top of intelligence--especially in the species that Konrad Lorenz liked to call "specialists in non-specialization," such as rats among rodents, corvids among songbirds, and humans among primates 2 --because it extends the range of information creatures can attend to and act on. As a result rats can prefer cognitive stimulation to food and sex. 3 As the most intelligent and versatile of species, we humans particularly like directing our attention to what repays our curiosity. [End Page 197]And like other particularly intelligent species, we like to do things that provide cognitive stimulation, whether they have any immediate survival value or not. Corvids (together with psittacines, the most intelligent of birds) enjoy a kind of aerial acrobatics that Lorenz unashamedly labels art. 4 Dolphins in a Hawaiian marine park have developed, without any human prompting, what has been called "air art," a kind of rhythmic gymnastics in which they deploy air bubbles from their blowholes like gymnasts' ribbons or hoops, or, to stress the affinity to art, a kind of aquatic analogue of light sculpture. 5 Chimpanzees appear to engage both in solitary imaginative play, like Kakama with the stick he famously and repeatedly handled as if it were a toy baby, 6 and in group activity, like rhythmic dances, 7 for the sheer pleasure they produce. In art as in so much else we had thought uniquely human, like tool-using or tool-making, like counting or culture, we are finding there are precursors elsewhere in nature. 8Because we are such a highly social species, we crave the attention of others. Human infants are distressed at adults who do not respond to them; 9 infants and children across cultures punish others by withdrawing attention. 10 At any age we like to command attention in ways we choose, for the ability to compete successfully for attention is closely correlated with status, 11 which raises rates of survival and reproduction. 12 And we can recognize something artistic in such forms of competitive animal attention-getting as the dances of lekking birds, the songs of songbirds or whales, or the extravagant architecture of bowerbirds. Not only do we like to command attention, we also enjoy simply sharing it with others, because this cements our place in a social group whose support we need. 13 Again, there are precursors in other species: the elaborate song of duetting songbirds, 14 or the communal dances of chimpanzees.Curiosity directed at what we can do that gives us cognitive pleasure, whether by engaging our own attention or... (shrink)

This paper responds to a piece of dialogue from Flora Nwapa’s novel Women are Different, in which Comfort mockingly says, “They took up the job voluntarily. Now you will soon tell us that they are celibate because of us.” There are two different interpretations of the use of “because,” and the claim is obviously false on only one of these.

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable (...) - in case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

An exploration of the relationship between quantum theory and concepts of individuality and identity from ancient Greece to the present.

This paper finds its origin in a debate between Georges Bataille (1897-1962) and Octavio Paz (1914-1998) on what is central to the idea of eroticism. Bataille posits that violence and transgression are fundamental to eroticism, and without prohibition, eroticism would cease to exist. Paz, however, views violence and transgression as merely intersecting with, rather than being intrinsic to, eroticism. Paz places focus on imagination, and transforms eroticism from a transgressive, to a ritualistic act. Eroticism thus functions as an intermediary, turning (...) animal sexuality into ceremony and rite. In this paper, I argue that Paz and Bataille are not fundamentally at odds in their conceptualisation of eroticism. Instead, Paz redefines the locus of eroticism by subverting its unsettling aspects. His conception of eroticism gives precedence to the imagination, which in itself is an act of violation. Imagination transgresses normal life, but this transgression – the violation of the habitual world – also introduces a glimpse of the numinous that Paz associates with belongingness. The paper further explores eroticism, as this is perceived today, and argues that it ultimately eliminates the threshold marked by transgression. The rise of the contemporary pornographic society is marked by a loss of imagination and transcendence, which ultimately reduces the subject into a mere automaton that demands instant gratification. (shrink)

The article explores the possibilities of literary studies as a hermeneutics of the social by focusing on intermediations of literary and social studies in the present and in the early days of the DVjs, i.e. in the 1920s. It first investigates, how sociology interrogates itself by reading detective stories (Kracauer, Boltanski). As a testing ground for the productivity of the proposed orientation the article then takes a closer look at German crime fiction of the interwar years (Perutz, Jacques) and demonstrates (...) how these novels problematize the workings of a social imaginary in the »time of monsters«. (shrink)

Animal welfare scientific literature has accumulated rapidly in recent years, but bias may exist which influences understanding of progress in the field. We conducted a survey of articles related to animal welfare or well being from an electronic database. From 8,541 articles on this topic, we randomly selected 115 articles for detailed review in four funding categories: government; charity and/or scientific association; industry; and educational organization. Ninety articles were evaluated after unsuitable articles were rejected. The welfare states of animals (...) in new treatments, conventional treatments or control groups with no treatment were classified as high, medium or low according to one or more. More articles were published in which the welfare of animals in new treatments was better than that of animals in the conventional or no treatment groups, demonstrating a positive result bias. Failure to publish studies with negative or inconclusive results may lead to other scientists unnecessarily repeating the research. The authors’ assessments of the welfare state of the groups were similarly rated high, medium or low, and it was found that new treatments were rated lower if the research was funded by industry, and higher when funded by charities, with government funding agencies intermediate. These differences were not evident in the Five Freedoms assessment, demonstrating an authors’ assessment bias that appeared to support the funding agencies’ interests. North American funded publications rated the welfare of animals in New treatments higher and those in a Conventional or No Treatment lower, compared with European-funded publications. It is concluded that preliminary evidence was provided of several forms of publication bias in animal welfare science. (shrink)

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

Video ethics in educational research involving children is a recent topic that has arisen since the increase in the use of visual mediums in research especially with the development of new and ubiquitous internet technologies and social media. This paper emerged as an expressed concerned by a group of scholars associated with the new Video Journal of Education and Pedagogy that was established in 2016. The paper is the result of a collective writing process over a period of a few (...) months that discusses visual studies in education and visual ethics in relation to qualitative research in education, and as it applies to children. The article also uses the newly established convention of open review, publishing the results with the paper. (shrink)

In Giulio Aleni’s The True Source of the Myriad Things chapter 4 contains the following question and answer:One might say that it is like seeds: from only one seed the subsequent branches, trunk, and blossoms are produced in a truly spontaneous manner. There need not be an external creator. All things have their own inherent natures, and they come forth on the basis of their inherent natures spontaneously; why must they have some external maker?1I [i.e., Aleni] say: The sprouting of (...) a seed cannot be separated from the efficient cause. Suppose that the seed had no prior tree to produce it. Then the present tree would not have come to be. Therefore the prior tree is considered the... (shrink)

(1996). Surprise in literature. Angelaki: Vol. 1, No. 1, pp. 58-68.

Angus Fletcher is one of our finest theorists of the arts, the heir to I. A. Richards, Erich Auerbach, Northrop Frye. This, his grandest book since the groundbreaking Allegory of 1964, aims to open another field of study: how thought--the act, the experience of thinking--is represented in literature. Recognizing that the field of formal philosophy is only one demonstration of the uses of thought, Fletcher looks for the ways other languages (and their framing forms) serve the purpose of certain (...) thinking activities. What kinds of thinking accompany the writing of history? How does the gnomic sentence manage to represent some point of belief? The fresh insights Fletcher achieves at every turn suggest an anatomy of poetic and fictional strategies for representing thought--the hazards, the complications, the sufferings, the romance of thought. Fletcher's resources are large, and his step is sure. The reader samples his piercing vision of Milton's Satan, the original Thinker, leaving the pain of thinking as his legacy for mankind; Marvell's mysteriously haunting "green thought in a green shade"; Old Testament and Herodotus, Vico and Coleridge; Crane, Calvino, Stevens. Fletcher ranges over the heights of literature, poetry, music, and film, never losing sight of his central line of inquiry. He includes comments on the essential role of unclear, vague, and even irrational thinking to suggest that ideas often come alive as thoughts only in a process of considerable distress. In the end he gives us literature--not the content of thought, but its form, its shape, the fugitive colors taken on by the mind as represented in art. (shrink)

The notion of aesthetic illusion relates to a number of art forms and media. Defined as a pleasurable mental state that emerges during the reception of texts and artefacts, it amounts to the reader's or viewer's sense of having entered the represented world while at the same time keeping a distance from it. Aesthetic Illusion in Literature and the Arts is an in-depth study of the main questions surrounding this experience of art as reality. Beginning with an introduction providing (...) historical background to modern discussions of illusion, it deals with a wide range of theoretical issues. The collection explores the nature and function of the aesthetic illusion as well as the role of affect and emotion, the implications of aesthetic illusion for the theory of fiction, the variable forms of aesthetic illusion and its relationship to other components of aesthetic response. Aesthetic Illusion in Literature and the Arts brings together a team of scholars from philosophy, literature and art and presents an interdisciplinary examination of a concept lying at the heart of contemporary aesthetics. (shrink)

A distinguished group of authors reflects on problems currently enlivening the space shared by philosophy and literary theory in a series of chapters that range in scope from Plato to postmodernism.

An analysis of the treatment of time in literature and its relationship to science and philosophy. Since the consciousness of time seems to the author to have greatly increased in contemporary culture, he refers primarily to such twentieth-century authors as Proust, Joyce and Mann.--A. R.

The article is devoted to the analysis of theoretical aspects of physical training of judges in various sports, in particular in hockey. The author analyzes dissertation research and scientific publications devoted to various aspects of physical training of judges in various sports, mainly games. Particular attention is paid to the degree of development of the theoretical foundations of physical training of judges in hockey.

Until recently, psychologists have conceptualised and studied trust in God (TIG) largely in isolation from contemporary work in theology, philosophy, history, and biblical studies that has examined the topic with increasing clarity. In this article, we first review the primary ways that psychologists have conceptualised and measured TIG. Then, we draw on conceptualizations of TIG outside the psychology of religion to provide a conceptual map for how TIG might be related to theorised predictors and outcomes. Finally, we provide a research (...) agenda for future empirical work in this area, as well as practical applications for counsellors and religious leaders. (shrink)

This paper offers a reading of Hartmann’s philosophy of literature from the perspective of contemporary aesthetics. In particular, I focus on his defense of the truth-value of literary works. After outlining the main concern of the paper (sect. 1), I place Hartmann’s view within the context of current aesthetic cognitivism (sect. 2). In the following three sections, I discuss Hartmann’s account, examining his critique of the thesis that literature is cognitively valuable because it transmits factual truths (sect. 3); (...) his defense of the view that literature discloses life (sect. 4); and the link between cognitive value and the ontology of the literary work (sect. 5). Finally, I discuss Hartmann’s focus on the concept of “truth” in the light of recent debates on knowledge of “what it is like” and on “understanding” (sect. 6). (shrink)

Through the examination of anti-psychiatric theory and literary texts, this timely and thought-provoking volume explores the possibilities of liberating our habitual patterns of perception and consciousness beyond the confines of a capitalist era. In Post-Capitalist Subjectivity in Literature and Anti-Psychiatry, Skott-Myhre asks the question, how might we be different if we didn't live in a capitalist society? By drawing on Marxist and post-Marxist theory, and conducting nuanced analysis of the professional writings of anti-psychiatrists including Basaglia and Laing, and the (...) work of fiction writers Kafka and Garcia Marquez, the text identifies alternative conceptualizations of the self. Focusing in particular on portrayals of institutions and the family, Skott-Myhre proposes that these social systems offer new modes of reading the world and ourselves which will transform social organization and free subjectivity from dominant capitalist structures. This transdisciplinary text responds to a revitalized interest in alternatives to traditional psychology, an interest in life beyond capitalism, and the crisis in the traditional family. Post-Capitalist Subjectivity in Literature and Anti-Psychiatry will offer timely reading for graduate students, researchers, and scholars in the fields of cultural studies, psychology, philosophy, family studies, and interdisciplinary studies. (shrink)