Este artículo examina las novelas El espíritu de mis padres sigue subiendo en la lluvia (2011), de Patricio Pron, y Yo la quise (2019), de Josefina Giglio, con énfasis en las formas de narrar, desde donde se analiza una tensión entre la experiencia vivida y su devenir en un artificio transitando la relación entre literatura y memoria desde la perspectiva de la generación nacida durante la dictadura argentina. Así, el estudio recupera el concepto de espacio biográfico postulado por Arfuch, articulado (...) con la noción de plan perteneciente a Deleuze-Guattari y la de cronotopo de Bajtín. En la novela de Pron, el retorno de un joven escritor a la Argentina constituye el punto de inflexión a partir del cual se encabalga la historia de la desaparición de Alberto (2008), la de Alicia desaparecida en Tucumán (1976), y la de los padres del escritor, militantes de la Guardia de Hierro. En Giglio, la arquitectónica entreteje la historia del personaje Yo, un escritor reconocido, quien se halla frente a la imposibilidad de transformar en materialidad ficcional una relación amorosa de la juventud; la de Ella, una militante del partido comunista; y la de la Nena, quien relata la convivencia con su hermano y sus abuelos después de la desaparición de sus padres. Ambas novelas remiten a las preguntas sobre cómo narrar la experiencia y bajo qué formas enunciar para hacer visible el acontecimiento histórico. El artículo contribuye al campo de los estudios de la memoria y sus lenguajes artísticos, la literatura de la generación nacida en 1970.. (shrink)

Las redes sociales contribuyen a la expansión del espacio biográfico y a la ampliación de la esfera de las intimidades públicas. Distintas personas que padecen depresión, un diagnóstico históricamente portador de estigmas que conduce a la vergüenza y al ocultamiento de esta condición, emplean las tecnologías digitales para compartir estas experiencias íntimas a un extenso público. Este artículo indaga cuáles son las finalidades de salir del armario de la depresión en las redes sociales. El objetivo es describir y analizar narrativas (...) biográficas de personas que padecen y/o padecieron depresión y residen en Argentina. Concretamente, aborda el repertorio de motivaciones e intereses de hacer públicas experiencias consideradas íntimas por parte de figuras mediáticas, YouTubers y personas sin un perfil público en videos de YouTube. A partir del método biográfico en su vertiente de relatos de vida, se analiza un corpus de 37 videos audiovisuales disponibles en YouTube desde 2018 hasta 2024. En base a estos documentos biográficos, se elaboran categorías que distinguen una pluralidad de motivaciones e intereses asociados a publicar las experiencias personales de depresión. Dentro de esta multiplicidad de formas, que son complementarias, identificamos un arco que comprende desde la transformación del propio sujeto, pasando por formas de ayudar y aconsejar a otras personas, hasta comunitarizar el sufrimiento. Este artículo busca realizar una contribución sociológica al estudio de las transformaciones de las intimidades públicas, con especial énfasis en las narrativas contemporáneas sobre experiencias de depresión en internet. (shrink)

This essay details the manifestation of the artwork Home Ground, including its subsequent iterations, to explore how an artwork might function as both an expression and extension of narratives associated with its author, Steven Rhall. This exploration begins with a consideration of the ways in which various contextual frameworks inform ‘subjective decisions’, for example, coloniality, and process-led making. I identify as a Taungurung man (First Nations Australian) but I live in a colonised society, experiencing cultures tied to each positionality in (...) the contradictory, complex overlapping contexts of everyday life. The essay takes interest in how these frameworks also shift as the iterative work unfolds in new temporal and geographical locations, ultimately emphasising the interrelationship between author, narrative, and wider contextual frameworks. The essay then moves to consider how the narratives spurred in the art-making process continue to evolve in the author’s absence and in relationship to subsequent audiences. The essay posits itself as a metanarrative in that it acts as an extension of the artwork it is discussing. As such, the essay employs the same photographic images that form the material nexus of Home Ground (as originally exhibited), thereby further extending the narratives contained in them via the medium of this written text itself. (shrink)

This book is a ricochet against mainstream physics. It sprang out of the idea that outer symmetries of space-time are the same as inner symmetries of matter. In other words, the standard model of physics is a space-time group. This book is about structures and phenomena that are lying hidden underneath the surface of space-time. It begins with a few biographic events, Majoranas legacy, the philosophy of Gerhard Frey and some related anthropological topics which have to do (...) with high energy physics. It continues with a reconstruction of the theorem by Banach and Tarski in Minkowski space. We are making acquaintance with the standard model as a property of space-time. So we are challenging quite unusual actions such as penetration of quarks by a probe. We propose to apply a penetrating function D. Then, measure and basis are connected with the axiom of choice. (shrink)

The poor might always be with us but neither in ways that we imagine them nor in circumstances of their own choosing. Poverty (and its subject class, the poor) has been a persistent presence in the modern social sciences - both as ethical shadow and methodological stimulus. Throughout his self-described career as `professional storyteller of the contemporary human condition', Bauman's hermeneutical, dialectical and anthropological foci and modus operandi are impressively consistent, none more so than in his reflections on the problem (...) of poverty. An important stimulant to Bauman's ruminations on the new poor has been the work of Jeremy Seabrook and not only because Seabrook's primary foci have been the symbiotic and dialectical relationships in the production of poverty and wealth in his chronicles of the poor in contemporary capitalism, in Europe and Asia. Indeed, it is arguable that Seabrook's own vocation as freelance journalist is emblematic of the kind of sociology Bauman exhorts the salaried members of the academy to embrace for now. This article traces the lineaments of the biographical parallels, intellectual resonances and methodological (or at least epistemological) affinities shared between Seabrook and Bauman so as to tease out what a sociology of the new poor looks like in the hands of Bauman after Seabrook. (shrink)

Pila (2009) has criticised the recommendations made by requirements engineers involved in the design of a grid technology for the support of distributed readings of mammograms made by Jirotka et al. (2005). The disagreement between them turns on the notion of “biographical familiarity” and whether it can be a sound basis for trust for the performances of professionals such as radiologists. In the first two sections, this paper gives an interpretation of the position of each side in this disagreement (...) and their recommendation for the design of technology for distributed reading, and in the third the underlying reasons for this is agreement are discussed. It is argued that Pila, in attempting to make room for mistrust as well as trust, brings to the fore the question of having and reflecting upon reasons for trust or mistrust. Pila holds that biographical familiarity is not a sound reason for trust/mistrust, as it seems to obliterate the possibility of mistrust. In response to her proposal, an analysis is proposed of the forms of trust involved in biographical familiarity. In particular, implicit trust is focused upon — as a form of trust in advance of reasons, and as a form of trust contained (in the logical sense) within other reasons. It is proposed that implicit trust has an important role in establishing an intersubjectively shared world in which what counts as a reason for the acceptability of performances such as readings of X-rays is established. Implicit trust, therefore, is necessary for professionals to enter into a “space of reasons”. To insist upon judgements made in the absence of the form of implicit trust at play in biographical familiarity is to demand that radiologists (and other relevantly similar professionals) make judgements regarding whether to trust or mistrust on the basis of reasons capable of being reflected upon, but at the same time leave them without reasons upon which to reflect. (shrink)

In a recent paper, Pila has criticised the recommendations made by requirements engineers involved in the design of a grid technology for the support of distributed readings of mammograms made by Jirotka et al. The disagreement between them turns on the notion of ‘biographical familiarity’ and whether it can be a sound basis for trust for the performances of professionals such as radiologists. In the first two sections, the paper gives an interpretation of the position of each side in (...) this disagreement and their recommendation for the design of technology for distributed reading, and in the third the underlying reasons for this disagreement are discussed. It is argued that Pila, in attempting to make room for mistrust as well as trust, brings to the fore the question of having and reflecting upon reasons for trust or mistrust. Pila holds that biographical familiarity is not a sound reason for trust/mistrust, as it seems to obliterate the possibility of mistrust. In response to her proposal, an analysis is proposed of the forms of trust involved in biographical familiarity. In particular, implicit trust is focused upon, as a form of trust in advance of reasons, and as a form of trust contained within other reasons. It is proposed that implicit trust has an important role in establishing an intersubjectively shared world in which what counts as a reason for the acceptability of performances such as readings of x-rays is established. Implicit trust, therefore, is necessary for professionals to enter into a ‘space of reasons’. To insist upon judgements made in the absence of the form of implicit trust at play in biographical familiarity is to demand that radiologists make judgements regarding whether to trust or mistrust on the basis of reasons capable of being reflected upon, but at the same time to leave them without reasons upon which to reflect. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:This essay considers hagiography as a spatial-theological genre emerging, so to speak, from the crypts of Christian martyrs where liturgical celebrations commemorate their paradoxical witness to the Paschal mystery, whereby the faithful gain eternal life through temporal death. Later the virtues and miracles of holy men and women, such as ascetics, bishops, mystics and founders of religious communities, are recounted in vitae intended for liturgical offices and contemplative reflection. (...) The relics of these saints are a site for the construction of religious identity and a locus of pilgrimage, as the faithful gather in the churches where the bodily remains are located. Often miracle accounts, collected soon after the death of the saint, are accompanied by miracles at the tomb thereby initiating or furthering the process of veneration and canonization, whence the relics are subsequently transferred to a prominent place within the church, such as the area near the altar. Miracle stories are a constant in liturgical legends, and the vitae of Saint Francis are no exception.In the case of Francis of Assisi, canonization and construction are contemporaneous, since Thomas of Celano's official legend, the Life of Saint Francis, is presented during the initial building phase of the sepulcher basilica. The Paschal paradox of the miraculous, evident in the spatial localization of transcendent power, informs Celano's hagiographical account of miracles in his first text, as well as in the later Legend for Use in the Choir, the Remembrance of the Desire of the Soul, and the Treatise on Miracles. Bonaventure's subsequent conceptualization of Francis's dream body in the Journey of the Soul into God and literary reorganization of the miracle stories in the Major Life, and the absence of Francis's reliquary remains in the Minor Life, dislodges the miraculous from sepulchral stone and regional locales into textual space, which is located in a narrative history but freed from the spatial constraints of ecclesial edifices and geographical locations. As a result, the thaumaturgical founder of Celano's narratives, whose wonders in life and death find a spatial locus in Italy and, particularly, at the basilica tomb, is replaced by the stigmatized Francis. He is the central miracle of Bonaventure's narratives, and readily present anywhere – albeit mediated by the General Minister's own memory – in prayer. This essay posits that this "transitus" of Francis from miracle worker to abiding miracle, especially noticeable in Celano's Legend for Use in the Choir and Bonaventure's Minor Life, is best understood when the performative nature of liturgical legends in sacred space is recognized.1. Choir Legends, Sacred Space and Performative IdentityChoir legends are primarily conceived, composed, and received as spatial texts, ritually performed in a designated sacred space and season. Their ritual context is the Liturgy of the Hours, where believers enter into a dialogical exchange with the divine, grounded in the paradox of the Paschal mystery. Choir legends are unique witnesses to a particular communal image of a saint, whose life of virtue and miraculous deeds is recounted within the dynamics of liturgical prayer and the dominant cultic-cultural identity. Given their essential status within worship, these biographical texts assume a level of iconicity not shared by non-liturgical documents. Specifically intended for communal contemplation and not the promulgation of the saint's cult throughout the universal church, choir legends are similar to opaque windows opening inward on a secluded courtyard of those gathered to recount their family story. While the narrative is accessible to all those who gaze through the aperture and listen attentively, the locus of intent is within the religious community. When the community members – or at least influential leaders – no longer espouse this "prayed" likeness of their father or mother figure, a new image may be constructed, and the previous choir legend is supplanted or even suppressed by another legend that reflects the revised cultural-theological identity. Evidence of this process is found among second.. (shrink)

In this issue, Pila (2009) has criticised the recommendations made by requirements engineers involved in the design of a grid technology for the support of distributed readings of mammograms made by Jirotka et al. (2005). The disagreement between them turns on the notion of “biographical familiarity” and whether it can be a sound basis for trust for the performances of professionals such as radiologists. In the first two sections, this paper gives an interpretation of the position of each side (...) in this disagreement and their recommendation for the design of technology for distributed reading, and in the third the underlying reasons for this disagreement are discussed. It is argued that Pila, in attempting to make room for mistrust as well as trust, brings to the fore the question of having and reflecting upon reasons for trust or mistrust. Pila holds that biographical familiarity is not a sound reason for trust/mistrust, as it seems to obliterate the possibility of mistrust. In response to her proposal, an analysis is proposed of the forms of trust involved in biographical familiarity. In particular, implicit trust is focused upon—as a form of trust in advance of reasons, and as a form of trust contained (in the logical sense) within other reasons. It is proposed that implicit trust has an important role in establishing an intersubjectively shared world in which what counts as a reason for the acceptability of performances such as readings of X-rays is established. Implicit trust, therefore, is necessary for professionals to enter into a “space of reasons”. To insist upon judgements made in the absence of the form of implicit trust at play in biographical familiarity is to demand that radiologists (and other relevantly similar professionals) make judgements regarding whether to trust or mistrust on the basis of reasons capable of being reflected upon, but at the same time leave them without reasons upon which to reflect. (shrink)

IT is my purpose in this essay to review, in as brief a compass as the com- plexity of the subject permits, the progress that has been made in Lavoisier studies. This I shall do by examining as closely as space and my abilities allow, certain of the most recent biographies of the so-called Founder of Modern Chemistry. I shall emphasize the use that has been made of the available printed sources, both primary and secondary, in the hope that (...) this paper may serve as a bibliographical introduction to a subject that still awaits thorough and critical treatment despite the number of books that have appeared dealing with it. (shrink)

This paper intends to illustrate the monuments of the Periklean building programme as embodying acts of temporal configuration; organizing synoptic episodes into an ethno-cultural continuum. A required element to this process is the issue of space, both in its experienced and imagined aspects, as the framework by which temporality is fixed and recounted. By viewing the monuments and accompanying iconography as spatio-temporal configurations, we can see the generation of those elements necessary for the formation of cultural identity via memory. (...) This includes the provision of axial points in time, set in space and wider temporal chronologies, and the election of totemic, and semioticized personages. Moreover, as the configurative action is both framed and informed by its enunciative context, the monuments indicate the promotion of biographical memory, as relating to the Persian Wars, into the register of Athenian cultural memory and temporality. (shrink)

This contribution gives an overview of Einstein's work on unified field theory. It characterizes this work from four perspectives, by looking at its conceptual, representational, biographical, and philosophical dimensions.

A partir de uma variedade de histórias sobre a vida íntima de mulheres famosas, o jornalismo de entretenimento e de fofocas compõe avaliações e julgamentos sobre emoções e comportamentos que alimentam atribuições culturais sobre a maternidade. Este artigo identifica duas matrizes culturais implicadas na narrativa jornalística do showbiz e dos chimentos - melodrama e escândalo - e analisa sua articulação na produção biográfica sobre mães celebridades que prolifera em revistas, programas de televisão e plataformas dedicadas a notícias sobre celebridades. Enquadrado (...) na tradição crítica do discurso, o artigo investiga a encenação de melodramas e escândalos na construção jornalística de seis histórias ligadas à maternidade de celebridades argentinas famosas. A partir da análise de diferentes fontes que encadearam essas histórias, observamos uma retórica moral expressa pela alternância complementar entre histórias de infortúnio e transgressões maternas. (shrink)

En este trabajo nos proponemos abordar la relación entre la perspectiva teórica de la narrativa, con sus anclajes en la filosofía, la lingüística, la teoría literaria y el psicoanálisis -entre otros- y la problemática contemporánea de identidades y subjetividades desde una perspectiva no esencialist..

El presente artículo indaga una serie de dispositivos editoriales fotográficos contemporáneos construidos con materiales visuales de archivo a partir de tres figuraciones (Haraway, 2017 y 2019) que definen modulaciones subjetivas específicas, estrategias con las que configuran una determinada matriz narrativa (Despret, 2021): la detective, la prófuga y la testigo serán presentadas aquí a través del respectivo análisis de Los órdenes del amor, de Lucila Penedo (2022), Querida Natacha, de Natacha Ebers (2020), y Nuestros códigos, del Archivo de la Memoria Trans (...) Argentina (2023). Para llegar a construir estas figuraciones partiremos de tres consideraciones iniciales: (a) el modo en que estos dispositivos despliegan la dimensión biográfica desde el archivo hacia el espacio público y las prácticas de lectura que propician, (b) la consideración de lo fotográfico como evento (Azoullay, 2015), como temporalidad expandida, y (c) la dimensión háptica de la experiencia de contacto con los dispositivos editoriales, entendiendo esta dimensión como aquella que habilita una experiencia afectiva y sensorial con estos materiales (Bruno, 2019; Sedwick, 2018). (shrink)

Being diagnosed with a disease is like being thrust onto a new path, a biographical bifurcation akin to a mourning process, bringing in its wake a shattering of the social self. The passage from an ideal of perfect health to a state of illness introduces various fractures into the individual's life course, leading to a process of biographization. To illustrate this, the life story of a diabetic person is used to analyze various biographical turning points. The analysis of (...) the subjectivation process highlights different reconstructions of the self through the experience of therapeutic education, seen as a relational space of in-between identities. (shrink)

The concept of person‐centeredness has become in many instances the standard of health care that humanises services and ensures that the patient/client is at the centre of care delivery. Rejecting a purely biomedical explanation of dementia that led to a loss of self, personhood in dementia could be maintained through social interaction and communication. In this article, we use the insights of queer theory to contribute to our current understanding of the care of those with dementia. We critically discuss the (...) concepts of person and personhood that have become the cornerstone values of person‐centred care for persons with dementia (PWD). Some critics, using queer theory as a theoretical approach, contend that person‐centred care often (unwittingly) reproduces heteronormative roles in trying to sustain life histories. In doing so, they argue, regendering of PWD is sometimes enforced by care providers who try to safeguard this biographical continuity. Cultural theorist Linn Sandberg also mentions that other axes of domination such as race and class are not conceptualised in person‐centeredness approaches, and neither are power asymmetries. Thus, in our article, we revisit the concept of person‐centred care as a first step in proposing another way to think about ‘beings with dementia’ (to avoid the term person). Believing that queer theorists have fallen short in questioning the idea of person or personhood as such, we will build on and broaden Sandberg's critique by demonstrating that queer and crip theory can be understood as a fundamental critique of the (Western) subject and processes of subjectivation. We argue that dementia can be conceptualised as a radical break not only with gendered roles and embodiments, but with many of the norms that make us recognisable subjects. Conceptualising dementia in this way turns it into what Sandberg called an ‘emancipatory space’ and not merely a pathology. (shrink)

This is the first volume of the first ever comprehensive edition of the works of Immanuel Kant in English translation. The eleven essays in this volume constitute Kant's theoretical, pre-critical philosophical writings from 1755 to 1770. Several of these pieces have never been translated into English before; others have long been unavailable in English. We can trace in these works the development of Kant's thought to the eventual emergence in 1770 of the two chief tenets of his mature philosophy: the (...) subjectivity of space and time, and the phenomena-noumena distinction. The volume has been furnished with substantial editorial apparatus, including a general introduction to the main themes of Kant's early thought, introduction to the individual works and re;sume;s of their contents, linguistic and factual notes, bibliographies, a glossary of key terms, and biographical-bibliographical sketches of persons mentioned by Kant. (shrink)

In this article we propose a framework for description and analysis of public life by treating “outings” as a unit of sociological analysis. Studying outings requires bracketing a concern with bounded places and isolated encounters. Instead, descriptions of outings track people as they organize trips “out,” including their preparations, turning points, and post hoc reflections. We emphasize how people understand and contextualize their time in public by linking situated moments of public life to the outing’s unfolding trajectory and to people’s (...) biographical circumstances. We treat outings in and through public parks as a strategic site to show the utility of studying public outings more generally. A sociology of outings has broad theoretical and methodological implications for how we understand the collective patterning of public life and inequality in everyday encounters. (shrink)

Le propos de l'article est de mettre en regard les formes de la ritualisation scolaire et les constructions biographiques spécifiques dont est porteuse l'institution scolaire. Espace « abstrait » du monde, lieu d'un rapport autoréférentiel au savoir qui érige les signes et les discours en fins pour eux-mêmes, l'école est à elle-même sa propre scène: son mode d'action relève d'une performativité généralisée par laquelle elle ne cesse de faire coïncider ses accomplissements pratiques avec les signes qu'elle en produit. L'école trouve (...) les ressorts de cette performativité dans la mise en oeuvre d'espaces et de dispositifs ritualisés par lesquels elle effectue les actes d'enseignement-apprentissage dans le geste même de leur représentation. Dans ce cadre, la figure de 1' « élève », analysée comme un ensemble de prescriptions définissant les modes de participation à l'agir rituel de l'école, établit une injonction biographique particulière, qui entre en confrontation avec les figures de soi et l'expérience biographique des individus-élèves.The purpose of the paper is to look at the forms of ritual and school specific biographical constructions which carries the school. Space "abstract" of the world, rather than a self-referential relation to who erected the signs and speech purposes for themselves, the school itself is its own scene: its mode of action is a generalized performativity that it continues to match its practical accomplishments with the signs she produces. The school is the spring of this performativity in the implementation of spaces and mechanisms by which it performs ritualistic acts of teaching and learning in the very act of representation. In this context, Figure 1 "pupil", analyzed as a set of prescriptions defining the modes of participation in the ritual act of the school establishes a biographical special order, which comes into confrontation with oneself and figures the biographical experience of individuals-students. (shrink)

This article sheds light on the relation between care for the soul and the political thought of Jan Patočka. Patočka often sketches a connection between care for the soul and a theory of the state, but he rarely elaborates this. The biographical fact of Patočka’s own political dissidence and his interpretation of care for the soul as a distancing from traditional structures of society have caused many to look at Patočka’s political thought mainly through the lens of political resistance. (...) Such interpretations are definitely warranted, but can overlook the moments in his work that point towards a theory of the state. While these are only indications, this article presents a way to develop these moments. It will do so on the basis of the idea that the theory of the state should not be based directly on care for the soul itself, but on its founding principle of problematicity. The stronger, perhaps more metaphysical, interpretation of problematicity that is argued for here both opens the space of the political and sets strict boundaries to it and as such should be the founding principle of any state that wishes to uphold this space. (shrink)

Illustrations: 13 B/w & 1 Colour Illustrations Description: The frontiers of Traditional Knowledge and Science have long attracted the minds of scientists, theologians, intellectuals and students, who have been arguing both their similarities and dissimilarities, apparent contradictions, and the possibility of an ultimate harmony between the two. In ancient and medieval India - as in much of the Non-Western world - there was only one word for tradition and science, namely, vidya. Vidya encompassed what in the modern historically-sensitive inquiries is (...) called 'knowledge-systems.' However, in the modern West, placing Science and Tradition side-by-side has become something of an anathema, for many in the post-Enlightenment era regard Tradition to be a leftover from the Dark Ages. Science, in contrast, with its systematic approach to studying and understanding of all there is, has been considered to be unassailable. But even this impenetrable divide may be showing signs of rupture in the twenty-first century : there is now growing evidence of a line of continuity and creative engagement in a 'third space' between Science and Traditional Knowledge. Individuals and learned organizations are making enormous contributions in this interactive exploration. The Sir John Templeton Foundation, based in Philadelphia, USA, is one such international organization. Professor B.V. Subbarayappa is one such eminent scholar who has relentlessly pursued, and in his quiet way stimulated, the fusion of disparate minds in this area. He is hailed as a pioneer in the History and Philosophy of Science movement in India. His contributions in this field are without match and have earned him a name among scientists, science historians, philosophers and intellectuals all over the world. His monumental work and his sheer humanity have inspired the Editors of this volume to find a way to honour him. Scholars of various persuasions from around the world have contributed exploratory, specialist and dialogic essays toward this conversation of Science and Tradition. A biographical sketch with a comprehensive Bibliography (first-ever) of Prof Subbarayappa is also featured in the Introductory essay. Professor--D.P. Chattopadhyaya and J.N. Mohanty have offered prefatory comments of their own. Given the extensive range of topics discussed, both specialists and lay readers will doubtless gain a deeper understanding of the relationship between Science and Tradition in a cross-cultural context, and hopefully be inspired to develop respect for knowledge across these two frontiers. (shrink)

. The purpose of this article is to analyze the specifics of the mythologizing of time in the historical period dramas "Downton Abbey" and "The Crown" in the context of the transition from the postmodern paradigm to a new metamodern sensibility. The article summarizes the experience of domestic and foreign studies of the metamodern tendencies of the modern TV series and analyzes the theoretical issues of the mythological temporality of TV series production. On the basis of the theoretical concept of (...) retrotopia by Z. Bauman, the concept of layers of cinematic temporality by N.E. Marievskaya and the critical discourse analysis of S. Jäger, the features of the mythologization of horizontal, vertical time, as well as the biographical time of characters in selected period dramas have been analyzed. The scientific novelty of the article lies in the problematization and analysis of the discursive environment of the deployment of the temporal mythology of the modern period drama. The modern historical period drama demonstrates the specifics of turning to retrotopia, as it seeks to represent the current problems of the present through an imaginary past. In the case of the “Downton Abbey”, this happens through the harmonization in the viewer's mind of nostalgia for an imaginary English aristocratic past and an unstable future. In the case of the “The Crown”, the presentation of the private life of the British royal family against the backdrop of historical events contributes to the formation of a more multidimensional image of the present and responds to the demands of the mass audience in the emotional representation of historical events. The result of this representation is a kind of mythology of time, which arises between the cultural demand for retrotopia and the development of modern technologies for the production of cinematographic products, which makes it possible to fully realize the intention of modern metamodernist discourse to achieve a “new sensibility”. This allows us to consider the modern historical period drama not only as a "commercial project", but also as a tool for the development of historical culture, an instrument of cultural orientation in social space and time. (shrink)

David Lewis was one of the most important philosophers of the 20th century working in the Anglo-American analytic tradition. His corpus is extraordinary for its breadth of subject matter and for its systematicity. For both these reasons, it is difficult to do justice to his work in a short space—there are rich interconnections among his myriad writings, and numerous possible entry points. This article approaches Lewis and his work in three passes: first, a biographical tracing of his intellectual (...) influences; second, a summary of his metaphilosophy; third, a survey of his more specific philosophical views, mostly following their order of conceptual dependence. (shrink)

Experiencing ethics not only refers to being confronted with a situation in which one must choose a course of action; it also makes reference to giving a narrative account of the circumstances and chain of events leading to such crossroads. Between both there is a chasm, a space of indeterminacy into which R. Musil and L. Sterne delve with aesthetic means. Their poetics move in opposite directions, but by following them to their last critical consequences this study reveals a (...) kindred ethical stance. This interpretation sheds light on the ethics revolving around character construction by examining the constraints thwarting any attempt to complete a biographical account or convey a protagonist that led his or her life. Neither Musil nor Sterne posit a narrative agenda that could reach a last chapter or lead to a groundwork determining their ethics. A closer look into their tight-knit prose reveals that both rely on the narrating, on a skill that must be incessantly cultivated through a digressive or essayistic style. Equipped with a vast theoretical repertoire, this approach makes a strong case for a new constellation in comparative literature. (shrink)

This article focuses on Samuel Beckett’s use of the asylum in his novel Malone Dies to explore the role of non-textual elements in genetic criticism, as well as the function of the author in genetic analysis. Taking as its starting point Iain Bailey’s challenge to genetic critics to account for the biographical author which underpins the discipline’s study of written traces in authorial manuscripts, the article contends that genetic criticism must be used in tandem with other approaches such as (...) historicism when studying spaces like Beckett’s asylums. Though Beckett took a scholarly approach when integrating such material into earlier work, making research notes which can be regarded as part of the genetic dossier, the asylum in Malone Dies – based on Dublin’s Saint John of God Hospital – leaves no such trail of textual breadcrumbs. Therefore, we must pay particular attention to the historical function of Saint John of God’s in order to understand how the asylum works in composition and reception. In doing so, an author existing beyond the written traces they leave behind can retake their place in a necessarily incomplete empirical field over five decades after Roland Barthes prematurely declared their death. (shrink)

This essay takes the Genet column of Derrida's Glas as its point of departure for a wider discussion of Derrida's contribution to thinking on the question of Israel–Palestine. What would it mean for Genet to be at war, encircled or outcast? What of the polemos in Genet, in Derrida, in Glas? How are we to show that what always interests Derrida takes place among the Palestinians? What is the space of literature here? How does Genet explode as Western thought (...) takes a bow? Through a reading of Genet's Prisoner of Love and a number of Derrida's writings on Israel–Palestine, this essay unpacks an important configuration of the biographical, the literary and the philosophical in Glas, which still has profound significance for us 40 years after its original publication. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Religious Perspectives on Bioethics, Part 2Laura Jane Bishop (bio) and Mary Carrington Coutts (bio)This is Part Two of a two part Scope Note on Religious Perspectives on Bioethics. Part One was published in the June 1994 issue of this Journal. This Scope Note has been arranged in alphabetical order by the name of the religious tradition.Contents for Parts 1 and 2Part 1I.GeneralVI.HinduismII.African Religious TraditionsVII.IslamIII.Bahá'í FaithVIII.JainismIV.Buddhism and ConfucianismIX.JudaismV.Eastern OrthodoxyPart 2I.Native (...) American ReligiousChristian Scientist TraditionsEpiscopal/AnglicanII.ProtestantismEvangelicalGeneralJehovah's WitnessAnabaptist (Church of theLutheranBrethren, Friends SocietyMethodist/Wesleyan(Quaker), and Mennonite/NazareneAmish/Hutterite)Presbyterian/ReformedAssemblies of GodSeventh-day AdventistBaptistUnitarian UniversalistChurch of Jesus Christ of theUnited Church of Christ Latter-day SaintsIII.Roman CatholicismChristian Church (Disciples of Christ)[End Page 357]IntroductionThe many religions of the world bring diverse, and occasionally divergent attitudes to bioethical issues. These beliefs may guide patients and health care professionals as they seek or provide health care. In an attempt to facilitate understanding of and access to information about these beliefs in our pluralistic and global society, this Scope Note identifies literature by the world's major religious groups on topics relating to bioethics.Topics covered by this Scope Note include general attitudes to health and health care, the physician-patient relationship, treatment refusal, abortion, contraception, sterilization, reproductive technologies, genetics, mental health, human experimentation, organ transplantation and donation, death, euthanasia, suicide, and prolongation of life. Material was not available on all of these topics for each religion.The literature gathered here represents only a small portion of the available writing on religion and medicine for these faith traditions in the United States, and is limited to that which comments explicitly on bioethical issues. Some faiths have a rich tradition of writing on bioethics, for others the literature is more limited. Variation in coverage is not intended to indicate the relative importance of a faith but reflects accessibility and space constraints. Individuals interested in obtaining additional information are encouraged to contact the National Reference Center for Bioethics Literature.It is important to remember that doctrinal and theological differences exist even within the same denomination and that views of individual patients, family members, and health care providers should be sought.Native North American ShamanismAvery, Charlene. Native American Medicine: Traditional Healing. Journal of the American Medical Association 265 (17): 2271, 2273, 1 May 1991. A brief description of the general principles of Southwestern Native American religions is provided. Most tribes believe that health and religious well-being are interconnected.Day, Thomas W. Cross-Cultural Medicine at Home. Minnesota Medicine 75 (3): 15-17, March 1992. The Ojibwe tribe's view of health incorporates spiritual health and emphasizes a holistic approach to health care that encompasses a harmonious balance between the individual, community, and nature, as well as between body, mind, and spirit.Hirschfelder, Arlene B., and Molin, Paulette. The Encyclopedia of Native American Religions. New York: Facts on File, 1992. 367 p. A survey of Native American religions is provided, including tribal histories, descriptions of religious ceremonies, and biographical sketches.Hultkrantz, Åke. Health, Religion, and Medicine in Native North American Traditions. In Healing [End Page 358] and Restoring: Health and Medicine in the World's Religious Traditions, ed. Lawrence Sullivan, pp. 327-58. New York: Macmillan, 1989. Hultkrantz summarizes the Native American attitude toward medicine and health care, explaining that belief in the supernatural and its powers is one of the most important tenets of life. Ailing persons are aided by those who have been trained to act as mediators between the sick individual and the supernatural powers. Attitudes toward health and disease, and the role of the medicine man are demonstrated through the use of examples taken from many tribes.Hultkrantz, Åke. Shamanic Healing and Ritual Drama: Health and Medicine in Native North American Religious Traditions. New York: Crossroad, 1992. 197 p. Hultkrantz surveys the varied traditions of Native North Americans and their outlook on medical care, health, and religion, and emphasizes that Native American medical beliefs... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 65.4 (2004) 603-625 [Access article in PDF] Noting the Mind: Commonplace Books and the Pursuit of the Self in Eighteenth-Century Britain Lucia Dacome University College London Ae for "Adversariorum methodus." Be for "Beauty, Beneficience, Bread, Bleeding, Blemishes."1 By associating the first letter with the initial vowel of a word, generations of eighteenth-century readers, students, and observers diligently regulated access to information they reputed (...) worth retaining. Following this rule, they organized the notes they took on a certain subject, the thoughts and observations they believed were worth remembering, and the exemplary words of their favorite authors. The rule was devised by John Locke for his "new method of making commonplace-books," a method characterized by a particular system for indexing the entries of a notebook that became popular in the eighteenth century. Before Locke developed his new method readers had already familiarized themselves with the practice of keeping an account of their readings, excerpting passages of texts, and copying them in their notebooks under a relevant heading. Throughout the early modern period commonplace books provided repositories for arranging notes, excerpts, drawings, and objects.2 Regarded as aids to memory and storehouses of knowledge, they were part of a pedagogic tradition related to rhetoric and the art of memory that dated back to the classical period. Reducing vast amounts of knowledge to a [End Page 603] manageable form, they instantiated a special relationship between the accumulation of knowledge and the organization of space. At the turn of the eighteenth century Locke's new method promised to facilitate compilers' task by providing a new way of accumulating multum in parvo at a time of increasing concern for the uncontrollable growth of the "Stock of Knowledge."3 It did so by seeking to increase the amount of information one could annotate in the notebook, while also speeding up its retrieval. Many eighteenth-century compilers relied on it in order to reduce the volume of their notebooks and save time. Some were lured by the promise that this technique could also help them to order their minds and thus turn them into better people.Although commonplace books have dropped out of usage today, they were still mentioned in nineteenth-century educational manuals. As tools that lay at the intersection between practices of collecting, reading, classifying, learning, and the arts of rhetoric, they have come to the fore of historical discussion.4 In some cases, commonplace books have been regarded as capable of providing insights into compilers' reading patterns and as biographical sources casting light on compilers' personal idiosyncrasies and cataloguing manias.5 The intellectual and cultural significance of Locke's own new method of compiling has [End Page 604] accordingly been discussed in relation to Locke's own intellectual biography (and in particular his medical interests), in the context of shifting patterns of systematization of knowledge and in light of the dissemination of eighteenth-century encyclopedic projects.6 However, still little is known about the uses and the popularity of the Lockean method in the eighteenth century.What follows considers the spreading of Lockean commonplacing in the context of eighteenth-century discussions on the nature of the self. Locke himself contributed to these discussions when, in the second edition of his Essay concerning Human Understanding (1694), he famously suggested that self-identity lay in the mind and resided in the continuity of memory and consciousness.7 Now a widely shared assumption of Western modernity, the view that self lies in the mind has long been dated back to the Age of Enlightenment. Yet early in this period Locke's proposal to make self-identity coextensive with memory and self-knowledge proved controversial. The debate that followed is now part of the canon of the history of philosophy and of the philosophical literature as a whole.8 In the course of the debate some of Locke's critics doubted that it was possible to found the self in conscious memory: they wondered about the destiny of the self during intervals... (shrink)

This article discusses the historical similarities and differences between Schroedinger's and de Broglie's ideas on wave mechanics and gives a biographical account of their scientific relationship. Their arguments over questions such as quantum jumps, the viability of particles within wave mechanics theory, and the inclusion of space, time, and relativity in quantum mechanics are analyzed. The final section of the paper considers the overall role of Schroedinger's ideas in modern quantum mechanics.

This paper takes up Avtar Brah's (1999) invitation to write back to the issues she raises in her mapping of the production of gendered, classed and racialised subjectivities in west London. It addresses two topics that, together, illuminate racialised and gendered interpellation and psychosocial processes. The paper is divided into two main sections. The first draws on empirical research on the transition to motherhood conducted in east London to consider one mother's experience of giving birth in the local maternity hospital. (...) The maternity ward constituted a site where racialised difference became salient, leading her to construct her maternal identity by asserting her difference from Bangladeshi mothers and so self-racialising, as well as ‘othering’ Bangladeshi mothers. The paper analyses the ways in which her biography may help to explain why her experience of the maternity hospital interpellates her into racialised positioning. The second section focuses on media responses to the riots in various English cities in August 2011. It examines the ways in which some media punditry racialised the riots and inclusion in the British postcolonial nation. The paper analyses three sets of commentaries and illuminates the ways in which they racialise the debate in essentialising ways, reproducing themes that were identified in the 1980s as ‘new racism’ and apportioning blame for the riots to ‘black gangster culture’. While these media pronouncements focus on racialisation, they are intersectional in implicitly also invoking gender and social class. The paper argues that the understanding of the mother's self-racialisation is deepened by a consideration of the racialised discourses that can be evoked (and are contested) in periods of social unrest. The paper thus draws on part of the methodology of ‘The Scent of Memory’ in layering media readings and biographical narratives to analyse the contemporary psychosocial space of racialisation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.4 (2002) 659-676 [Access article in PDF] Adam Smith's "Letter to the Authors of the Edinburgh Review" Jeffrey Lomonaco One of Adam Smith's first publications was a letter addressed to the editors of the Edinburgh Review, printed anonymously in the second issue of the semiannual periodical in 1756. 1 The compact text entitled "A LETTER to the Authors of the Edinburgh Review," which (...) has received surprisingly little scholarly attention, offers valuable insight into Smith's work and career, and not merely because it confirms that Smith was an unusually widely-read man of letters long before he was the retrospectively anointed founder of the discipline of economics, though it does that. Indeed, the thirty-two-year-old writer presumes to pass judgment on the writing and learning of Europe as a whole and specifically assesses the only recently published work of Rousseau, the Encyclopédie project still in progress, and the work of Réaumur, Buffon and Daubenton, Descartes, Newton, and others. In this text (whose authorship was known well before Dugald Stewart noted it in his biographical account in the early 1790s) Smith delineates a space of learning that is at once Scottish, British, and European, mapping out a set of relations of complex rivalry between France, England, and Scotland in order to articulate and advocate a cosmopolitan patriotism. 2 He suggests that while England occupied the preeminent position in learning in the past, France does so in the present, and Scotland is in a position to do so in the near future, if it is properly incited. Smith's careful [End Page 659] rhetorical incitement of his Scottish contemporaries to fulfill this promise of future primacy in learning also reveals his own ambitions and how he proposed to realize them.My reading of the text will throw into relief Smith's strategy and show how, although Smith does not name his good friend David Hume, he subtly expresses his own allegiances to the Humean science of man as the way for Scotland to achieve primacy in the world of learning, and he indicates that the most important task facing the world of knowledge—the task he takes as his own—concerns the proper systematic organization and presentation of moral knowledge. That Smith's is a subtle writerly performance which calls for attention to the grain of the text is itself part of the point of my interpretation, especially since the rhetorical care Smith took in composition is generally underestimated, or at least not adequately attended to in detail. 3 Judging Rivals The Edinburgh Review was a project begun by a number of members of the Select Society, one of those social vehicles of improvement and enlightenment that flourished throughout Europe in the eighteenth century. 4 Smith was a founding member of the Select Society in 1754 and may have been one of the initiators of the periodical, to the inaugural 1755 issue of which he contributed a review of Johnson's Dictionary. 5 The preface of the opening issue of the Review, probably written by the editor Alexander Wedderburn, a close friend of Smith's, positioned the Review as Scotland's somewhat belated contribution to the widespread European print enterprise of bringing advances in knowledge to the attention of the public. 6 The purpose of the periodical, Wedderburn's preface declared, was to demonstrate "the progressive state of learning in this country" and thereby to incite Scots "to a more eager pursuit of learning, to [End Page 660] distinguish themselves, and to do honour to their country." 7 To these ends each issue of the Review was going "to give a full account of all books published in Scotland within the compass of half a year; and to take some notice of such books published elsewhere, as are most read in this country, or seem to have any title to draw the public attention." 8 The title page of the first issue, which appeared on 26 August 1755 and which covered books published between 1 January and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mimetic Desire and the Nigerian Novel:The Case of Chike Momah's Titi: Biafran Maid in GenevaTerri Ochiagha (bio)René Girard's mimetic theory was first informed by Western canonical novels. Girard's paradigm, with its psychological, anthropological, and historical backing, provides explanations for universal phenomena like rivalry, violence, scapegoat mechanisms, and the religious processes of sin and redemption. While it is not reflected in his choice of literary subjects, Girard has endeavored to (...) assert the universality of mimetic desire and its implications in "Other," non-Western cultures. However, little or no attention has been paid to novels that do not circulate primarily within Western canonical circles. To start redressing this gap in the literature, I use Girard's mimetic theory to study a Nigerian novel, Chike Momah's Titi: Biafran Maid in Geneva and show how the paradigm is suited to a novel so distant in space, time, and culture from the famous works that first inspired it. Apart from identifying the nature and phases of mimetic desire that appear in the novel, I propose other possible triangulations of desire, separating out the mimetic from the nonmimetic, and address the possible implications of the homosexual nature of the novel's interracial triangular desire. [End Page 205]A First Encounter with the NovelSince I assume that neither the author nor the novel under discussion are well known to the readers of this article, I will briefly discuss the author and trace the outline of the plot, in order to allow for an uninterrupted flow in my explication of the dialectics of mimetic desire.The situation of Chike Momah in Nigerian letters is singular. He belongs to the Ibadan golden generation of authors, heralded by Chinua Achebe's first novel, Things Fall Apart (1958), and his contemporaries at University College, Ibadan, including the Nobel laureate Wole Soyinka, plus Chukwuemeka Ike, Elechi Amadi, Christopher Okigbo, Flora Nwapa, and J. P. Clark, among others. Despite his talent, Momah did not join the literary movement that his fellow alumni inaugurated. Almost 40 years later and two years prior to his retirement from his United Nations position in 1990, he began his literary career, which has yielded five novels and several essays. Being a firsthand witness to the birth of Nigerian written literature, he was sought after by biographers and conference organizers. However, his oeuvre has not garnered sufficient attention. This could be the result of a number of factors: first, the distribution of most of his novels has been limited; second, his writings began to emerge at a time when the literary reputations of his contemporaries had long since arrived at their zenith; and third, novels that primarily seek to entertain, as most of his do, are often disregarded in the realm of postcolonial criticism.Titi: Biafran Maid in Geneva (1999) is Momah's second novel. It is the sole Nigerian Civil War novel to portray the horrors of the conflict from the viewpoint of a Biafran family living in Geneva, the Okekes. Its excellent exploration of war trauma frames an entertaining story line. This involves Titi, the Okekes' maid, and her multiple love affairs. Mimetic desire sets in during the course of her relationship with Eddy Mafa and the love triangle that ensnares them with Suzanne, Eddy's European lover. This tangled web provides the perfect substrate on which to test Girard's theory of mimetic desire.Suzanne, Titi, and Eddy: The Genesis of Mimetic DesireAccording to Girard, mimetic desire occurs when we crave for an object, place, status, or person simply because someone else desires it. The resulting rivalry can bring us into conflict with the models we imitate. According to this theory, [End Page 206] the romantic concept of spontaneous desire is illusory since it is learned from the Other. One therefore learns the value of desired objects from desiring subjects. Mimetic desire is schematized by a triangle. However, as we will see, not all love triangles are triangulations of mimetic desire.In Titi: Biafran Maid in Geneva, the eponymous protagonist meets Eddy at the Okekes' house. They begin a relationship, which does not show many signs of prospering beyond its physicality. Apart from the fact that both... (shrink)

Four women have been conventionally framed as wives and/or mistresses and/or sexual partners in the biographical reception of Karl Marx and Friedrich Engels as heterosexual men. These women were Jenny Marx, Helene Demuth, Mary Burns, and Lydia Burns. How exactly they appear in the few contemporary texts and rare images that survive is less interesting than the determination of subsequent biographers of the two “great men” to make these women fit a familiar genre, namely intellectual biography. An analysis of (...) Marx–Engels biographies shows how this masculinized genre enforces an incuriosity that makes gendered political partnerships unthinkable and therefore invisible. By contrast, a positive interest in these women, which rethinks what a gendered political partnership is or could be, results in a significantly different view of the two men. As historical figures, they shift from being individualized or paired‐with‐each‐other “great thinkers” to communist/socialist activists working in and through everyday spaces and material practices. Their pamphlets, articles, and books thus appear more as immediate political interventions and less as timeless theorizing or as the raw material for such intellectualizing reconstructions. (shrink)

This is the first volume of the first ever comprehensive edition of the works of Immanuel Kant in English translation. The eleven essays in this volume constitute Kant's theoretical, pre-critical philosophical writings from 1755 to 1770. Several of these pieces have never been translated into English before; others have long been unavailable in English. We can trace in these works the development of Kant's thought to the eventual emergence in 1770 of the two chief tenets of his mature philosophy: the (...) subjectivity of space and time, and the phenomena-noumena distinction. The volume has been furnished with substantial editorial apparatus, including a general introduction to the main themes of Kant's early thought, introduction to the individual works and résumés of their contents, linguistic and factual notes, bibliographies, a glossary of key terms, and biographical-bibliographical sketches of persons mentioned by Kant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:David Hume and Adam Smith: A Japanese Perspective by Tatsuya SakamotoEstrella TrincadoTatsuya Sakamoto. David Hume and Adam Smith: A Japanese Perspective. London and New York: Routledge, 2021. Pp. 297. ISBN 9780367683023. Hardback. £130.This book is a collection of essays and articles by the Japanese scholar Tatsuya Sakamoto. In the foreword, Ryu Susato, professor of the Faculty of Economics at Keio University, Tokyo, notes that in Japanese society Marxism (...) has been the dogma of the history of social and economic thought. As a consequence, Japanese society has been labelled as “collectivist.” In this context, only a privileged intellectual background allowed Sakamoto to find his own way, as he graduated from Keio University and was part of its faculty. The Faculty of Economics of Keio University has spread the academic culture of liberalism that descended from Yukichi Fukuzawa (1834–1901), a reformer and founder of Keio and one of the most influential liberal thinkers in Meiji Japan (1868–1930). In addition, the family background of Sakamoto and the interest of his mother in the English language left a mark on him. Sakamoto was one of the rare Japanese scholars to study abroad in the 1980s, in particular at the University of Glasgow for two years (1984–1986) under the academic guidance of Andrew Skinner. There, he took interest in biographical and bibliographical studies. During his initial research, he found on a note by George Chalmers some evidence for David Hume’s authorship of an anonymous review of Smith’s Theory of Moral Sentiments, published in the Critical Review of May 1759.1 Then, along with David D. Raphael, Sakamoto transcribed the material with a commentary in the Journal of the History of Philosophy2 (Chapter 6 of the reviewed book) and he published “Hume’s Early Memoranda and the Making of His Political Economy” in Hume Studies3 (Chapter 4). There, Sakamoto gives interesting insights on Hume’s Early [End Page 163] Memoranda of manuscripts published by Mossner.4 This manuscript compilation shows the desire of Hume to pursue a systematic discourse on political economy. These efforts resulted in a large number of works published by Hume from 1748 to 1757 and even after his death, in Essays, Moral and Political, in The Natural History of Religion, and in Political Discourses.Later, Sakamoto published various articles on Hume’s economic thought in English (Chapters 1 and 5). In addition, he published his first monograph in Japanese.5 He argued that the “civilized society”—an idealization of Western societies—which was thought to be a prerequisite in Japan for the socialist revolution, concealed the different eighteenth-century historical realities of European countries in which Hume and Smith lived. Sakamoto received for this monograph the Suntory Academic Prize for Social Sciences and Humanities in 1996 and the Japan Academy Prize in 2001. In his Japanese monographs, Sakamoto interprets Hume as a firm defender of modernity and civilization, using his empiricist theory to inspire the spirit of serving the public good of a civilized society. Hume is a main character of the historiographical odyssey of the conflict between order and liberty.6 Hume tried to bridge the gap between the practical empiricism of mercantilist literature7 and the normative rationalism of natural jurisprudence,8 developing the science of economics on a philosophical foundation.After a brief leave spent at Boston University under the care of Knud Haakonssen, Sakamoto coedited a collection of essays written by Japanese scholars9 (Sakamoto’s contribution is included in Chapter 3). Another of Sakamoto’s important contributions is Chapter 9 of this book, originally published in The Adam Smith Review in 2017.10 There, we learn of Yoshihiko Uchida (1913–1983), a Japanese historian of social thought who specialized in Smith and Marx, and paid much early attention to the Smith-Rousseau connection in his The Birth of Economic Science (never published in English). As Sakamoto says, Uchida’s original view of this great Scottish philosopher, Adam Smith, proves that scholars infuse new life into classical texts, no matter how distant they may be from the object of their study in space and time. Besides, by discussing in English previous Japanese scholars’ contributions, Sakamoto is... (shrink)

This article investigates why Humboldtian Science, as a heuristic concept, has gained prominence in the historiography of science and requires clarification. It offers an ideal-type model of comparative research and exact measurements across vast spaces, which Susan F. Cannon and others tied to Alexander von Humboldt (1769–1859). Yet, he himself was less “Humboldtian” than this concept suggests. The article proposes to disentangle Humboldtian Science from Humboldt’s science, which constituted a set of individual research practices that defied the ideal of precision. (...) Humboldt’s science was often impromptu, marked by epistemological and personal insecurities, and embedded in the protagonist’s peripatetic way of living and frequently erratic writing style. Historicizing Humboldt’s science undermines the exceptionalism that elevates the Prussian savant above his contemporaries and casts him as a singular figure. This critical reflection encourages biographical approaches to the history of science, balancing heuristic generalizations and attention to individual research styles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Future of the Book: Images of Reading in the American Utopian Novel by Kevin J. HayesMatthew LeggattKevin J. Hayes. The Future of the Book: Images of Reading in the American Utopian Novel. Oxford: Oxford University Press, 2022. E-book, 192 pp. ISBN 9780192670960.Kevin J. Hayes is a writer of high regard, having published many books over his distinguished career, including biographical studies such as Herman Melville, Mark (...) Twain, George Washington: A Life in Books, and several on Edgar Allen Poe. Works like the 2020 monograph Shakespeare and the Making of America showcase his intersecting interests in biography, literature, and American political history. It is these interests that are very much on display in his 2022 monograph The Future of the Book: Images of Reading in the American Utopian Novel, and we should be thankful that Hayes has turned his attention to the subject of utopian fiction as he certainly has much to add to the discussion. The book is clearly a labor of love and Hayes writes with a great degree of detail and authority suggesting he has always held a deep interest in the utopian novel. In fact, from the preface, it is clear the research supporting this book has spanned many years.The preface sets it all up very neatly. Immediately, the reader is invited into the research story of the book. Hayes has an evocative and methodical style that carries that research throughout. The author is also careful in this preface to assert his expertise in the field. Having read “virtually every utopian novel in American literature published before 1910” on microfilm gives Hayes the opportunity to explore many of the obscure and lesser-known works of the period (ix), which he notes in his introduction is primarily between 1880 and 1915. Since many of these novels are yet to be digitized, his insight is notably rare.Aside from an introduction and conclusion, the book is divided into five chapters. The first is titled “The Residential Library” and is centrally about [End Page 601] books in home-spaces, from personal libraries to books on shelves in someone’s living room. Chapter 2, “The Public Library,” explores depictions of public libraries and ways that collected knowledge might be organized and made accessible in utopian visions. “The Idea of Authorship,” chapter 3, is about the professional/amateur status of authors in utopian societies. In this section, Hayes also explores ideas about literary quality and attempts to answer concerns that a utopian age would necessarily be incapable of producing great literature. Chapter 4, titled “The Newspaper,” details the struggles utopian authors have had with the newspaper format. Finally, “The Printed Page and the Written Word” examines ways in which utopian authors sought to refine the printed and written word and their innovative suggestions in this area. Each of these chapters opens by considering Edward Bellamy’s Looking Backward in relation to the subject at hand and Bellamy’s 1888 novel is referred to extensively throughout The Future of the Book, offering a frame for Hayes’s exploration of utopian literature’s inner dialogue with the printed word.In his introduction, Hayes highlights that much of the scholarly work in this area has focused on dystopias. Indeed, when I think about the representation of literature in speculative fiction I tend, first, to think of the great dystopias like Orwell’s Nineteen Eighty-Four, in which history is erased and rewritten by The Party, or Ray Bradbury’s Fahrenheit 451, in which books are considered dangerous and thus are rigorously hunted and burned by the ironically named Firemen of the future. Alternatively, postapocalyptic movies spring to mind. Taking shelter in the New York Public Library, Sam Hall (played by Jake Gyllenhaal) frantically burns books for warmth despite the protests of several other characters in Roland Emmerich’s 2004 blockbuster The Day After Tomorrow. Likewise, in “Marooned” (1989), an episode of the British SF sitcom Red Dwarf (1988–), of which I was particularly fond during my formative years, a copy of the collected works of Shakespeare is burned to keep the last remaining human, David Lister (played by Craig Charles), alive. In the opposite direction, some postapocalyptic... (shrink)

This chapter develops a schematic historical and political analysis of the rhetorical usages of social constructionism within specific social movement contexts. It is therefore an attempt to illuminate the essentialism/social constructionism debate, rather than to explore the social theoretical issues around constructivism itself. It is concerned with the power of such arguments to mobilize public support, and as instrumental interventions in the political process. -/- It is my suggestion that this very power consists in the ability of such discourse to (...) represent social reality in a way which individuals see as corresponding to personal experience, in the first instance, and to open up the space for dynamic social change, in the second. Social constructionism is a rhetorical strategy. Judgements are made by social actors in terms of their understanding of biographical experiences, the prospective political utility of the analysis offered, and the context in which they find themselves. Further, arguments appeal to two relevant constituencies: first, an indigenous community of interest, which I will explore further below, and second, the wider public including, critically, that section of the population with access to governmental power, notably legislators and other members of the ruling class. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world we made. (...) It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)

This introduction provides an overview of the life, career, and social thought of Gerhard Lenski. Following a preliminary description of Lenski's contributions, this essay is divided into two sections. The first section examines the origins, education, and biographical influences on Lenski as a major social theorist as well as the intellectual foundation of his sociological theories. The second section presents Lenski's work, impact, and legacy and sets the stage for the original essays that are grouped around four of six (...) key areas of Lenski's work, which has had enormous impact on both American and international sociology: (1) teaching sociology; (2) "status crystallization" and "status inconsistency"; (3) sociology of religion and "the religious factor"; (4) social stratification, "power and privilege"; (5) gender stratification in comparative-historical perspective; and (6) ecological-evolutionary theory. While these six areas do not correspond neatly to the progressive phases of Lenski's theory development and sociological career, they are interconnected and reflect Lenski's central concerns in asking the big questions about human societies and in providing explanations for understanding the processes of social change, differentiation, and inequality among and within human societies, across time and space, from hunting and gathering to postindus trial societies. (shrink)

Herner Sæverot begins this article with an example: how Søren Kierkegaard used deceit as a means to educate. In one of his biographical texts, it turns out that Kierkegaard's objective was to deceive his readers into a totalized and universal truth. According to Sæverot, Kierkegaard's approach shows that he was a “demystifier,” someone who wants to save an other from delusion and bring this person into a better understanding of the world. Contrary to Kierkegaard, Sæverot argues that education is (...) [im]possible—which, he further maintains, may open up the possibility of being “educated.” Sæverot couches his argument in the context of a novel, Vladimir Nabokov's Lolita. Through a phenomenological study, Sæverot demonstrates how Nabokov creates deceits and adverse forces in his writings so as to open up a space of education, wherein the reader can take active part. The education of Nabokov is thus unpredictable and transformative. The ways in which Nabokov deceives and “educates” can, Sæverot ultimately contends, open up new domains for the field of educational theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 171-173 [Access article in PDF] Book Review Literary Lives: Biography and the Search for Understanding Literary Lives: Biography and the Search for Understanding, by David Ellis; ix & 195 pp. New York: Routledge, 2000, $35. In his discussion of biography as a form, Ellis points to his study as a response to the scarcity of "monographs on biography... and [that] none of them are (...) particularly satisfactory" (p. 2). He further points out that "the comparative dearth of analytic enquiry into biography is surprising" (p. 3). In short, his first pages get off to a rocky start in their tatty justification of a critical study. Though a critic of D. H. Lawrence, Ellis uses the English writer sparingly, pointing out in his "Preface" what he feels is a need "to keep illustration involving Lawrence to a decent minimum" (p. viii) while concentrating on those problems which face the biographer. That said, he sets about to characterize biography as an integration of "a disinterested enthusiasm for information... [fashioning a]... compelling story in which many details with no direct relevance to the life of his subject can be considered as contributing successfully to a period atmosphere" (p. 35). Ellis is thinking specifically of Norman Sherry's biography of Graham Greene through which he has brought to the discussion his intent of pointing to an approach which concerns itself with chapters on "Ancestors," "Primal Scenes," "Body Matters," "the Sociological [End Page 171] Imagination," "History, Chance and Self-determination," "Compatibility, Sartre and Long Biographies." All are aspects of biography.As well as the approach he suggests by these areas of concentration, Ellis draws broadly from many subjects of biography, always keeping a critical eye on its form. Anne Stevenson's approach "is towards psychological determinism" (p. 135); Ackroyd in his biography of Dickens raises "through a degree of intellectual play" the questions of when "lineage" is appropriate, that is, the extent to which it has any productive consequence. He also uses Hawthorne and Virginia Woolf as examples. Writing of the role of the historian raises difficulties for writers creating biographies from such an early period as that of Chaucer; Ellis points to Derek Pearsall's "excellent Life of Geoffrey Chaucer" (p. 121).Ellis neither can nor should ignore Lawrence and what better chapter to include him in than "Body Matters" in its concentration on illness. Here Ellis draws on Lawrence's concern with the harm of his health on his work (p. 78). He also considers Flaubert, Sartre, and Woolf. Briefly he mentions Stendhal's imagination of his "future audience" after his death (p. 109), sensibly rejects the long ago depleted and so, parenthetically, apparently permanent speculation on what Keats's might have become had he lived a full life "in a time of drugs for treatment of tuberculosis" (p. 123) and the equally mined issue of what prompted Hemingway's suicide (pp. 132-33). Certainly he is aware of the danger that such a use of material may pander to the pleasure of mere name-hunters (what if there were no index!). At the same time, if the effect of his range of examples invites additions of our own, while keeping before us that his study is about biography as form, it is successful.In "Primal Scenes," the fourth chapter of his book, Ellis gives what he feels is necessary space to Freud, the creator of the term. He points to Wordsworth's "spots of time" as only one indication of the difficulty--if not impossibility--of capturing biographically those moments in childhood by which the individual written about might be defined (p. 57). (Such an impossibility should not be surprising to those of us readers who recognize the nearly impossible task for ourselves in our own lives.) Surely both the biographer and autobiographer share this ignorance and frustration. In a very interesting move, Ellis points to Compton Mackenzie's discussion of a critical event in his six-year old life surrounding the interruption of an Easter evening with his parents and siblings, interrupted by the arrival of friends. Ellis writes... (shrink)

Gottfried Wilhelm Leibniz possessed one of history's great minds. The German philosopher, mathematician, and logician invented calculus. His metaphysics bequeathed a set of problems and approaches that drove the course of Western philosophy, from Kant's eighteenth century until the present day. For over fifty years, the study of Leibniz has been a consistent passion for distinguished philosopher Nicholas Rescher. _On Leibniz_ offers eleven of his essays, written with signature clarity, exploring the aspects of Leibniz's work and life that still resonate (...) in the discipline of philosophy. Rescher's essays are snapshots of Leibniz, lucidly drawn case studies that explain the fundamentals of his ontology: the theory of possible worlds, the world's contingency, space-time frameworks, and intermonadic relationships. Several illuminating pieces reveal Leibniz as a substantial contributor to theories of knowledge. Discussions of his epistemology and methodology, its relationship to John Maynard Keynes and Talmudic scholarship, broaden the traditional view of Leibniz as a uniquely metaphysical thinker. Rescher also explores, in four absorbing biographical essays, Leibniz's scholarly development and professional career in historical context. As a "philosopher courtier" to the Hanoverian court, Leibniz was associated with the leading intellectuals and politicians of his era, including Spinoza, Huygens, Newton, Queen Sophie Charlotte, and Czar Peter the Great. A concluding essay holds up Leibniz's mode of philosophy as a role model for today's scholars. Rescher argues that many current problems can be effectively addressed with principles of process philosophy along lines inspired by Leibniz's monadology. _On Leibniz_ is essential reading for students of Leibniz and Rescher alike. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Extra Ear:Ear on the Arm BlenderStelarc Click for larger view View full resolutionFigure 1.Blender. Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. Collaborator Nina Sellars stands with the Blender during an installation photograph. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 2.Blender (3D Model). Teknikunst—Meat Market, Melbourne 2005. Image: Adam Fiannaca. The installation itself stands at just over 1.6 meters high and is anthropomorphic in (...) scale and structure. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 3.Blender. Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. Every few minutes the Blender automatically circulates or "blends" its contents via a system of compressed air pumps and a pneumatic actuator. Text credit: K. Conden and A. Douglas.[End Page 117] Click for larger view View full resolutionFigure 4.Ear Scaffold. Los Angeles, Melbourne 2006. Photographer: Nina Sellars. The preoperative scaffolding that was surgically placed below the skin's surface of performance artist Stelarc. Text credit: R. Ferro. Click for larger view View full resolutionFigure 5.Blender (Biomaterial). Teknikunst—Meat Market, Melbourne 2005. Photograph: Cameron Jones. Both artists, Stelarc and Nina Sellars, undertook liposuction operations specifically for the purpose of this new work and have succeeded in securing the sanitized isolation and, most importantly, the legal ownership of the remnants of the procedures. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 6.Hole Hooks Forceps. As a guest at Cornell University's conference "Digital Bodies" in 2001, Stelarc spoke of his desire to implant an ear that could pick up sound. His plans become a reality in the photograph taken during surgery. Text credit: R. Ferro. Click for larger view View full resolutionFigure 7.Extra Ear: Ear on the Arm. Los Angeles, Melbourne 2006. Photographer: Nina Sellars. Stelarc's future plans are to implant Bluetooth technology into the Ear on the Arm in a subsequent surgery so that the ear will pick up sound which will be transmitted via the Internet. Text credit: R. Ferro. Click for larger view View full resolutionFigure 8.Blender (Sterile Hood). Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. The biomaterials are now housed within the Blender's industrial casing, on exhibition at the Meat Market Gallery B in North Melbourne until August 18. Text credit: K. Conden and A. Douglas.[End Page 118]Stelarc- Biographical NotesStelarc is an Australian artist who has performed extensively in Japan, Europe, and the USA—including new music, dance festivals, and experimental theater. He has used medical instruments, prosthetics, robotics, Virtual Reality systems, and the Internet to explore alternate, intimate, and involuntary interfaces with the body. He has performed with a THIRD HAND, a VIRTUAL ARM, a VIRTUAL BODY and a STOMACH SCULPTURE. He has acoustically and visually probed the body—having amplified brainwaves, blood-flow and muscle signals and filmed the inside of his lungs, stomach, and colon, approximately two meters of internal space. He has done twenty-five body SUSPENSIONS with insertions into the skin, in different positions and varying situations in private gallery spaces and in remote locations.For FRACTAL FLESH, as part of Telepolis in 1995, he developed a touch-screen interfaced Muscle Stimulation System, enabling remote access, actuation, and choreography of the body. Performances such as PING BODY and PARASITE (1996, 1997) probe notions of telematic scaling and the engineering of external, extended, and virtual nervous systems for the body using the Internet. In 1998 for Kampnagel, he completed EXOSKELETON—a pneumatically powered six-legged walking machine actuated by arm gestures. During 2000, he completed an EXTENDED ARM—a manipulator with eleven degrees-of-freedom that extends his arm to primate proportions and a MOTION PROSTHESIS—an intelligent, compliant servo-mechanism that enables the performance of precise, repetitive, and accelerated prompting or programming of the arms in real time. In 2002, with the collaboration of the Evolutionary and Adaptive Systems Group, COGs, University of Sussex, and TNTU, the HEXAPOD robot prototype was developed. The six-legged MUSCLE MACHINE was constructed with the assistance of The Nottingham Trent University Engineering team, using fluidic rubber muscle actuators. The PROSTHETIC... (shrink)

This is the first volume of the first ever comprehensive edition of the works of Immanuel Kant in English translation. The eleven essays in this volume constitute Kant's theoretical, pre-critical philosophical writings from 1755 to 1770. Several of these pieces have never been translated into English before; others have long been unavailable in English. We can trace in these works the development of Kant's thought to the eventual emergence in 1770 of the two chief tenets of his mature philosophy: the (...) subjectivity of space and time, and the phenomena-noumena distinction. The volume has been furnished with substantial editorial apparatus, including a general introduction to the main themes of Kant's early thought, introduction to the individual works and résumés of their contents, linguistic and factual notes, bibliographies, a glossary of key terms, and biographical-bibliographical sketches of persons mentioned by Kant. (shrink)

Illness narratives convey a person’s feelings, thoughts, beliefs, and descriptions of suffering and healing as a result of physical or mental breakdown. Recognized genres include fiction, nonfiction, poetry, plays, and films. Like poets and playwrights, musicians also use their life experiences as fodder for their art. However, illness narratives as expressed through popular music are an understudied and underutilized source of insights into the experience of suffering, healing, and coping with illness, disease, and death. Greater attention to the value of (...) music within medical education is needed to improve students’ perspective-taking and communication. Like reading a good book, songs that resonate with listeners speak to shared experiences or invite them into a universe of possibilities that they had not yet imagined. In this article, we show how uncovering these themes in popular music might be integrated into medical education, thus creating a space for reflection on the nature and meaning of illness and the fragility of the human condition. We describe three kinds of illness narratives that may be found in popular music (autobiographical, biographical, and metaphorical) and show how developing skills of close listening through exposure to these narrative forms can improve patient-physician communication and expand students’ moral imaginations. (shrink)