In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 187-189 [Access article in PDF] Blue Jean Buddha: Voices Of Young Buddhists. Edited by Sumi Loundon. Foreword by Jack Kornfield. Boston: Wisdom Publications, 2001. xxi + 234 pp. Blue Jean Buddha is not the name of one of this year's short-lived pop sit-coms nor is it a trendy apparel statement. You will not find low-rise, hip-hugging jeans and navel-studded co-eds in this collection of lively (...) and articulate essays by young American Buddhists in their late twenties and early thirties. (But then again you might have found them if today's teen Buddhists were represented!) Blue Jean Buddha is highly readable and mind-opening to those unfamiliar with the growth of Buddhist communities and practitioner networks in North America as well as for text and church-bound academicians of Buddhist-Christian discourse.Blue Jean Buddha:Voices of Young Buddhists is a medley of twenty-nine upbeat and down-home personal testimonies of mostly Westerners who were raised as Buddhists in the United States or who converted early on in life. The book is divided into four parts: Lessons, Life Stories, Livelihood, and Reflections. Refreshingly immediate introductory pages (really a series of questions!) and the concluding Reflections are offered by editor Sumi Loundon, an artist and graduate of Harvard Divinity School and former chair of the Harvard Buddhist Community. Sumi herself was born into a small Zen community in rural New Hampshire, practiced vipassana for years and is now committed to the Buddhist traditions of Korea, where I first met her at a temple in Seoul. She is planning to come out with a second volume of essays by more representatives of America's fertile Buddhist garden in 2004.The essays in Blue Jean Buddha are a cornucopia of commentary and questions about the reception of Buddhism in the West, the spiritual odysseys of exceptional young seekers, and thoughtful ruminations on the transformative effects of dharma practice for personal and social change. These are the voices of American Buddhism at its grassroots, in the lives of young Buddhists as they are actually living it. One contributor, Elijah, age twenty-eight, was recognized as a tulku by the Dalai Lama when he was eight; another voice is Hanuman, twenty-four, a musician and proud "Bu-Hin-Chris-Jew" whose senior performance was called "The Mind Is a Belligerent Puppy—Easy to Train, Difficult to Discipline." Yet another contributor is Liane, a Japanese American Jodo Shinshu follower, thirty-three, whose faith was tested after she became paralyzed from the neck down in an automobile accident when she was twenty.Blue Jean Buddha is one of those versatile books you can recommend to almost anyone you meet to introduce them to the living practice of Buddhism in contemporary America. The personal vignettes are short, compelling, and easy to read on a plane, on a bus, or at your bedside. College students at all levels will enjoy it because of the open spirit with which it is presented. It asks many leading questions about [End Page 187] Buddhism and the nature of spiritual life in general. Readers will be happily surprised, remarking, "Hey! I was there, too! That's what I was thinking!" You can read and reread it many times and still get some new personal insight out of it. I certainly did, assisting my wife, Jinsuk Lim, preparing a Korean translation of the book. A best-seller among Eastern spiritual titles distributed by Amazon.com and Shambhala, the Korean version sold very well in Buddhist and more intellectually progressive circles. Those conversant with Buddhist studies in general as well as meditation and transpersonal psychology will recognize a few familiar surnames; candid and compassionate offspring of illustrious parents have contributed to Blue Jean Buddha. I will leave it to SBCS members in the know to seek out and identify them!As for the interface of Buddhist and Christian beliefs and interfaith practice of concern to our seasoned readers, let us allow editor Sumi Loundon to offer her musings from her own youthful experience: The essays in this book... (shrink)

Background Bioethical debates about privacy, big data, and public health surveillance have not sufficiently engaged the perspectives of those being surveilled. The data justice framework suggests that big data applications have the potential to create disproportionate harm for socially marginalized groups. Using examples from our research on HIV surveillance for individuals incarcerated in jails, we analyze ethical issues in deploying big data in public health surveillance. -/- Methods We conducted qualitative, semi-structured interviews with 24 people living with HIV who had (...) been previously incarcerated in county jails about their perspectives on and experiences with HIV surveillance, as part of a larger study to characterize ethical considerations in leveraging big data techniques to enhance continuity of care for incarcerated people living with HIV. -/- Results Most participants expressed support for the state health department tracking HIV testing results and viral load data. Several viewed HIV surveillance as a violation of privacy, and several had actively avoided contact from state public health outreach workers. Participants were most likely to express reservations about surveillance when they viewed the state’s motives as self-interested. Perspectives highlight the mistrust that structurally vulnerable people may have in the state’s capacity to act as an agent of welfare. Findings suggest that adopting a nuanced, context-sensitive view on surveillance is essential. -/- Conclusions Establishing trustworthiness through interpersonal interactions with public health personnel is important to reversing historical legacies of harm to racial minorities and structurally vulnerable groups. Empowering stakeholders to participate in the design and implementation of data infrastructure and governance is critical for advancing a data justice agenda, and can offset privacy concerns. The next steps in advancing the data justice framework in public health surveillance will be to innovate ways to represent the voices of structurally vulnerable groups in the design and governance of big data initiatives. (shrink)

How did Nietzsche the philosopher come into being? The Nietzsche known today did not develop 'naturally', through the gradual maturation of some inborn character. Instead, from an early age he engaged in a self-conscious campaign to follow his own guidance, thereby cultivating the critical capacities and personal vision which figure in his books. As a result, his published works are steeped in values that he discovered long before he mobilized their results. Indeed, one could argue that the first work which (...) he authored was not a book at all, but his own persona. Based on scholarship previously available only in German, this book examines Nietzsche's unstable childhood, his determination to advance through self-formation, and the ways in which his environment, notably the Prussian education system, alternately influenced and impeded his efforts to find his own way. It will be essential reading for all who are interested in Nietzsche. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Nietzsche’s Voices by John SallisSean KirklandSALLIS, John. Nietzsche’s Voices. Edited by Richard Rojcewicz. Bloomington: Indiana University Press, 2023. 202 pp. Cloth, $75.00; paper and eBook, $35.00George Bataille, perhaps the twentieth century’s most fundamentally Nietzschean thinker, suggests that a book should not be viewed as an independently existing entity to be assessed on its own terms. Rather, a book is, according to Bataille, always one brick placed by the (...) author in an already standing wall, resting upon and constituted partly by its relationship to its predecessors. John Sallis has placed an extremely rich new brick into the already extensive wall of Nietzsche scholarship, situated on the one hand between many important continentally-inflected book-length studies, by the likes of Heidegger, Klossowski, Deleuze, Kofman, Derrida, Irigaray, and Krell, and on the other those influential monographs from more traditional or analytic readers, such as Kaufmann, Danto, Hollingdale, Schacht, and Nehamas. Indeed, Sallis’s closest interlocutor is perhaps David B. Allison, whose indispensable Reading the New Nietzsche finds its way into this intermediate space as well. Sallis’s work wins its originality neither by imposing on Nietzsche’s works any fashionable theoretical frameworks or methods nor by insisting that those works conform to any purportedly established philosophical requirements or forms, mining them for comfortingly recognizable positions or claims. Rather, he engages the text utterly on its own terms with extreme sensitivity and insists on placing every line, every claim, every concept, and every argument within the encompassing textual whole, which is to say within the essay or book in which it appears and further within the context of the whole Nietzschean corpus—and for Sallis, Nietzsche’s many “voices” sing in harmony with one another over the course of his largely consistent seventeen-year philosophical career.Nietzsche’s Voices is the eleventh volume in Indiana University Press’s ongoing series The Collected Writings of John Sallis. Sallis being one of the world’s foremost interpreters of Martin Heidegger, his Collected Writings seem to be conceived somewhat on the model of that thinker’s Gesamtausgabe, gathering together not only all of Sallis’s published books but also a number of unpublished manuscripts and shorter texts, complete transcriptions of his lecture courses and seminars over the years, and indeed even some informal addresses and interviews. Richard Rojcewicz reports in his editor’s afterword that these are lecture notes for a course that took place over two semesters at Duquesne University during the 1971–72 academic year.After a brief introductory discussion of the challenge of reading Nietzsche’s unorthodox texts rigorously as philosophical works, the second chapter is devoted to a philosophical consideration of the importance of biography, especially as concerns a thinker who insists generally on the necessity of a close relationship between life and thought. The third chapter presents an extensive reading of The Birth of Tragedy and some of the contemporary unpublished materials. The early essays “On Truth and Lies in an Extra-Moral Sense” and “On the Utility and Liability of History for Life” are treated in chapters 4 and 5. The sixth and seventh chapters turn to Nietzsche’s “free spirit” works, first addressing [End Page 726] the critique of all received moral values and the call to invent wholly new kinds of values, in Human, All Too Human and Daybreak, and then turning to The Gay Science for Nietzsche’s analysis of the loss of any ultimate foundation for morality, knowledge, and even being itself in our late-modern historical moment. The eighth and final chapter comprises over half the book’s total length, offering a very detailed reading of Thus Spoke Zarathustra, the work Nietzsche himself saw as central to his entire corpus, indeed even central to the “history of humanity” insofar as it “splits it into two halves.”The book is full of penetrating insights into the Nietzschean text, and often Sallis’s close attentiveness and holistic approach succeed in resolving previously vexing interpretive problems. In the interest of brevity, I limit myself here to two examples.(1) In the Birth, Nietzsche famously traces the emergence of tragedy back to an almost miraculous marriage of two opposing... (shrink)

Personification, one of major types of metaphors often employed to express an attitude, is also an argumentative tool, especially in media texts on politically contested events. The present investigation aims at disclosing the attitudinal stance in personifying Ukraine, Russia, the Western countries and Lithuania in a corpus of texts collected from Lithuanian media in 2015–2018. The study relies on the three-step Critical Metaphor Analysis (CMA, Charteris-Black 2004), involving three levels: linguistic, cognitive and rhetorical. More specifically, they include (1) identifying personification (...) cases, (2) interpreting personification through cognitive metaphorical scenarios (Musolff 2016), and (3) explaining ideological implications encoded in the scenarios. The findings indicate that in the scenario of COMMUNICATION, Ukraine is mostly presented positively: active defender and in need of support, with occasional scepticism whether it is capable to change. The West, Lithuania including, is presented as a supporter, whereas Russia is viewed as a negatively evaluated antagonist. (shrink)

A multimodal person representation contains information about what a person looks like and what a person sounds like. However, little is known about how children form these face-voice mappings. Here, we explored the possibility that two cognitive tools that guide word learning, a one-to-one mapping bias and fast mapping, also guide children’s learning about faces and voices. We taught 4- and 5-year-olds mappings between three individual faces and voices, then presented them with new faces and voices. In Experiment 1, we (...) found that children rapidly learned face-voice mappings from just a few exposures, and furthermore spontaneously mapped novel faces to novel voices using a one-to-one mapping bias (that each face can produce only one voice). In Experiment 2, we found that children’s face-voice representations are abstract, generalizing to novel tokens of a person. In Experiment 3, we found that children retained in memory the face-voice mappings that they had generated via inference (i.e., they showed evidence of fast mapping), and used these newly formed representations to generate further mappings between new faces and voices. These findings suggest that preschoolers’ rapid learning about faces and voices may be aided by biases that are similar to those that support word learning. (shrink)

Robert Holub’s book, Nietzsche’s Jewish Problem: Between Anti-Semitism and Anti-Judaism, fundamentally concerns two topics: Was Nietzsche the man anti-Jewish? Was he somehow responsible for inspiring anti-Semites and particularly fascists and Nazis? These are different issues—one of biography, the other of reception—and Holub would have been advised not to link them in a single volume. Nonetheless, one reason for the connection is immediately evident. Holub distinguishes between anti-Semitism and anti-Judaism, separating them before discussing their interplay. He conceives the first as a (...) nationalist political movement opposed to Jews, and the second as prejudices against Jews at a personal level.... (shrink)

Plutarch tells the story of a man who plucked a nightingale and finding but little to eat exclaimed: "You are just a voice and nothing more." Plucking the feathers of meaning that cover the voice, dismantling the body from which the voice seems to emanate, resisting the Sirens' song of fascination with the voice, concentrating on "the voice and nothing more": this is the difficult task that philosopher Mladen Dolar relentlessly pursues in this seminal work.The voice did not figure as (...) a major philosophical topic until the 1960s, when Derrida and Lacan separately proposed it as a central theoretical concern. In A Voice and Nothing More Dolar goes beyond Derrida's idea of "phonocentrism" and revives and develops Lacan's claim that the voice is one of the paramount embodiments of the psychoanalytic object. Dolar proposes that, apart from the two commonly understood uses of the voice as a vehicle of meaning and as a source of aesthetic admiration, there is a third level of understanding: the voice as an object that can be seen as the lever of thought. He investigates the object voice on a number of different levels--the linguistics of the voice, the metaphysics of the voice, the ethics of the voice, the paradoxical relation between the voice and the body, the politics of the voice--and he scrutinizes the uses of the voice in Freud and Kafka. With this foundational work, Dolar gives us a philosophically grounded theory of the voice as a Lacanian object-cause. (shrink)

This book is an original discussion of key problems in moral theory. The author argues that the work of recent feminist theorists in this area, particularly that of Carol Gilligan, marks a radically new departure in moral thinking. Gilligan claims that there is not only one true, moral voice, but two: one masculine, one feminine. Moral values and concerns associated with a feminine outlook are relational rather than autonomous; they depend upon interaction with others. In a far-reaching examination and critique (...) of Gilligan's theory, Hekman seeks to deconstruct the major traditions of moral theory which have been dominant since the Enlightenment. She challenges the centrepiece of that tradition: the disembodied, autonomous subject of modernist philosophy. Gilligan's approach transforms moral theory from the study of abstract universal principles to the analysis of moral claims situated in the interactions of people in definite social contexts. Hekman argues that Gilligan's approach entails a multiplicity of moral voices, not just one or even two. This book addresses moral problems in a challenging way and will find a wide readership among philosopher's, feminist thinkers and psychologists. (shrink)

A striking empirical finding about color perception is that normal perceivers disagree about which hues are pure. (Pure hues contain no perceived admixture of any other color.) This finding poses a prima facie problem for color objectivism and representationalist accounts of perceptual experience. Michael Tye attempts to resolve this problem by arguing that pure hues do exist as objective properties of ordinary objects, but that human color detection mechanisms did not evolve with sufficient refinement to allow us to determine which (...) hues are the pure ones. I argue that Tye’s attempted solution fails, and that the most reasonable conclusion consistent with color objectivism is that pure hues do not exist. (shrink)

Purpose Voice assistant technology is one of the fastest-growing artificial intelligence applications at present. However, the burgeoning scholarship argues that there are ethical challenges relating to this new technology, not the least related to privacy, which affects the technology’s acceptance. Given that the media impacts public opinion and acceptance of VA and that there are no studies on media coverage of VA, the study focuses on media coverage. In addition, this study aims to focus on media coverage in Indonesia, a (...) country that has been underrepresented in earlier research. Design/methodology/approach The authors used critical discourse analysis of media texts, focusing on three levels to study how VA technology was discussed in the Indonesian context and what power relations frame the representation. In total, 501 articles were collected from seven national media in Indonesia from 2010 to 2020 and the authors particularly focus on the 45 articles that concern ethics. Findings The ethical topics covered are gender issues, false marketing, ethical wrongdoing, ethically positive effects, misuse, privacy and security. More importantly, when they are discussed, they are presented as constituting no real critical problem. Regarding discursive practices, the media coverage is highly influenced by foreign media and most of the articles are directed to well-educated Indonesians. Finally, regarding social practices, the authors hold that the government ideology of technological advancement is related to this positive portrayal of VAs. Originality/value First, to provide the first media discourse study about ethical issues of VAs. Second, to provide insights from a non-Western context, namely, Indonesia, which is underrepresented in the research on ethics of VAs. (shrink)

In this paper I argue that David Gauthier’s answer to the Why be moral? question fails. My argument concedes the possibility of constrained maximization in all the senses Gauthier intends and does not rely on the claim that it is better to masquerade as a constrained maximizer than to be one. Instead, I argue that once a constrained maximizer in the guise of "economic man" is transformed through an affective commitment to morality into a constrained maximizer in the guise of (...) the "liberal individual," then a purely rational justification for morality must become invisible to the latter. If I can show this, then I can show that rational justification can have no motivational power for the "liberal individual" and that Gauthier fails to answer the problem of moral motivation. (shrink)

In April 2002, New York Times columnist Thomas Friedman was awarded a Pulitzer Prize for a series of columns he wrote in the months following September 11. On the surface, the columns seemed to fit Cummins Gauthier’s criteria for public grieving: they engaged readers emotionally; they empathized with victims and survivors; and they helped readers develop moral attitudes, opinions and responses. However, in analyzing the columns from a feminist ethic of care perspective—one that expands the boundaries of the moral community (...) beyond the borders of a nation-state—one finds that Friedman’s columns can distort the process of public grieving, leading citizens toward anger and an “us” verus “them” mentality rather than healing and a genuine concern that embraces the value of all human beings. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Foucault for Psychoanalysis”Monique David-Ménard’s Kind of BluePenelope DeutscherFoucault for psychoanalysis? This is a paradoxical question. Foucault also produced a critique of psychoanalysis, aiming to show that sexuality was not an a-temporal reality, nor a truth eventually discovered by Freud. It was a discursive formation, one among others.—Eloge des hasards dans la vie sexuelle, 172.To the philosophers..A practicing psychoanalyst and a professor of philosophy, Monique David-Ménard extends a singular proposition (...) to philosophers. She is not the first philosopher to engage the assumptions of psychoanalysis, but hers is a particularly idiosyncratic suggestion for how to think with the analyst’s clinical work, intimate and alien. She has proposed we do so in the company of Gilles Deleuze,1 and most recently, in Eloge des hasards dans la vie sexuelle (2011) has extended her invitation to think with the clinic through an ingenious reading of Michel Foucault.As Eloge opens, David-Ménard’s reading of Foucault is far from the scene. Early in the work, we are asked to think with a practice, seemingly in a different register. An analyst finds herself accused of being an obstacle, of opposing the analysand’s wishes in life. In this context, we are asked to think about the blue of a painting in the room where the analysand waits (David-Ménard 2011, 34). [End Page 111]Given the criticisms of psychoanalysis elaborated in the work of Foucault and Deleuze, one might have expected these philosophers to be considered in Eloge in that stead.2 Or, one could imagine Foucault playing a role because of his genealogical analysis of the formation of the Oedipus complex.3Two years after the publication of Deleuze’s Anti-Oedipus, Foucault had, in Abnormal, characterized the desiring space of the family as stimulated in a capillary network of individualizing normalization (Foucault 2003, 257), linked by medicalized and expert concern of which parents became the auxiliaries. They are charged, and charge themselves, with the goals of family health, of preservative and defensive good parenting, and with the conduct of the child’s conduct. Foucault describes the pre-twentieth century emergence of lay and expert preoccupation with the dangers of childhood masturbation. This produces an environment whose intensive scrutiny involves a close “folding of... parents’ bodies over... children’s bodies” (ibid., 265) in a saturated, hermetic environment stimulating oedipalized desire. This means one can offer a genealogical account of the conditions of formation of the latter. These include a responsibilization of parents, who control for the presence of abnormal sex, advised by new experts (lay, medical, pseudo-scientific) in collective crusades for health and life. Thus there is differentiation through minor gradations of abnormality. Even the specificity of the architectural spaces in which scrutiny is directed plays a role in the hollowing out of the child’s putatively interior psychic-sexual life, the intense object of “palpating” interest (Foucault 1978, 45) in new apparatuses of knowledge-power (Foucault 2003, 327).Because he presents this as the context in which the “nuclear and substantial family was gradually constituted” (Foucault 2003, 264), along with its oedipal configurations of desire, Foucault emphasizes the contingency of both. Psychoanalysis would be, from his perspective, willfully indifferent to these or other possibilities for genealogical analysis of the apparatus of power, knowledge, and the body, of the repeating configurations of desire that are its special domain of expertise,4 and the emergent forms of authority associated with the analyst, described in History of Madness (Foucault 2009) and in Psychiatric Power (Foucault 2006).Perhaps we’d expect to see David-Ménard, the psychoanalyst, addressing these accounts, but they are neither repudiated in Eloge, nor extensively discussed. Far from rejecting a genealogical analysis of psychoanalysis, she promotes its promise. But this is so in a particular sense.Necessity and repetitionA particular patient might fear being “mad like her mother.” She might fear being denied, trapped, or annihilated (David-Ménard 2011, 33). She might [End Page 112] consider herself somehow denied a lover. She might seem to be denying herself a lover. There’s a degree of necessity in all these variants. Perhaps these... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bioethics Commissions: Town Meetings with a “Blue, Blue Ribbon”Susan Cartier Poland (bio)Town meetings are characteristic of New England. In theory, a quorum of registered voters in a small municipality meets annually to decide local public policy. In fact, special interests and the town bureaucracy control the meeting.Like a town meeting, a commission (or committee or council) comes into being, whether on an ad hoc or permanent basis, to direct (...) a government function. Bioethics commissions specialize in one area: the intersection of public policy with developments, either real or anticipated, in the basic and applied sciences.That specialization of commissions carries over into the selection of the members. More often than not commission members are appointed on the basis of expertise in a specific area. Although some commissions are still made up entirely of one kind of expert, usually medical, the majority of these government bodies seek breadth between the fields of law, religion, ethics, and science (including medicine and the social sciences).In the words of Mrs. Rigenbach, the law clerk to Chief Judge Carl B. Rubin of the United States District Court for the Southern District of Ohio, selection of persons “knowledgeable in the field” constitutes a “blue, blue ribbon” jury. In contrast, a “blue ribbon” jury is composed of those persons having “the greatest amount of formal education” (In re Richardson-Merrill, Inc. (Bendectin litigation), 624 Federal Supplement 1212 at 1217 (1985)). The problem with persons knowledgeable in the field is that their minds may have already been made up. For a jury, this is a disaster; for a bioethics commission, this directs and shapes the research, investigation, and discussion, or, in short, it makes for more efficient decision making.For this Scope Note, the definition of commission begins with the Bioethicsline description of its index term “advisory committees” as committees or commissions set up to advise government bodies on public policy. Furthermore, a commission [End Page 91] (or committee) receives government funding and support in exchange for its expertise in research, investigation, reporting, and recommendations.Six functions served by bioethics commissions have been clearly and succinctly described by LeRoy Walters (Commissions and Bioethics. Journal of Medicine and Philosophy 14 (4): 363–68, August 1989). The functions are: (1) to legitimize action; (2) to delay action or resolution; (3) to identify duplication; (4) to be representative; (5) to do research and find facts; and (6) to provide education and support (pp. 364–65). Since 1989, however, another government function has moved to the forefront. Instead of remaining within the legislative arena, government commissions serve the judiciary as well, in cases involving complex and technical questions. The now defunct Law Reform Commission of Canada recognized this use when it included in its annual reports a section on its “Influence on Law Reform through Judicial Decisions.”In mid-1997, the United States Supreme Court in its consolidated cases on assisted suicide used extensively the writings from a state commission, the New York State Task Force on Life and the Law, to support its rationale. Not only did the Court make use of the Task Force’s work, but in so doing the Court extended the efforts of the commission beyond its jurisdiction of New York into another jurisdiction on the opposite coast, Washington state. Furthermore, although the commission was chartered by one state, through the federal court system, its influence became national.Outside the U.S., the United Nations recently adopted its first bioethics text on the ethics of genetic research, and Canada is reworking its human research guidelines into a single set of guidelines that will apply to research in both the natural sciences and the social sciences.This Scope Note attempts to compile for the researcher and the reference librarian those commissions, existing and defunct, that have addressed bioethics issues. Only one other such attempt is known to the author, an Office of Technology Assessment [OTA] Background Paper, Biomedical Ethics in U.S. Public Policy (1993). Due to space limitations, not all publications could be listed; the selections included represent the range of topics from a particular group or the more frequently cited sources. Future updates of this compilation are planned, so please notify the... (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the stores (...) seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Democracy, Culture, Catholicism: Voices from Four Continents eds. by Michael J. Schuck and John Crowley-BuckSteven P. MilliesDemocracy, Culture, Catholicism: Voices from Four Continents Edited by Michael J. Schuck and John Crowley-Buck NEW YORK: FORDHAM UNIVERSITY PRESS, 2016. 350 pp. $105.00 / $35.00Democracy, Culture, Catholicism is the product of a three-year, international project that started from a less specific inspiration. Originally begun at Loyola University Chicago's Joan and Bill (...) Hank Center for the Catholic Intellectual Heritage in 2010 as a broad inquiry into the relationship between the Roman Catholic Church and politics, the project leaders eventually took a different bearing from events as diverse as the Arab Spring, the Occupy Movement, and Pope Benedict XVI's encyclical Caritas in Veritate to focus their project more squarely on democracy. Examining democracy from within the diverse experiences found in Lithuania, Peru, Indonesia, and the United States, the editors [End Page 208] present us with a valuable snapshot of where the Catholic engagement with democracy as a cultural expression finds itself today in a global perspective.Given the amount of material at play, the volume is a monumental achievement, if only for the clarity with which it presents its findings. Some essays are stronger than others. Still, the volume benefits tremendously from an apparent and unusual amount of editorial attention that sequences the essays and interrelates them with useful references to one another in such a way that Democracy, Culture, Catholicism escapes entirely the fate of so many volumes of collected essays. Here, the reader has the sensation of reading one coherent narrative, not twenty-three disparately connected, individual essays. This alone is impressive.The volume possesses other strengths. Reflections emerge throughout that engage the deeper questions of democracy. Who are these people making decisions together? How can we understand the composition of a political community? Too much democratic theory overlooks the complex interweaving of history, memory, and identity that operates like a substrate of our consciousness beneath our reason while we are presuming ourselves to be rational decision makers using democratic procedures. The book's engagement not just with democracy and Catholicism but also with culture is important. These essays treat culture not only in different local expressions but also (and in a way that is deep, serious, and sustained) as a phenomenon of consciousness.The American perspective always lurks in the narrative, threatening to dominate. This is inevitable not only because the project was managed in the United States but also because the polarizing obsessions of the church in the United States about how to acknowledge the norms of modern political arrangements have tended to dominate conversation in the church worldwide. The editors have shrewdly chosen to save the United States for the last part of this volume, allowing other voices to come forward first to claim their own space. This editorial decision, like so many others, improves the volume and keeps the narrative in good balance. Still, some questions linger in this reviewer's mind as the volume concludes.What do we mean by democracy? Throughout, the authors treat this as a question that is largely settled. Democracy is identified with democratic values that the church accepts, and in Schuck's words, what is under way is "a critical conversation with the culture of democracy" (330). Yet procedural democracy cannot be severed from these values. Are democratic norms and values vindicated when majorities choose undemocratic values? A more careful drawing of distinctions between democracy, liberalism, and republicanism would expose the inner conflicts in which Catholicism meets modern political norms.Perhaps most urgently for the subject matter of this book, are the claims of Catholic social teaching and Christian ethics a foundation for the democratic, participatory values of this secular age, as writers like Charles Taylor and David [End Page 209] Walsh have suggested? This also would raise questions about how culturally conditioned we should understand democracy to be, surely an important consideration for this very fine study.Steven P. MilliesCatholic Theological UnionCopyright © 2018 Society of Christian Ethics... (shrink)

This volume sheds a new light on Philosophical Investigations, Ludwig Wittgenstein’s master opus, by taking a new approach to its first stretch, with special emphasis on its atypical opening. The methodological conviction that subtends the volume is that the highly unconventional form assumed by the book is internal to its content and crucial to its reconception of the relation between logic and language. This disconcerting form is dictated by the new modes of criticism deployed by Wittgenstein as he engages the (...) philosophical tradition in the new terms afforded by the revolutionary “method of language-games”. In the essays collected here, seven authors, including some of the most influential figures in the field, offer close and often unorthodox readings of pivotal passages from the beginning of the book. These readings are also shaped by the conviction that the Philosophical Investigations are hardly intelligible apart from an appreciation of the concerns that they inherit from Wittgenstein’s early work, the Tractatus Logico-Philosophicus. The authors contend that we need to consider the continuities between the early and the later works if we are to disclose the true discontinuities between them. (shrink)

Social-rank cues communicate social status or social power within and between groups. Information about social-rank is fluently processed in both visual and auditory modalities. So far, the investigation on the processing of social-rank cues has been limited to studies in which information from a single modality was assessed or manipulated. Yet, in everyday communication, multiple information channels are used to express and understand social-rank. We sought to examine the voluntary nature of processing of facial and vocal signals of social-rank using (...) a cross-modal Stroop task. In two experiments, participants were presented with face-voice pairs that were either congruent or incongruent in social-rank. Participants’ task was to label face social dominance while ignoring the voice, or label voice social dominance while ignoring the face. In both experiments, we found that face-voice incongruent stimuli were processed more slowly and less accurately than were the congruent stimuli in the face-attend and the voice-attend tasks, exhibiting classical Stroop-like effects. These findings are consistent with the functioning of a social-rank bio-behavioural system which consistently and automatically monitors one’s social standing in relation to others and uses that information to guide behaviour. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Home Is Somewhere Else: Autobiography in Two VoicesPatrick HenryHome Is Somewhere Else: Autobiography in Two Voices, by Desider Furst and Lilian R. Furst; xv & 235 pp. Albany: SUNY Press, 1994, $14.95 paper.Published in the “Margins of Literature” series, Home Is Somewhere Else follows a family of three who, on the margins of the Holocaust, live for nine months in Nazi occupied Vienna before escaping illegally in early (...) 1939 into Brussels and then legally to England. The narration goes on to relate both the life of that family in England until the mother’s death in 1969 ended “the symbiotic threesome” (p. 203) and the subsequent emigration of the father and daughter to the United States where, with her retired father, the daughter pursues her career as professor of comparative literature. The final chapter, “As My Father Used to Say,” records the wisdom and witticisms of her father who died in 1985 leaving her alone, in mourning and still deracinated, having become “more [herself] and thereby more other” (p. 217). “My geographical roots are shallow; only those created by the brand mark of the red ‘J’ [meaning “Jew” and stamped on the family passport in Vienna in 1938] run deep into my being” (p. 217).The technical interest of the book resides in its dual autobiographies. Desider, the father, wrote his (entitled A Superfluous Man) in the early 1970s after his retirement and emigration to the United States. Lilian, the daughter, read it in 1983 and found it organized into chapters around places where they had lived. Without rereading it, she began her autobiography in 1991, deciding to write alternative chapters that would be centered on the same places her father had written about: Vienna, Cologne, Brussels, London, Bedford, and Manchester. In addition, he writes a chapter on the Isle of Man where he was interned for four months in 1941 and she on Chertsey where she spent a year alone. She also writes a chapter about her mother’s life and one on her life with her father in America. [End Page 156]Although both autobiographies are completely retrospective accounts composed, without diaries or notes of any kind, decades after the initial events they narrate, each reflects the preoccupations of the narrator at the time of the events being narrated. Thus Lilian’s, composed as “a tribute of [her parents] for bringing [her] through to safety” (p. xiv), contains the child’s impressions of family, friends, home, relatives, and nanny as well as her fear and terror as she experiences the Nazi entry into Vienna in 1938, Crystal Night, the train ride to Cologne, and the flight to Brussels. From Desider’s, on the other hand, emanates the broader vision of the responsible adult, parent and husband, conscious of the historical scope within which his particular drama unravels. He paints in vivid colors the happy decade in Vienna (1928–38), the descent into the hell of Nazism, the struggle to escape “this gigantic prison” (p. 47), and his appreciation and admiration for the British. He underscores the complexity of the situation by populating his account with scores of individuals—unfortunate Jews, sadistic Nazis, good Austrians, profiteers of all kinds—and by frequent conflicting references to Providence, destiny, luck, and the totally gratuitous nature of survival. Written as a memorial to his wife by a man who claims never to have wanted anything more than a normal life for himself and his family, his narration fittingly ends with her death in Manchester in 1969.The power of the book, however, springs as much from what unites the narratives, as from what divides them. I am not speaking of the similarity of events but rather of the deeply held human values (responsibility, courage, sacrifice, family union, interdependence, and love) that resonate powerfully throughout both accounts. Indeed, the intertwining of the two voices is poetically and umbilically linked to the hands of father and daughter that grip each other throughout the narrative. We find a father who risks everything to keep his family together, a mother who gives up her medical career for the same reason, and a daughter, full of gratitude, love, and an intense sense... (shrink)

Our innate capacity for voice is with us from the beginnings of life. The concept of voice is a complex issue rooted in the core of the self. Once we become aware of ourselves, we realize our capacity for self-expression. Self-expression is part of the cooperative network of communication between the self and others as we share emotions, thoughts, and ideas. Voice facilitates a connection between the world of one individual and the world of another. The purpose of this article (...) was to explore and discover the processes, influences, attitudes and beliefs that affect a woman's ability to define her menopausal voice. A woman's voice expresses her knowledge, set of assumptions, concepts, values, and practices in the form of language. Voice becomes a manifestation of the essence of self, and when listened to, breaks the silence of non-existence. A menopausal woman's voice is the voice that expresses the entirety of her existence at that particular stage in life. Post-menopausal women were asked to define their menopausal voices. They were interviewed in depth and their information was collected through semi-structured interviews. This approach used a qualitative methodology with a focus on meaning of their voices rather than measurement. The format was narrative research using life stories and thematic analysis. As a result, five themes: The Voice of Wisdom, The Voice of Aging, The Voice of relationship, The Voice of Spirit, and the Voice of Knowledge emerged after analyzing the women's stories. Each theme represents the complexities that influenced the participants? competence to ascribe meaning to their voices. This article identifies the meanings that menopausal women associated with the concept of voice and how it changed during menopause. (shrink)

Background Childhood cancers affect about 350 children every year in Sweden and are life-threatening diseases. During the treatment period, situations arise that can become morally challenging for the child. When knowing children’s values and morally challenging situations in childhood cancer care, targeted ethics support could be developed and used in care. Aim To explore children’s values and moral dilemmas ​​when undergoing cancer treatment. Methods This is a qualitative study based on empirical data. The data collection was conducted through three focus (...) group interviews and six individual interviews with children between 10 and 18 years (n = 16). A content analysis methodology was used to generate themes. Children who were/have been treated for cancer at three childhood cancer centres in Sweden were invited to participate. The study was approved by the Swedish Ethical Review Authority. The children’s participation was based on voluntariness and consent/assent. Findings During the analysis, five themes of values emerged: Personal relationships, Bodily ease and identity, Feeling in control and being involved, Positive distractions and Right care that is needed. Their moral dilemmas were thematized into: Should I consider others or not? Should I rest or not? and Should I refuse treatment or not? Conclusion Children undergoing cancer treatment want to have personal relationships with healthcare professionals. Their moral dilemmas were about questioning their own physical and psychological well-being against their expectations, the values of others and the treatment required. Further research is needed to understand how to deal with moral dilemmas in children undergoing cancer treatment. (shrink)

Although it is widely accepted that hypocritical blamers lack the standing to blame others who have committed similar wrongs, an account of what it is that’s lost when someone loses their standing to blame remains elusive. When moral address is inappropriate because it is or would be hypocritical, what is the precise nature of the complaint that the blamed party is entitled to raise, and that so often gets voiced as “I don’t have to take that from you”? In this (...) paper I argue that extant answers to this question fall short, and I offer a novel account that takes seriously the thought that hypocrisy somehow silences the blame of the hypocrite. To make sense of this silencing effect, I argue that we need to look closely at the role that second-personal reasons play in moral address. (shrink)

The draft Common Frame of Reference is likely to play a prominent role in the further development of European contract law. Therefore, with a view to its acceptability it is crucial to assess the draft from the point of view of social justice.The DCFR has all the characteristics of a typical European compromise. Ideological and esthetical purists will certainly be disappointed. This is not necessarily something to be worried about. A common frame of reference is not drafted, in the first (...) place (if at all), for esthetical or ideological reasons; it is meant to provide some normative guidance in the further development of European contract law. European citizens have very different interests, preferences and opinions in relation to almost all the subjects dealt with in the DCFR. A DCFR consistently based on only one conception about the right choices would inevitably have disappointed all European citizens with a different idea of social justice in European private law. Therefore, if we really want the further Europeanization of private law we will have to accept that it will probably look rather different from both the particular Member State law that each of us is familiar with and our personal ideas of social justice. The publication of the interim outline edition of the draft CFR, which is the result of a close collaboration between hundreds of legal scholars from all Member States, has brought that message home. The characterisations of the DCFR as 'a law for big business and competent consumers' or, alternatively, as a 'massive reduction of private autonomy' are both unfounded. Overall, from the point of view of social justice, the DCFR is fairly balanced. Nevertheless, there is certainly room for improvement.Even if the DCFR is going to remain only a soft law instrument it is still likely to have a considerable influence on the further development of private law in Europe and will therefore also affect, directly or indirectly, the lives of all European citizens. For this reason it is crucial that European citizens will not only be the addressees of the CFR, or of the legislative measures based thereon, but can also rightly consider themselves as its authors. After the drafting by legal experts and the rather one-sided 'stakeholders'' input that were both organised by the European Commission it is now time for the citizens' voice. Only a meaningful input from the European and national Parliaments can provide the final CFR with the regulatory legitimacy that it needs.The level of consumer protection in the DCFR is sufficiently high for it to be acceptable as the content of an optional instrument, which could be made applicable, for example, by clicking on a 'blue button'. However, as an absolute maximum beyond which the Member States would not be allowed to go in the case of full harmonisation, it is submitted, the level of protection in the DCFR is insufficient. Moreover, the DCFR draws a sharp distinction between B2C and B2B contracts. It categorically excludes from the protection that it grants to consumers all businesses, even the smallest ones that may be as vulnerable as consumers (or even more so) when it comes to a lack of information, inexperience and dependence. This sharp distinction deviates from the law in many Member States, is not required by the EC Treaty (which is relevant with a view to the CFR's role as a toolbox for revising the acquis and for drafting new acquis), and is potentially contrary to the fundamental principle of justice that any distinction between groups of people should favour the least privileged.General private law - the bulk of the model rules contained in the DCFR - cannot be said to be 'neoliberal' as the Social Justice Group feared it would. Nor is it 'socialist' as some business stake holders warned for. It strikes a balance between autonomy and solidarity that is quite similar to the ones drawn in the modern private laws (including the case law, i.e. not merely the civil codes) of the Member States. However, where the DCFR deviates from the Principles of European Contract Law (PECL) it is always in the liberal direction.Throughout the last Century general clauses, such as good faith, have played a prominent role in promoting social justice in private law in the Member States. In fact they became delegations of law-making power to the courts in order to allow them to find just and fair solutions in new cases. This tradition was codified in the PECL. However, in the DCFR the role of good faith is narrower and deliberately so. From the point of view of social justice it is important that in the final CFR the role of good faith as an undisputed legal basis for judge-made law should be restored.The catalogue of underlying values and principles, that is meant to become the preamble to the final CFR and is likely to play a crucial role in the interpretation and further development of the CFR, brings back to the foreground some fundamental values that have played a prominent role in private law making in the Member States but that have been overshadowed, on the European level, by the narrow focus on market building. Having said that, the list of values in the DCFR could be framed so as to be more balanced. In particular, the privileged position of party autonomy as the only principle that is also contained in the black-letter model rules seems unjustified. (shrink)

Nietzsche's Voices, the latest volume of John Sallis's Collected Writings, presents his two-semester lecture course on Nietzsche offered in the Philosophy Department of Duquesne University during the school year 1971-72. "Nietzsche is easy to read; his is apparently the easiest of all the great philosophies. Yet the easy intelligibility is deceptive. Nietzsche's writings make us believe we have understood when in fact we have not. His philosophy is actually the exact opposite of easy," says Sallis. He first discusses Nietzsche's life (...) and the relevance of the classical Greeks to his thought. Then, in invigorating detail, Sallis discusses Nietzsche's views on truth, morality, and the death of God. The final lecture covers Thus Spoke Zarathustra, Nietzsche's influential but highly debated work of philosophical fiction. Nietzsche's Voices represents an essential introduction to the thought of Friedrich Nietzsche, as presented by one of today's most significant philosophers. (shrink)

On August 29, 1995, the United States District Court for the Northern District of Ohio ruled that certain practices of Blue Cross and Blue Shield of Ohio relating to the calculation of copayments on insurance claims violated provisions of ERISA, and thus BCBSO could be liable for unpaid benefits and breach of fiduciary duty ). According to BCBSO's Explanation of Benefits and Schedule of Benefits, beneficiaries were responsible for a 20 percent copayment for hospital charges, and the remaining 80 percent (...) of the Provider's Reasonable Charges would be paid by BCBSO. BCBSO negotiated with the hospitals to create discount agreements whereby the actual charge to BCBSO was less than 80 percent of the total amount of the hospital's charges. By this arrangement, BCBSO paid less than 80 percent of what patients were billed; concurrently, patients paid more than 20 percent of the amount ultimately paid to hospitals for their services. (shrink)

Based on a case study of a large utility company, this article analyzes the effect of a preference for white-collar work on women's job decisions. The sample consists of a group of women who worked temporarily in traditionally male plant jobs in the company and a group of women who remained in white-collar jobs in the same firm. Results indicate that both groups did indeed value job attributes that are found principally in office jobs, such as clean conditions, the chance (...) to socialize on the job, and working with similar people, but these preferences did not significantly influence whether they would consider switching to traditionally male plant jobs. Much more influential were practical considerations, such as economic need. Since many women–especially ones in economic need–would find such jobs desirable, an explanation that takes into account barriers to women's entry is necessary to understand the causes of women's low representation in traditionally male plant jobs. (shrink)

In this article I use Maurice Merleau-Ponty’s existential phenomenology as a method for presenting a disclosing critique of aphonia as the loss of a political voice of one’s own. I claim that aphonia is a phenomenon that is qualitatively different from a lack of opportunities for democratic participation and a lack of the communicative capabilities required for effective political participation. I give examples from sociological literature on social exclusion and political apathy, and then diagnose them using Merleau-Ponty’s concepts of operative (...) intentionality and the lived body. A picture emerges of aphonia as the diminishing of the expressive modality of the lived body. This can lead to the inability to perceive oneself as a capable public speaker and the public realm as a welcoming field of possibilities for political engagement. I propose that democratic theory should consider the way that the negative social experiences of social marginalization can diminish, or even completely take away, the capability to authentically give a voice to one’s experiences in public on one’s own terms. I conclude with a call for grass-roots alternatives towards engendering political participation among marginalized groups through a “therapeutic” approach to political inclusion. (shrink)

Miles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, one hand behind his neck and a finger held pensively to his lips. These iconic images have captivated jazz fans nearly as much as the music has. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African American culture in a time of immense upheaval, conflict, and celebration. Charting the development of (...) jazz photography from the swing era of the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black and White is the first of its kind: a fascinating account of the partnership between two of the twentieth century’s most innovative art forms. Benjamin Cawthra introduces us to the great jazz photographers—including Gjon Mili, William Gottlieb, Herman Leonard, Francis Wolff, Roy DeCarava, and William Claxton—and their struggles, hustles, styles, and creative visions. We also meet their legendary subjects, such as Duke Ellington, sweating through a late-night jam session for the troops during World War II, and Dizzy Gillespie, stylish in beret, glasses, and goatee. Cawthra shows us the connections between the photographers, art directors, editors, and record producers who crafted a look for jazz that would sell magazines and albums. And on the other side of the lens, he explores how the musicians shaped their public images to further their own financial and political goals. This mixture of art, commerce, and racial politics resulted in a rich visual legacy that is vividly on display in Blue Notes in Black and White. Beyond illuminating the aesthetic power of these images, Cawthra ultimately shows how jazz and its imagery served a crucial function in the struggle for civil rights, making African Americans proudly, powerfully visible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.4 (2003) 353-375 [Access article in PDF] A Rhetoric for Polytheistic Democracy: Walt Whitman's "Poem of Many in One" Peter Simonson Department of Communication University of Pittsburgh This essay aims to generate rhetorically oriented normative communication theory useful for the current socio-intellectual moment. It draws upon Walt Whitman's 1850s poetry as an artistically compelling statement of what I call polytheistic democracy, a form of life marked (...) by three overlapping ideals: pluralistic tolerance for multiple gods and moral orientations; commitment to recognizing, preserving, and artfully representing socio-cultural variety; and receptivity to contact with a diverse range of particular others. Whitman offers theory in the sense of a structured way of seeing. It is normative in that it describes a world that might be, not one that is, and provides orienting visions, regulative ideals, and topoi of praise and criticism that stand available to guide the communicative practices of individuals, groups, and institutions alike.The theory is "rhetorically oriented" in that it draws upon techniques and vocabularies developed within the rhetorical tradition. Methodologically, it is generated through rhetorical criticism and imitatio. I offer a reading that brings out the rhetorical dynamics of Whitman's vision of polytheistic democracy as articulated in his 1856 "Poem of Many in One" (later and canonically titled "By Blue Ontario's Shore"), a central social statement in his much-revised masterwork, Leaves of Grass. In so doing, I hold Whitman up as a model for imitatio, the complex interpretive practice whereby, in Michael Leff's words, historical texts come to serve "as equipment for future rhetorical production" (1997, 201). Imitatio is an intellectually generative process. "As the embodied utterances of the past are interpreted for current application, their ideas and modes of articulation are reembodied, and old voices are recovered for use in new circumstances" (203).I couple imitatio with a neo-pragmatist rhetorical criticism oriented toward practice and reflection in the current cultural moment. Whitman gains significance insofar as he helps us experience, think about, and act [End Page 353] within the worlds we now traverse. 1 Among other qualities, those worlds are marked by heterogeneous groups and people who must continuously find ways to live with one another; by large institutions that stand as steady reminders that individuals may not matter very much; by ubiquitous electronic and print media offering copious streams of symbolic culture; and by countervailing geographical forces of circulation and social segmentation of fleshly bodies in the material spaces of public life. In worlds with such qualities, Whitman is a useful locus of imitatio—someone whose cosmopolitan social imagination, deep pluralism, wide-ranging habits of contact, and attention to corporeal individuals all serve as useful equipment for new rhetorical and moral production."Poem of Many in One" has a self-exemplifying 2 aspect to it, for it models what it aims to cultivate in the world. Whitman's print-based rhetoric provides an overarching vision of polytheistic democracy and mass community, scattered across time and space and actualized partly through individuals. His discourse models this social condition by displaying radical openness to high and low, sacred and profane, the admired and the socially despised. It is rhetorically driven by a copious style and an aesthetically oriented democratic ethos that Whitman's mediated eloquence aims also to generate in its readers. Its success thus hinges on readerly receptivity and cultivated ethos that re-embodies aspects of his sensibility and rhetorical techniques, giving them new momentum in scattered realms of social being.I amplify key components of Whitman's normative vision not to trump competing moral principles and orientations but to supplement them. In this sense, my essay is pluralist all the way down. It is socially pluralist in that I believe in encouraging the development and preservation of multiple sets of normative orientations, with no single principle or moral perspective ordering all others. It is individually pluralist in that I understand moral principles as interpretive and rhetorical resources deployed and judged on the basis of their contingent appropriateness and usefulness. 3 "One does not... (shrink)

This paper argues for the need to engage with the views of children in primary schools as a way of promoting inclusive education. One example from one primary school, where the views of children were explored in order to develop further the school’s practices, will be used to illustrate this argument. Methodological considerations, the benefits as well as the challenges associated with the process will be discussed.

What to do with the missing shade of blue (MSB)? Some have argued that Hume's famous thought experiment undermines his central doctrine – the ‘copy principle’ – such that he should have revised his whole theory in light of it. Others contend that the MSB is not a true or actual counterexample to the copy principle, but merely an apparent or conceivable one, so that he had no such obligation to revise. In this essay, I argue that even if the (...) MSB is a true counterexample, Hume would not have been obligated to revise his theory, given methodological resources he makes available to himself elsewhere in his work and his overarching empiricist aims. And I offer a new suggestion for why he might have included and even highlighted the MSB in his writings despite its being so very vexing and peculiar. (shrink)

Many philosophers and psychologists have sought to explain experiences of auditory verbal hallucinations and “inserted thoughts” in schizophrenia in terms of a failure on the part of patients to appropriately monitor their own inner speech. These self-monitoring accounts have recently been challenged by some who argue that AVHs are better explained in terms of the spontaneous activation of auditory-verbal representations. This paper defends two kinds of self-monitoring approach against the spontaneous activation account. The defense requires first making some important clarifications (...) concerning what is at issue in the dispute between the two forms of theory. A popular but problematic self-monitoring theory is then contrasted with two more plausible conceptions of what the relevant self-monitoring deficits involve. The first appeals to deficits in the neural mechanisms that normally filter or attenuate sensory signals that are the result of one’s own actions. The second, less familiar, form of self-monitoring approach draws an important analogy between Wernicke’s aphasia and AVHs in schizophrenia. This style of self-monitoring theory pursues possible connections among AVHs, inserted thoughts, and the disorganized speech characteristic formal thought disorder. (shrink)

ABSTRACT Gerald Early's remark that black people are seminally important to the modern world because they created the blues is examined as a contribution to the politics of recognition that deviates from the liberal model that dominates in political theory. Central to this deviation is the politics of honor and Paul Corcoran's distinction between formal and aesthetic recognition. The politics of aesthetic recognition is examined here through Hans-Georg Gadamer's discussion of hermeneutics in Truth and Method as well as through Martin (...) Heidegger's phenomenology and philosophy of Dasein, inspired by Aristotle's Rhetoric, and his writings on art. The significance of art and specifically of the blues to the politics of recognition goes beyond the representation or the relaying of others' voices, in that it calls forth modes of being-there over against difference. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume's Missing Shade of Blue Re-viewed John 0. Nelson It is obviously important for Hume's purposes in the Treatise to maintain that simple ideas are always founded in precedent, resembling impressions;1 andhe explicitly, overandover, doesso, evensometimes being so carried away by this first principle ofhis science of man (T 7) or so careless as to say that not just all simple ideas but all ideas are founded in precedent, (...) resembling impressions. At the same time, as often noted, Hume explicitly maintains that it is possible for there to be a simple idea having no precedent, corresponding impression. He argues: There is however one contradictory phaenomenon, which may prove, that 'tis not absolutely impossible for ideas to go before their correspondent impressions... Suppose... a person to have enjoyed his sight for thirty years, and to have become perfectly well acquainted with colours of all kinds, excepting one particular shade of blue... Let all the different shades of that colour, except that single one, beplac'd before him... Now Iask, whether 'tis possible for him, from his own imagination, to supply this deficiency, and raise up to himselfthe idea ofthat particular shade, tho' it had never been conveyed to him by his senses? I believe there arefew but will be ofopinion that he can; and this may serve as a proof, that the simple ideas are not always derived from the correspondent impressions. (T 5) Nowjust prior to this concession (as Cummins calls it ), Hume has said that the full examination ofthis question [the causal relationship between ideas and impression] is the subject of the present treatise; and therefore we shall here content ourselves with establishing one general proposition, That all our simple ideas in their first appearance are deriv'd from simple impressions, which are correspondent to them, and which they exactly represent. (T 4) Volume XV Number 2 353 JOHN O. NELSON And just after the same concession, that a simple idea may be raised up which does not have a prior, correspondent impression, Hume says that it still remains true, that all our simple ideas proceed either mediately or immediately, from their correspondent impressions (T 7). Thus we have Hume explicitly asserting, it seems, both that all simple ideas have precedent correspondent impressions and that they do not. But this, on the face ofit, is an arrant contradiction! Can Hume have Homerically nodded? We have been quoting from the Treatise, but Hume makes the very same contradictory-seeming claims in the Enquiryl A thinker of Hume's acumen might nod for a page or two's quarter hour but not for all of nine years! Moreover, in both places Hume refers to the phenomenon of the impression-less idea ofblue as a contradictory phenomenon, indicating clearly enough that he was himself aware of there seeming to be an inconsistency here in his contentions. What can possibly be going on? Is Hume deliberately being paradoxical? Perhaps trying, for sensation's sake, to shock the reader and so increase sales of his work, as some commentators in the past might have wished to say? But this would be at the expense ofhis own contentions and principles and not the reader's, and not even Hume's bitterest foes and most malicious critics — so far as I know — have ever proposed that Hume would, figuratively speaking, like Oedipus, gouge out his own eyes, even in order to increase sales of the Treatise, nor does it make the slightest sense to think he would. The mystery deepens when we remember that Hume has said, in defining the program of the Treatise, that his intention is to establish the one general proposition that all our simple ideas in their first appearance are deriv'd from simple impressions, which are correspondentto them (T4). What astrange way, we want to exclaim, to show that all our simple ideas are derived from correspondent simple impressions by almost immediately afterwards arguing that it is possible to have an idea that has had no correspondent, precedent impression! Such an egregious nonsequitur mightbe expected ofan absolutely incompetent beginner in philosophy, but we are speaking of David Hume, generally recognized as the profoundest and most acute of... (shrink)

Stones, like us, stand at the intersection of countless lines crossing one another and receding to infinity, at the center of a field of forces too unpredictable to be measured…On my desk, next to my laptop, a small piece of lapis lazuli. My eye is captured by the intense blue from its most important component, the mineral lazurite. The stone also contains white calcite specks and some metallic glistering from its pyrite elements. Looking at the play of colors, feeling the (...) weight and the surface of the rocky material, I am reminded of Marguerite Yourcenar's words at the end of her introduction to Caillois's The Writing of Stones when she invokes stones as force fields "at the intersection of countless lines... (shrink)

Bringing Flowers HomeWe try to put a bandage on the wound,offering a vague apology:Forgive me, distant wars, for bringing flowers home.Towers turn out to have been built on sand.Regimes collapse. No use in asking whywe ripped the bandage off that bleeding wound.An earthquake followed by a hurricane,fires, floods: they've passed some of us by.Us. And who is we? And what is home?Last week an enormous yellow moonhung low in a corner of the sky.Beauty is no bandage for the wound,hole in (...) the future much too big to mendor even to imagine, though we tryto camouflage it, bringing flowers home.You said, when we were talking of the end,that no one teaches us to say goodbye,or how to ease the bandage from the wound.Forgive me, death. I brought these flowers home.Moving the PianoCompact, gleaming, black and white,this sturdy Yamaha uprightstood staunchly in one room for yearsuntil, maneuvered through several doorstoday by two young slender menand up a ramp into their van,it ventured briefly out into the world again.The change of space, the space of change:the walls look naked, empty, strange.Heavy has given way to light.Habitual soliditytoo familiar to seeyields to possibilitytoo unfamiliar to see.Late and early, early, late,end, beginning—all are swirledinto a mist that veils the world.The black and white of status quoblends to a color I don't know,transition that I cannot name,but I salute it all the same.Goodbye, piano, and hello.So where is the piano going?Where will it find another life,music and memories unpackedin an unfolding second act?North Carolina, near a riverwhose stream, like time, is always flowing.My son lives there with his wife.Beloved, nothing is forever.You can't step twice into this life.Nap at Stony PointMy cousin and my friendon their respective recent deathbedsslid from my mind. I noticedthe scarlet splash of a cardinal perched on a cannonon a bluff above the Hudson.I lay down on a picnic table,sun on my face, five turkey vulturescircling overhead, and closed my eyes.And when I opened them I felt as pleasedas if I had completed some needful taskinstead of having forgottenhow my friend in January and my cousin in March,both of them alert and wry and tranquil,had faced what each of them clearly saw approaching—more, had recognized and greeted it,instead of ignoring it by looking through it,the way some people, even iftheir office is two doors down the hall,look right through you, pretending not to see you.Or maybe they don't see youany more than one envisions deathon a sunny April afternoon.The Last Lecture HallTheaters that were never ours,classrooms empty and refill.Nor do the trees belong to us.We cross the stage and disappearor venture in among the treesand lose ourselves there.Feverish categories blur.Genre distinctions: what for?The empty theater becomesa lecture hall. A classroom morphsinto a forest murmuringwith voices. Words pelt down like rainor rise like mist and dissipate.The rustling trees swell to a roar.But they were never still.Theater, classroom, maple, fir:feverish categories blur,presences pressing through the veilof the phenomenal;a leopard padding down the aisle.Tiger-masked students fill the seatsof the amphitheater.The old professor, looking outover the upturned faces, said“You are all allegoricalfigures to me. I will not learnyour names.” Did the students laugh?Tragedy, satire, comedy:genres are deciduous.Modes blur, leaves spin and fall.The leaves of memory seemed to makeA mournful rustling in the dark(Longfellow, “The Fire of Driftwood”).Lights go on in the theater.Class is over. We stumble out.The GatesWhen I woke up I had walked through a gate.I looked around the room—trickle or torrent, stepping into time—and bent my head to drink at a black stream.I look around a roomthick with the dust of after and before.Am I meant to drink from this black stream?My lips are dry,thick with the crust of after and before,gate of ivory and gate of horn.My lips are dry, I'm thirsty.Heat, cold, fire, snow, sun.Gate of ivory and gate of horn:to cross a threshold ends one story(firelight; snow squeaking; winter sun)and begins another.To cross a threshold ends one story(ever after? or a transformation?)and begins anotherthere is no law compelling us to enter.Ever after or a transformation.Torrent, trickle: we set foot in time,but there's no law compelling us to enterstory once we've latched the gate of dream.FilamentsYour past is thickening. You can seeits filaments, as carefullyyou begin to part the strands(they're all connected) with both hands,and clear a path. Now warilyenter the web—not all the way,but toward some kind of clarity.We have been rightly taught that wecan't finish, but must do, the work.Partway through the leafy murk,crisscrossing dapple of the trees,so tough and so precarious,you find yourself in the dawn air,the circle's center everywhere.Along the PromenadeReading a book about transitioningin the twenty-first-century meaning of the wordblends with plans for my son's upcoming weddingand scraps of conversation overheardat the Japanese-themed street fair today.Somnambulists along the promenadefloat in the warm currents of Broadway,eat talk look linger in the sun and shade.Then to the park: October leaves still green(climate change or merely Indian summer?).Snatched memories, I catch them on the wing:Samos Septembers, pomegranate tree,lemon tree, okra, a chameleon,the little summer of Saint Dimitri,they called it. All this happened; but to me?Streams of conversation flowing by.The sound artist described his work like this(if work is the right word): “Accidentallyuploading seemingly private messages,”which describes, also, dreams and poetry,the drifting crowd, incessant carousel,city and weather, time and holiday,all lived, palped, tasted, tested, overheard.Somnambulists along the promenadehave set up booths, their dreams... Bookending my dawn dream: symmetricalsoaking sponges dripping... DNA?Destiny, temperament, personality:the cards we're dealt and that we have to play,except we now can change them gradually.Transition: he or she or rather they,constructed, deconstructed, rearranged,the tarot spread of genealogy,inheritance as aleatoric play.We walked west to Eleventh Avenue,drawn by rumors of Ad Reinhardt's blue,which buzzed and throbbed. Stand still: my head was spinning.Allusions to water or to sky,dense, deep, alarming, ending or beginning... I sat awhile and watched the crowd glide by,enchanted promenaders all drawn inon the exhibition's last dayby the silence's cerulean humming.And then they climbed the stairs, and so did we,to lighter textures on an upper floorwhere Ruth Asawa's baskets in midairweightlessly demonstrated gravity,twigs, trees, crowns, bubbles dancing in white space.Next week my class will read “On Being Ill.”“Blogs,” I'll tell them, is the word we nowuse, not “essay,” for the moving mind,that saunterer who takes note and leaves behindand doubles back and ponders and regretsamidst the wash of vision, the flowand tidal pull of what we see and know,what we've dreamed, what we have said and heard,the thrumming colors and the floating crowd,as if the bubbly brew of sunny dayand anxious dreams could somehow all be caughtup in one enormous, one all-encompassing word. (shrink)

This paper presents a feminist analysis of corporate social responsibility in a male-dominated industry within a developing country context. It seeks to raise awareness of the silencing of women’s voices in CSR reports produced by mining companies in Tanzania. Tanzania is one of the poorest countries in Africa, and women are often marginalised in employment and social policy considerations. Drawing on work by Hélène Cixous, a post-structuralist/radical feminist scholar, the paper challenges the masculinity of CSR discourses that have repeatedly masked (...) the voices and concerns of ‘other’ marginalised social groups, notably women. Using interpretative ethnographic case studies, the paper provides much-needed empirical evidence to show how gender imbalances remain prevalent in the Tanzanian mining sector. This evidence draws attention to the dynamics faced by many women working in or living around mining areas in Tanzania. The paper argues that CSR, a discourse enmeshed with the patriarchal logic of the contemporary capitalist system, is entangled with tensions, class conflicts and struggles which need to be unpacked and acknowledged. The paper considers the possibility of policy reforms in order to promote gender balance in the Tanzanian mining sector and create a platform for women’s concerns to be voiced. (shrink)

Pondo Blues, is a song by Eric Nomvete and the Big Five, a group that came from East London to perform at the Moroka-Jabavu Stadium as part of the 1962 Cold Castle jazz festival. Although the song has acquired symbolic meaning and recognition as one of the 'classics' in South African jazz, prevailing understandings of the song have framed it as a traditional drinking song as well as a song lamenting the Mpondo revolt, where both these understandings have tied it (...) deeply to the rural Eastern Cape. This paper tracks the sonic and social relationships of disarray, change and improvisation that come together to rehearse Pondo Blues across space and time, and atmospheres of history which move us away from iPhondo as the provincial Eastern Cape, which is tied up with the rural, the ethnic, the backward countrified folk and the local towards a more expansive and infinite sense/s of pasts and futures. (shrink)

Experiences of “hearing voices” nowadays usually count as verbal hallucinations and they indicate serious mental illness. Some are first rank symptoms of schizophrenia, and the mass media, at least in Britain, tend to present them as antecedents of impulsive violence. They are, however, also found in other psychiatric conditions and epidemiological surveys reveal that even individuals with no need of psychiatric help can hear voices, sometimes following bereavement or abuse, but sometimes for no discernible reason. So do these experiences necessarily (...) mean insanity and violence, and must they be thought of as pathogenic hallucinations; or are there other ways to understand them and live with them, and with what consequences? One way to make our thinking more flexible is to turn to history. We find that hearing voices was always an enigmatic experience, and the people who had it were rare. The gallery of voice hearers is, though, distinguished and it includes Galilei, Bunyan and St Teresa. Socrates heard a daemon who guided his actions, but in his time this did not signify madness, nor was it described as a hallucination. Yet in 19th century French psychological medicine the daemon became a hallucination and Socrates was retrospectively diagnosed as mentally ill. This paper examines the controversies which surrounded the experience at different points in history as well as the practice of retrospective psychiatry. The conclusion reached on the basis of the historical materials is that the experience and the ontological status it is ascribed are not trans-cultural or trans-historic but situated both in history and in the contemporary conflicts. (shrink)

I claim that Adriana Cavarero’s concept of sonorous voice is significant in feminist teaching because, as she argues, dominant concepts of voice refer to voice in semantic terms thereby discounting voice in sonorous terms. This process of ‘devocalization’, spanning the history of Western philosophy, devalues the uniqueness embodied in each sonorous voice effecting a bias against female-sounding voices. In light of women’s history and experience of being silenced, this devaluing of sonorous voice has distinct implications for feminist teaching. A person’s (...) actual sounding voice, which constitutes her or his uniqueness, is missing from prior considerations of ‘voice’ in professional ethics. Because establishing a voice of authority is a central challenge starting off as a teacher, devocalization makes this challenge greater for those with female-sounding voices who take on and try out the dispositions and attitudes of an authoritative professional. Using the example of a voice workshop I designed for pre-service teachers, I re-consider it in light of ‘devocalization’ and the frankness needed to practice feminism, asking if it is possible to be frank and sonorous using irony. I conclude that it is, that Cavarero’s philosophical practice is a model for feminist teaching, and I re-write the workshop with ‘bad intentions’; for and in more than one voice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:109 HUME'S MISSING SHADE OF BLUE, INTERPRETED AS INVOLVING HABITUAL SPECTRA David Hume claimed that his hypothetical case of the unseen shade of blue posed no fundamental problem to his general empiricist principle. But I believe it well may show exactly what he denied it showed — viz., that his empiricism rests on a mistake. Hume says: Suppose... a person to have enjoyed his sight for thirty years, and (...) to have become perfectly well acquainted with colours of all kinds, excepting one particular shade of blue, for instance, which it never has been his fortune to meet with. Let all the different shades of that colour, except that single one, be plac'd before him, descending gradually from the deepest to the lightest; 'tis plain, that he will perceive a blank, where that shade is wanting, and will be sensible, that there is a greater distance in that place betwixt the contiguous colours, than in any other. Now I ask, whether 'tis possible for him, from his own imagination, to supply this deficiency, and raise up to himself the idea of that particular shade, tho' it had never been conveyed to him by his senses? I believe there are few but will be of opinion that he can.... Sometimes one is surprised by the colour which emerges when one mixes paints, powders or lights of different hues, in the sense that one is unable to imagine this resulting colour until one actually sees it. I often have analogous experiences when sightreading music on the trombone. If there is a large, unfamiliar interval between the note I am playing and the one to be played next, so I cannot 'hear' the next note inwardly, I bring the slide to the correct position, set my lips at approximately the right tension, and presto! the correct note appears, despite 110 my inability to predict what it was going to sound like. Only after I have heard it can I also 'hear' it, i.e, predict its occurrence in this melodic line. Cases like these are not puzzling philosophically, because in them, the note, colour, etc. arises primarily from the equipment used — e.g., paints, powders or lights, the trombone and tension of the lips, and so on — rather than from the mind of the person who uses these things. But in Hume's example, no extra-mental objects or events play a direct role in creating the imagined colour. In fact, this colour never appears at all outside the subject's mind, and he never sees it. Therefore here the imagined colour is produced entirely by the subject himself, without his having copied it from anything in the external world. Yet this contradicts the maxim Hume laid down at the beginning of the Treatise that all simple ideas arise from correspondingly simple (sense) impressions. Two points perhaps mitigate the seriousness of the problem set by the missing shade of blue. First, Hume saw clearly, as Locke did not, that "innate" does 2 not mean the same as "justified." He was not so much concerned with the question of where ideas come from, as with how these ideas can be shown to be legitimate. His answer to the latter question is that experience alone is competent to show this. Second, strictly speaking, no idea is itself a piece of knowledge, but only something with the help of which one constructs knowledge-claims; and it is necessary for a person to justify knowledge-claims which are composed of innate ideas, by checking them against experience, just as much as knowledge-claims composed of non-innate materials. For example, suppose I possess innately the idea (visual image) of blue and the idea (tactile image) of cool. To say that these ideas are innate means that they are merely triggered or activated in my Ill mind by experiences I happen to have, but are not created by these experiences, and are not necessarily copies of them. Nevertheless, in order for me to know something which involves these ideas, I first must put them together in a judgment, and then confirm that judgment by appeal to experience. For instance, I might use these ideas to make the judgment... (shrink)

Trade associations operate under the premise of advancing the shared interests of their member firms. How well do they fulfill this role? This article measures the activity of 148 major industry trade associations over time and relates this activity to the performance of the relevant industries and dominant firms within them. Findings suggest that trade association spending increases when the profitability of the four largest firms in an industry decreases, but spending is unrelated to the profitability of the industry overall. (...) This implies that large firms exert control over trade association agendas and may use these communal organizations to advance their own interests rather than the shared interests of the entire industry. Moreover, it points to the need for further development of the currently anemic management literature on the activities of trade associations. (shrink)

Dinner times provide rich opportunities for overt and covert socialization. Drawing upon a larger corpus of 35 video-recorded family meals involving the three-year-old Zoe and her parents, this conversation analytic study describes how Zoe displays such agency through the practice of “voicing control” – momentarily sounding and acting like an adult by performing a range of controlling acts such as leading, instructing, advising, assessing, and mediating. I argue that by playing with such activities bound to the category of a higher (...) position than hers, the child manages to grow “a head taller” in the Vygotskyan sense. The findings contribute to the budding literature on documenting socialization in naturalistic settings with a specific focus on the child’s role in such socialization. (shrink)

Once an artist takes on the challenge of making the invisible visible, or the inaudible audible, he/she is almost immediately thrown into the realm of energy at the edge of art and science. The established art world based on visual culture finds it difficult to place this kind of work. The scientific community, used to working in this realm in a reductionist way, finds it hard to comprehend. Yet, the public seems to be drawn to artwork residing “in between,” and (...) there seems to be a universal need for a connection to the spiritual realm beyond what established religions offer. As many speculative ideas in the West circulate around ideas of energetic approach to matter in general, particularly the body and mind, alternative medicine and other Eastern philosophies are thriving. This essay will show how, in collaboration with nanoscientist James Gimzewski, we have investigated these ideas from the sounds of cells to the concept and realization of the Blue Morph installation at the Integratron [the Integratron is the creation of George Van Tassel and is based on the design of Moses’ Tabernacle, the writings of Nikola Tesla and telepathic directions from extraterrestrials. This one-of-a-kind building is a 38-foot-high, 55-foot-diameter, nonmetallic structure originally designed by Van Tassel as a rejuvenation and time machine (The Integratron 2009 )]. (shrink)

Continuous entities are accordingly distinguished by the feature that—in principle at least— they can be divided indefinitely without altering their essential nature. So, for instance, the water in a bucket may be indefinitely halved and yet remain water. Aristotle nowhere to my knowledge defines discreteness as such but we may take the notion as signifying the opposite of continuity—that is, incapable of being indefinitely divided into parts. Thus discrete entities, typically, cannot be divided without effecting a change in their nature: (...) half a wheel is plainly no longer a wheel1. Thus we have two contrasting properties: on the one hand, the property of being indivisible, separate or discrete, and, on the other, the property of being indefinitely divisible and continuous although not actually divided into parts. Still, one and the same object can, in a sense, possess both of these properties. For example, if the wheel is regarded simply as a piece of matter, it remains so on being divided in half. In other words, the wheel qua wheel is discrete, but as a piece of matter, it is continuous. Examples like this show that continuity and discreteness are complementary attributes originating through the mind's ability to perform acts of abstraction, the one arising by abstracting an object’s divisibility and the other its self-identity. In mathematics it is the concept of whole number, later elaborated into the set concept, that provides an embodiment of the idea of pure discreteness, that is, of the idea of a collection of separate individual objects, all of whose properties—apart from their distinctness—have been refined away. The basic mathematical representation of the idea of continuity, on the other hand, is the geometric figure, and more particularly the straight line. By their very nature geometric figures are continuous; discreteness is injected into geometry, the realm of the.. (shrink)

We argue that (1) a purported example of an infinite inference we humans can actually perform admits a faithful, finitary description, and (2) infinite inference contravenes any view which does not grant our minds uncomputable powers. These arguments block the strategy, dating back to Carnap's Logical Syntax of Language, of using infinitary inference rules to secure the determinacy of arithmetical truth on conventionalist grounds.

This paper examines the rise in school exclusions in England in the 1990s. It discusses the definitions and different types of exclusion and how policies towards exclusion have been changing. It considers the groups of students that have been, and remain, at the greatest risk of exclusion and the main reasons given by schools for excluding students. Particular attention is focused on the views of excluded children themselves, collated from a wide range of studies, including primary research with excluded students (...) and some of their parents. The 1999 government initiative to cut exclusions by one third by the year 2002 is then considered. The paper argues that much more attention should be given to the opinions and ideas of young people themselves in the search for a solution to young people's disaffection with education and England's high rates of exclusion. (shrink)