This is a collection of essays written by leading experts in honour of Christopher Rowe, and inspired by his groundbreaking work in the exegesis of Plato. The authors represent scholarly traditions which are sometimes very different in their approaches and interests, and so rarely brought into dialogue with each other. This volume, by contrast, aims to explore synergies between them. Key topics include: the literary unity of Plato's works; the presence and role of his contemporaries in his dialogues; the function (...) of myth (especially the Atlantis myth); Plato's Socratic heritage, especially as played out in his discussions of psychology; his views of truth and being. Prominent among the dialogues discussed are Euthydemus, Phaedo, Phaedrus, Republic, Theaetetus, Timaeus, Sophist and Laws. (shrink)

This is a collection of essays written by leading experts in honour of Christopher Rowe, and inspired by his groundbreaking work in the exegesis of Plato. The authors represent scholarly traditions which are sometimes very different in their approaches and interests, and so rarely brought into dialogue with each other. This volume, by contrast, aims to explore synergies between them. Key topics include: the literary unity of Plato's works; the presence and role of his contemporaries in his dialogues; the function (...) of myth ; Plato's Socratic heritage, especially as played out in his discussions of psychology; his views of truth and being. Prominent among the dialogues discussed are Euthydemus, Phaedo, Phaedrus, Republic, Theaetetus, Timaeus, Sophist and Laws. (shrink)

The title of the film by Steve Kloves (1989) refers to the dual-piano, languishing lounge act performed by two brothers. The resurgence and demise of the musical team is brought about by the addition of a sultry, female vocalist--Susie Diamond. Embedded within the story is an exploration of integrity and its augmentation by the virtues of courage and honesty. Integrity marks an individual whose self is a coherent, consistent whole. Important elements of the individual’s personality are mutually supportive rather than (...) being disparate or in conflict. The integrity scrutinized by the film is Jack’s; it involves the younger brother’s inconsistent fidelity to his considerable musical talent. Late in the story we learn that he despises performing the popular musical fare with his brother and that he really wants to be creative, playing jazz. Although Jack is shown playing piano with modulated passion at a jazz club, we infer that he does so infrequently. Jack’s older brother is not in conflict with himself because his talent is suited to playing the bland tunes that are the staple of the act. Jack’s integrity is compromised because his commitment to his art is half-hearted; he cannot make the leap of faith--in himself. He knows that he hates playing the lounge music, is moved by jazz, and has considerable ability. Jack therefore realizes, however vaguely, that he ought to give himself to the music he loves, despite the risks this would entail. The trajectory of the film-story can be viewed as Jack finally summoning the courage to honestly confront his struggle with integrity and deciding to do something about it. (shrink)

Researchers are working to derive sperm from banked testicular tissue taken from pre-pubertal boys who face therapies or injuries that destroy sperm production. Success in deriving sperm from this tissue will help to preserve the option for these boys to have genetically related children later in life. For the twin moral reasons of preserving access and equity in regard to having such children, clinicians and researchers are justified in offering the option to the parents of all affected (...) class='Hi'>boys. However, some parents may wish to decline the option to bank tissue from their boys because the technique may seem too unfamiliar or unusual, but over time people may become more comfortable with the technique as they have done with other novel assisted reproductive treatments. Other parents may wish to decline the option because of moral or religious reasons. A prominent natural law theory holds, for example, that the ARTs that would be involved in using sperm derived from banked tissue to produce a child are morally objectionable. Some parents might not want to bank tissue in order to shield their son from using ARTs they see as objectionable. Clinicians and researchers should respect parents who wish to decline banking tissue, but parents should ordinarily embrace choices that protect the possible interests their sons may have as adult men, including the wish to have genetically related children. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Children in the Visual Arts of Imperial RomeJenifer NeilsJeannine Diddle Uzzi. Children in the Visual Arts of Imperial Rome. Cambridge: Cambridge University Press, 2005. xiv + 252 pp. 75 black-and-white ills. Cloth, $80.As anyone who has looked at images of the Christ Child in early medieval art or Baroque portraits of young royalty knows, the imagery of children is highly constructed and a minefield of interpretive challenges. In (...) classical art, [End Page 289] representations of children are never as straightforward as they might at first seem. A girl on a swing painted on an Athenian vase, for instance, is not an innocent child at play but an expiation rite for Erigone, the daughter of Ikarios, who after her father's murder committed suicide by hanging herself. Except for funerary memorials, children are rare in classical art, and their presence usually connotes a special event or situation, often one with dire consequences. The earliest images of children in Greek art are those shown on Geometric funerary vases mourning a dead parent or the slaughter of the innocents at Troy. Likewise, in Roman art children appear not as principal players but as adjuncts to ceremonial events or military exploits.Although ancient Roman childhood has been thoroughly investigated of late, most notably by the social historian Beryl Rawson, studies of the depictions of children in Roman art are not numerous. By its title, Uzzi's book might seem to fill the void, but its contents are limited to children depicted on coins, historical reliefs, sarcophagi, and one silver vessel—some one hundred thirty in all. Chronologically it covers the reign of Augustus to the Severan dynasty, and it excludes as much it includes, namely, mythological children, slaves, camilli/ae, and, perhaps most surprisingly since the author claims to examine only official art, children who can be identified as members of the imperial family. A more apt title might be something like Narratives of Roman Identity: Roman and Non-Roman Children on Historical Reliefs.The basic premise of this book is the visual distinction between Roman and non-Roman children, which Uzzi relates to narratives of inclusion and exclusion—or, what it means to be Roman. In brief, Roman children are generally shown with their fathers in public rituals such as those of imperial largesse (congiarium, alimenta, liberalitas), adlocutiones, processions, games, and sacrifices. By contrast non-Roman children are depicted in rites of submission, as captives in triumphal processions, and in scenes of military activity often with their mothers (e.g., on the two helic columns in Rome). These distinctions are particularly evident on the Column of Trajan because it includes scenes of both Roman and non-Roman children. Scene XCI uniquely shows both together in a scene of sacrifice made upon the arrival of the emperor: three children in Roman dress are accompanied by male figures at the front, nearest to Trajan, while the three provincial children, in non-Roman attire, are farther back with women. While it is not surprising among the Dacians to find only mothers tending their children (all the able-bodied fathers presumably being actively engaged in combat), it is noteworthy that Roman children, both boys and girls, make public appearances with their fathers in Dacian territory. Are they simply led out to see the emperor (as we line up our children to see the presidential motorcade) or is there another agenda here, a process of Romanization, as Uzzi suggests?In the introductory chapter, Uzzi considers modern theories and definitions of nationhood, setting the background for her inquiry into Roman identity. In the next chapter, entitled "Primary Sources," she in fact surveys the secondary literature on Roman children and their imagery (Rawson, Currie, Kleiner), [End Page 290] various methodological approaches to Roman art (Zanker, Evans, Gregory, Hannestad, Brilliant, Beard), and definitions of childhood (Carp, Eyben, Pleket, Locke, Foucault). She then goes on to identify markers of ethnicity, namely, hairstyle and costume. For the purposes of this study she identifies children as "those figures who are approximately one-half to two-thirds the size of adults of the same gender (if known), with round faces and bodies (again, if possible to determine), and without... (shrink)

According to Didier Eribon, melancholy is where it all starts and where it also ends: the lifelong process of mourning that each homosexual experiences, and through which they construct their own identity. In this beguiling book, an introverted, anxious, ambitious, artistically gifted queer Filipino-Canadian boy finds solace, inspiration, and a "syllabus for living" in art--works of literature and music, from the children's literary classic Anne of Green Gables to the music of Maria Callas. But their contribution to his intellectual, emotional, (...) and spiritual edification belies the fact that they were largely heteronormative and white, which had the effect of invisibilizing him as a queer person of colour. Part memoir, part cultural commentary, and a hybrid of besotted aesthetic appreciation and unsparing critique, Double Melancholy is by turns a passionate love letter to art and an embattled examination of its oppressive complicity with the society that produces it, and the depths to which art both enriches and colonizes us. (shrink)

Despite progress, gender gaps persist in mathematical and language-related fields, and gender stereotypes likely play a role. The current study examines the relations between parents’ gender-related beliefs and their adolescent child’s motivation and career aspirations through a survey of 172 parent-child dyads. Parents reported their gendered beliefs about ability in mathematics and language arts, as well as their prescriptive gender role beliefs. Students reported their expectancies and values in these two domains, as well as their career aspirations The results of (...) path models suggested that parents’ ability stereotypes about language boosted girls’ motivation for language arts, thereby nudging them away from STEM pathways. Girls’ career aspirations stemmed not only from their valuation of the corresponding domain, but also from their valuation of competing domains. Such findings highlight the need to consider multiple domains simultaneously in order to better capture the complexity of girls’ career decisions. For boys, parents’ language ability stereotypes were directly related to mathematical career aspirations. These results suggest that stereotypes that language arts is not for boys push them instead toward mathematics. Our study also highlighted the unique role of parental beliefs in traditional gender roles for boys’ motivation and career aspirations. Specifically, parents’ gender role stereotypes directly related to less interest in language arts only among boys. This highlights that research into gender gaps in female-dominated fields should consider stereotypes related to appropriate behavior and social roles for boys. (shrink)

Two eleven-year-old boys face a bulletin board, arranging silver thumbtacks into shapes of fighter planes. They have arrived early for an after-school puppet workshop. Both boys are under five feet tall: the thin one sports a green terrycloth wristband and a big fro. “The girls like the poof,” he says. The other boy has a fuller body, a haircut similar to the Fab Four in the late sixties, and wears wide-leg jeans and a red t-shirt that brushes his (...) kneecaps. The boys talk while puncturing the corkboard with tacks. I like this game. It’s Star Miner. There’s this thing. It’s a ship that looks like this. The other ships are too detailed. You try and blow up a jet thingy, it spirals and can catch on .. (shrink)

When Richard Shusterman burst on the academic scene some decades ago he quickly became the golden boy of aesthetics. Now in his late sixties he is hardly a boy anymore, but possibly a golden oldie. Nevertheless, he is still prone to boyish pranks as can be seen in parts of his new book, The Adventures of the Man in Gold. Paths between Art and Life.

Now, as soon as man suspects that he has another side of himself Jenseits] within himself, and that he is not enough in his mere natural state, then he is driven on to divide himself into that which he actually is, and that which he should become. Just as the youth is the future of the boy, and the mature man the future of the innocent child, so that othersider Jenseitiger] is the future man who must be expected on the (...) other side of this present reality. Upon the awakening of that suspicion, man strives after and longs for the second other man of the future, and will not rest until he sees himself before the shape of this man from the other side. This shape fluctuates back and forth within him for a long time; he only feels it as a light in the innermost darkness of himself that would elevate itself, but as yet has no certain contour or fixed form. For a long time, along with other groping and dumb others in that darkness, the artistic genius seeks to express this presentiment. What no other succeeds in doing, he does, he presents the longing, the sought after form, and in finding its shape so creates the - Ideal. For what is then the perfect man, man's proper character, from which all that is seen is but mere appearance if it be not the Ideal Man, the Human Ideal? The artist alone has finally discovered the right word, the right picture, the right expression of that being which all seek. He presents that presentiment - it is the Ideal. 'Yes! that is it! that is the perfect shape, the appearance that we have longed for, the Good News - the Gospel. The one we sent forth so long ago with the question whose answer would satisfy the thirst of our spirit has returned!' So hail the people that creation of genius, and then fall down - in adoration. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Waiting for Godot in New Orleans A tragicomedy in two acts, a project in three partsPaul Chan Click for larger view View full resolutionDrawing of “stage” (2007) (Page 2) Click for larger view View full resolutionOrganizing map of New Orleans 1 (2007) (Page 14) Click for larger view View full resolutionDrawing of bicycle for Pozzo (2007) (Page 28) Click for larger view View full resolutionDrawing of shopping cart for (...) Lucky (2007) (Page 40) Click for larger view View full resolutionDrawing of tree (2007) (Page 54) Click for larger view View full resolutionDrawing of disaster tour bus for boy (2007) (Page 68) Click for larger view View full resolutionStreet sign on St. Claude (2007) (Page 81) Click for larger view View full resolutionStreet sign in Lower Ninth Ward (2007) (Page 93) Click for larger view View full resolutionStreet sign in Gentilly (2007) (Page 107) Click for larger view View full resolutionFlyer (2007) (Page 124) Click for larger view View full resolutionDancing before the 1st Lower Ninth Ward Performance (2007) (Page 138) Click for larger view View full resolutionJ. Kyle Manzay and Wendell Pierce in Act I (2007) (Page 150) Click for larger view View full resolutionDrawing of entire project as a musical score (2007) (Page 165)ImagesPaul Chan lives and works in New York. His recent solo exhibitions have been presented at the New Museum of Contemporary Art, New York (2008); Serpentine Gallery, London (2007); Para/Site Art Space, Hong Kong (2006); UCLA Hammer Museum, Los Angeles (2005); and ICA Boston (2005). Group exhibitions include The 2006 Whitney Biennial, Whitney Museum of American Art, New York; New Work / New Acquisitions, The Museum of Modern Art, New York; Eighth Biennale d’Art Contemporain de Lyon, France (2005); Carnegie International, Carnegie Museum of Art, Pittsburgh (2004). Chan is also well known for his political interventions—in 2002 he broke US sanctions and federal law to visit Baghdad, and in 2004 he garnered police attention for The People’s Guide to the Republican National Convention, a free map distributed throughout New York to help protesters to get in or out of the way of the RNC. Most recently Chan collaborated with the Classical Theatre of Harlem and Creative Time to produce a site-specific outdoor presentation of Samuel Beckett’s play Waiting for Godot in New Orleans.Artist statementWaiting for Godot in New Orleans A tragicomedy in two acts, a project in three partsby Samuel BeckettEstragon Vladimir Lucky Pozzo a boy City of New Orleans in 2007ACT IEight months research. Four months teaching and street organizing. Five free site-specific performances.ACT IIA country road. A tree. Evening.Copyright © 2008 The Johns Hopkins University Press... (shrink)

In the sentence marked DK22 B52, Heraclitus describes a boy playing with small objects. The boy has the entire kingdom at his disposal and he himself is identified with the eon. This famous fragment has been interpreted in numerous ways both by classical philologists and philosophers. Its current interpretation is that it is a metaphor for human life. The child, not yet familiar with rules of social life, introduces elements of randomness and careless play into that life. Meanwhile, comparison of (...) Heraclitus’ sentence with the Old Indic tales, lets recognize in the sentence the mythological theme of the act of creation – God creating and governing the world. Such governing means establishing fundamental mathematical rights – the same rights that are applied in astronomical observations and scientific research as a whole. Hypothesis, that the ancient Indo-European culture affected – through India – Heraclitus, lets better understand this philosopher’s thought which harmonically combines elements of science, religion and arts. The India hypothesis also explains the aura of sublimity and holiness found in our tradition. The aura that was present in the late antiquity thinkers who acknowledged Heraclitus’ sentence and passed it to the Western literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Unmastering Speech:Irony in Plato's PhaedrusMatthew S. Linck"So, my shall suffer what it deserves."—Phaedrus 242a1It is tempting, after one has reflected closely on the words and deeds of the Phaedrus, to read the dialogue as if Socrates had the whole conversation worked out from the first words. The art of Plato is such that the intricate cohesion of word and action reveals itself through many layers. Plato writes; and as (...) a writer he has the time and the means (written letters) to compose. But what is Socrates doing? He does not have the leisure to compose "over a long period of time" (228a). He is responding to particular individuals, in particular circumstances, in the moment. He is thinking on his feet. One might claim that this is actually the first deficiency of the dialogues, that they are artificial and unrealistic in this way. If the written text reveals itself as finely crafted in the subtlety of its inner connections, how seriously can we take the apparent spontaneity of the spoken discourse? My suggestion would be that we take this not as a fault of the dialogues, but rather as the first instance of Plato's irony. This may be Plato's supreme irony—the evocation of truth through artificiality.But that is already going too fast. I want to begin by looking at the words and deeds of Socrates and Phaedrus, without considering yet what Plato might be doing as the author of the dialogue. My first interpretive principle will be to take the drama at face value, as naturalistic, temporal, and even commonplace—two friends go for a walk in the countryside to listen to speeches.Immediately, however, the commonness is disrupted. The city, the commonwealth, is left behind. This is certainly uncommon for Socrates, who never leaves the city walls.2 Furthermore, the language of the text indicates a thematization of, out-of-placeness, strangeness. Rather than being accused of already violating my one hermeneutical principle, it should be noted that this indication of strangeness comes through the words [End Page 264] and deeds of the characters, not through a retrospective recovery of the dialogue as a whole. From the beginning the reader encounters a tension between the commonplace and the unusual.3Nevertheless, the impetus to move outside of the city is commonplace enough. Phaedrus has a speech that Socrates wants to hear. Before Socrates is told what this speech is about, he indicates that nothing would please him more than "hearing how you [Phaedrus] and Lysias passed the time" (227b). After Phaedrus, in his excitement, gives away the topic of the speech—"an attempted seduction of a handsome boy—but not by a lover!" (227c)—Socrates seems even more eager to hear the speech. Does Socrates already see what is to come? Is he merely excited to hear a speech, or is he excited about challenging the beautiful Phaedrus' excitement about a speech that defends an unworthy principle—"that one should gratify the one who does not love rather than the one who does" (227c)?After leaving the city and finding a comfortable place for their speech, for, Phaedrus reads his copy of Lysias' speech for Socrates. The gist of Lysias' speech, as Phaedrus has already announced, is that a young lover should associate himself with, and gratify, a non-lover rather than one who is in love. One central theme of the speech, which will be important for thinking about irony, is that of self-mastery. The recurring motif in Lysias' speech is that the lover is not in control of himself, while the non-lover is. Therefore (the non-lover argues) associating with a lover is unpredictable, and will most likely result in harm to the beloved. The non-lover claims that his self-control will prevent and preclude unforeseen harm. This slippage, from self-mastery to mastery of the situation, is decisive. We would be wrong to interpret Socrates' two speeches as wholesale rejections of everything in Lysias' speech. Socrates cannot reject self-control outright. His consistent concern with rules out simply espousing lack of control. Yet the measuredness of Socratic practice does not entail the... (shrink)

In 1993, investigators from George Washington University Medical Center separated the cells of 17 human embryos and produced 48 embryos, an average of three embryos for each original. The method, variously called twinning, cloning, embryo splitting, and blastomere separation, demonstrated that human embryos could be split to create genetically identical entities during conception. When publicized, however, the experiment brought to mind a different view of cloning repeated since the beginning of the new reproductive technologies. In the early 1970s, when research (...) on in vitro fertilization was in its infancy, commentators worried that cloning–defined as the duplication of persons–would be next, leading to a scenario of “boys genetically exactly like the father, girls like the mother, or individuals like some true or false hero of art, science, or sports, or like some demagogue or some saint.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Closing the Gaps in Pediatric HIV/AIDS Care, One Step at a TimeLisa V. Adams, Helga Naburi, Goodluck Lyatuu, Paul Palumbo, and C. Fordham von ReynFatuma's* doctors were completely perplexed. It was 2003 and she had returned to the DARDAR clinic in her hometown of Dar es Salaam, Tanzania three times that week with vague complaints of various pains and aches. Her doctors were considering whether these symptoms were due (...) to the initiation of her recent treatment with antiretroviral medications for her HIV infection or related to the last administration of the investigational tuberculosis (TB) vaccine that the DARDAR Health Study was evaluating. Fatuma's doctor, Dr. Lillian Mtei, consulted with Dartmouth's chief of Infectious Disease, Dr. Ford von Reyn, who happened to be in Dar that week on a site visit. Neither physician could determine the basis for her symptoms. Dr. Mtei returned to the exam room once more and this time emerged with the answer: Fatuma had just learned that her three year old daughter was HIV-infected, likely contracted from Fatuma during or shortly after she gave birth to her daughter. Fatuma believed that her HIV diagnosis was a death sentence for her daughter since antiretroviral therapy was not widely available for children.Dr. von Reyn, Dartmouth's lead clinical researcher in Africa and a father, knew too well the harsh reality of inequities in a resource-limited country. He turned to Dr. Mtei and said decidedly, "we need to do something about this."Thus the DARDAR Pediatric Program was born.Pediatric HIV: A Neglected DiseaseThe need for HIV treatment among children in Tanzania, as in most of sub-Saharan Africa, is compelling. At the end of 2009, approximately 160,000 children aged zero to fourteen in Tanzania were living with HIV (Joint United Nations Programme on HIV/AIDS [UNAIDS], 2011). Even with successful roll out of prevention of mother to child transmission programs in Tanzania, there were nearly 29,000 perinatal infections in 2009. As of December 2010, only 18% of these were enrolled in HIV treatment programs (UNAIDS, 2011; World Health Organization [WHO], 2011). Without antiretroviral therapy (ART), one-half of HIV-infected children will die before their second birthday. Since clinical research to determine efficacy and safety of new medical treatments is conducted almost exclusively in adults, provision of new medical treatments to [End Page 75] children always lags behind advances for adults. Furthermore, children are often underrepresented in programs for antiretroviral drugs for the following reasons: 1) they are not prioritized for care; 2) facilities lack infant diagnostic capabilities; 3) there is limited pediatric HIV training and consequently, a shortage of pediatric providers; and 4) pediatric antiretroviral formulations are frequently unavailable. The unacceptable delays in pediatric HIV drug development and treatment access led the international organization Drugs for Neglected Diseases initiative to publish an editorial in which they referred to pediatric HIV as a "neglected disease" (Lallemant, Chang, Cohen, & Pecoul, 2011).The Tip of the Iceberg: More than Just MedicinesWith a grant from the New York-based Foundation for the Treatment of Children with AIDS, the DARDAR Pediatric Program, a joint collaboration between Geisel School of Medicine at Dartmouth and Muhimbili University of Health and Allied Sciences, began seeing patients in May 2006. It was the first dedicated pediatric HIV Care and Treatment Center in Tanzania and operates in accordance with Tanzania's National AIDS Control Programme's guidance. Testing for both children and infants (the latter of which requires a more sophisticated assay) is available.The day the clinic opened we celebrated this collaborative effort that would provide HIV-infected children in Dar es Salaam access to antiretroviral treatment. One of our first patients was a six-year-old boy whose mother, like Fatuma, was a participant in our TB vaccine trial. She had been advised to bring her son to us for HIV screening. Her son looked healthy so she was surprised and understandably distraught when his test results indicated that not only was he HIV-infected, but his CD4 percentage was very low. His mother was reluctant to have him started on antiretrovirals given his general appearance and young age—and that he was... (shrink)

Bangladesh is a Muslim-majority society with more than 163 million people. Most Bangladeshis hold the ideals of Islamic norms and values which is manifest in all sorts of socio-cultural behaviour. In reference to such values, the tradition of legitimizing child marriage in Bangladesh is the issue that needs to be addressed in a holistic yet rigorous approach. Currently Bangladesh ranks 4th in the world and 1st in Asia in terms of child marriage. Recently the Child Marriage Restraint Act 1929 has (...) been abolished and it has been replaced by the Act of 2017 preserving article 2 of the previous statute, the legal age for marriage for a boy 21 and for a girl 18. This Act adds article 19 which legalizes minors (below 18 years of age) to be married off with the consent of the parents/guardians at the presence of a magistrate under “special circumstances” deemed with securing the best interest for them. The law artfully coincides with the Muslim Marriage Law which allows participants of 15 years and above to get legally married and as such contradicts the international law and the Act of 2017 itself. In the West intimate relationships including extra-marital cohabitation before reaching 18 years of age are culturally accepted. In contrast, such extra-marital and intimate relationships are strictly prohibited in Muslim-majority societies, which are dearly adhered in Bangladeshi Muslim culture. This study examines how the religious cultural and socio-economic realities influence child marriage practice in Bangladesh. Along with secondary documents, we interviewed 22 individuals including the Deputy Commissioner, the District Women and Children Affairs Officer, elected Union Parishad Chairman and Members, Social Workers, married couples and their parents/guardians at Manikganj district. In addition, we also conducted a mass survey with 62 randomly selected participants, and a voluntary online survey where the opinion of another 53 young students were collected to find broad opinion. We also collected stories of how marriages take place at the rural, urban and sub-urban areas in Bangladesh. The study has revealed that Bangladeshis does not support marriage at early ages but socio-economic reality often pushes poor into getting their children married at early ages. Many view that the special provision may encourage child marriage in the country. This study suggests that the government of Bangladesh should redefine public policy in regard to finding a middle ground between Islamic ethics and international values by exploring isomorphic mimicry and other socio-culturally accepted measures with a view to abolishing child marriage successfully. (shrink)

Taika Waititi's recent film ‘Hunt for the Wilderpeople’ (2016) portrays the coming‐of‐age of a young boy, Ricky, in a world with few recognisably responsible adults. While the film does not engage explicitly with formal education, it raises several questions central for understanding education as formation, highlighting the generational aspects of educational relations and pointing to the importance of an adult world taking responsibility for the formation and upbringing of the younger generation. Departing from a discussion on the role of formation (...) and intergenerational relations in Rousseau and Arendt, we will draw on the film's portrayal of an adult world in crisis in order to discuss some of its possible consequences for understanding education in terms of intergenerational relations and formation. This involves raising questions about the educational consequences of the absence of recognisably responsible adults and it involves investigating how this absence might impact our understanding of education as the formation and upbringing of educated human beings. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Discover the Unknown Chekhov in Your ESL ClassroomNinah Beliavsky (bio)I was born in Moscow, ate aladushki, and listened to my mother read Chekhov in Russian. Kashtanka, a tale about a young, ginger-colored pup who gets lost, made me cry. And when I read about the death of Ivan Dmitrich Kreepikov, in The Death of a Civil Servant, I did not know whether to laugh or to cry. The poor (...) civil servant was sitting and watching an opera in a theater when all of a sudden he sneezed and spattered an old gentlemen, General Shpitzalov, in front of him. Now, as Chekhov writes, sneezing is not prohibited to any one or in any place; peasants sneeze, and even the chiefs of police sneeze. But, you see, the poor civil servant, being very much rank-conscious, could no longer live with himself after committing such a misconduct. He apologized profusely and went home, and without taking off his uniform, he lay down on the sofa, and... died.And what about Van'ka Zhukov, an orphan boy of nine apprenticed to a shoemaker who is being beaten and overworked. He writes a letter to his grandfather on Christmas Eve, begging him for the dear Lord's sake to take him away from his misery. After scratching his head and thinking for a moment, he dips his pen in ink and addresses his envelope: "The Village. To Grand Dad." He then dashes out into the street and pushes his precious letter through the opening of the postbox...The second part of my childhood I spent in Jerusalem; there I ate falafel with humus, was obsessed with perfecting the pronunciation of the Hebrew guttural "r," and read Miriam Yalan Shtekelis's children's poetry, which was filled with magical objects that laughed and cried. By the time I was in high school I was living in Milwaukee, eating fries and ice cream sundaes and reading O. Henry.The literature that one comes in contact with during childhood and young [End Page 101] adulthood is often deeply engraved on a person's psyche. It is similar to an adult craving sweets because of the psychological association with her childhood and a safe and protected environment. We tend to think back to the "good old days" because we find comfort in our past. Today, as an adult, a wife, and a mother, I often find refuge in my childhood memories. And, like most people, much of what I encounter and read today I tend to associate with my past. If I come across a story that I heard in my childhood, as I search for something new and amusing to give to my college English-as-a-Second-Language (ESL) students, I try to incorporate it into my curriculum. A few years ago I came across the story The Necklace by Guy de Mappassant and immediately recalled reading it in my adolescence. This story brought back the warm memories of home that I felt would be understood and identified with by my foreign students. Today, this story is one of my students' favorites. By using stories from my own past, I feel that I can bring to my class discussions a unique perspective—my own recollections and feelings and an interpretation not only academic in nature but also personal. Often, my international students will recall hearing or reading some of the same stories (that I bring to class) in their childhood, in their native tongues, and thus these stories will not seem out of context anymore because there will be a sense of connection.I teach ESL to college students—reading and writing at the intermediate and advanced levels. Aside from following the standard curriculum of using grammar and writing textbooks, I bring to my ESL classes music, opera, art, young adult novels by American writers, and short stories by both international and American writers. For instance, my students enjoy reading O. Henry's "The Christmas Present," "The Last Leaf," and "The Two Thanksgiving Day Gentlemen." These stories are about real people—just like my students—they are about everyday events, they are humorous and tragic in nature, and they have an unexpected twist... (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a boy (...) pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

Rubin examines the central role of the imagination in Santayana’s life and works. He shows how the imagination is fundamental to Santayana’s sceptical inquiry in SAF and a necessary condition for knowledge about the material world and the mind. The imagination is a predominant theme in Santayana’s life and work. Even as a boy, he found himself solitary and unhappy in America and “attached only to a persistent dream life.” He published several literary works, including three plays, a novel, and (...) many poems. In his philosophic work, he repeatedly insisted on the continuity between the imaginative nature of ordinary perception and the great accomplishments of the human imagination. Santayana’s idea that all perception consists of the intuition of non-existent essences means that for you to experience anything that exists you must imaginatively connect the data given to consciousness with things and events in the world. In Scepticism and Animal Faith, references to imagination appear throughout the book. Santayana argues that to truly understand something observations alone, even ones repeated many times from different angles, are not sufficient, because knowing how things actually are requires “sympathetic imagination.” Imagination leads to the most “complete and adequate” knowledge when the object is another mind. But knowledge of the material world is also a product of the imagination. Taking non-existent essences to signify existing things enables us to know what exists and what doesn’t. This knowledge frees the imagination to peruse the unbounded realm of essence without penalty. This freedom is possible because “poetic, creative, original fancy” is the primary form of sensibility. This freedom is necessary because for a living creature “his play-life is his true life.” This freedom makes possible the comprehensive visions of great art, literature, philosophic systems, and scientific theories. These works are continuous with everyday moments of experience, which are also fundamentally imaginative. Philosophy is successful when it enables us to creatively adjust to the world by probing our desires and finding each intuition a possible source of imaginative reflection. (shrink)

H´ector-Neri Casta˜neda-Calder´on (December 13, 1924–September 7, 1991) was born in San Vicente Zacapa, Guatemala. He attended the Normal School for Boys in Guatemala City, later called the Military Normal School for Boys, from which he was expelled for refusing to fight a bully; the dramatic story, worthy of being filmed, is told in the “De Re” section of his autobiography, “Self-Profile” (1986). He then attended a normal school in Costa Rica, followed by studies in philosophy at the University (...) of San Carlos, Guatemala. He won a scholarship to the University of Minnesota, where he received his B.A. (1950), M.A. (1952), and Ph.D. (1954), all in philosophy. His dissertation, “The Logical Structure of Moral Reasoning”, was written under the direction of Wilfrid Sellars. He returned to teach in Guatemala, and then received a scholarship to study at Oxford University (1955–1956), after which he took a sabbatical-replacement position in philosophy at Duke University (1956). His first full-time academic appointment was at Wayne State University (1957– 1969), where he founded the philosophy journal Noˆus (1967, a counter-offer made to him by Wayne State to encourage him to stay there rather than to take the chairmanship of philosophy at the University of Pennsylvania). In 1969, he moved (along with several of his Wayne colleagues) to Indiana University, where he eventually became the Mahlon Powell Professor of Philosophy and, later, its first Dean of Latino Affairs (1978–1981). He remained at Indiana until his death. He was also a visiting professor of philosophy at the University of Texas at Austin (1962–1963) and a fellow at the Center for Advanced Study in the Behavioral Sciences (1981–1982). He received grants and fellowships from the Guggenheim Foundation (1967–1968), the T. Andrew Mellon Foundation, the National Endowment for the Humanities, and the National Science Foundation. He was elected President of the American Philosophical Association Central Division (1979– 1980), named to the American Academy of Arts and Sciences (1990), and received the Presidential Medal of Honor from the Government of Guatemala (1991). Casta˜neda’s philosophical interests spanned virtually the entire spectrum of philosophy, and his theories form a highly interconnected whole.. (shrink)

Among the schools of philosophy in the Greco-Roman world, there was Stoicism, Epicureanism, Platonism, and Skepticism to name the most prominent and influential. There was however another "school" and that was known as Cynicism. The Cynics were not scholars or writers. Like a Jesus, or a Socrates, or a Buddha, they were oralists whose memorable utterances and actions were transmitted to posterity by admirers (and detractors). It is doubtful whether we can even justly call them philosophers, as they did not (...) organize themselves into a school or possess a set of systematic doctrines. Their mode of life was a philosophy of doing. The Cynics were, to put it in contemporary terms, lifestylists and performance artists. The most famous Cynic, Diogenes of Sinope, threw out his bowl, as one less thing he needed, when he saw a young boy drinking with his hands. He also comically, when Alexander the Great asked what he could do for him, replied "Get out of my sun" making clear the young conqueror had nothing to offer him. And yet the Cynics, as Mark Usher aims to show in this collection, did purvey some core values that distinguished them in their own time and recommends them to ours. Indeed, they speak with some urgency to our current predicaments involving climate change, socio-economic uncertainty, and psychic malaise. Their "less is more" approach to living anticipates our contemporary fashion for decluttering, minimalism, and simpler more natural ways of living. Like ancient Thoreaus, their disentanglement of our needs from our wants provides an object lesson in prioritizing truly human goods. The Cynics also exemplified the idea that subsistence lifestyles are sustainable lifestyles, and the principle behind their lived example gives the lie to the modern article of faith that economic development and growth are synonymous with quality of life. Finally, their embrace of cosmopolitanism-the Cynics coined the word-flies in the face of the resurgent nativism that threatens the stability of nations, including our own. The Cynics championed their positions on the grounds that each of them accorded with a state of affairs found in Nature. Their appeal to the example of non-human agents, animals in particular, is highly instructive as it validates the intrinsic worth of the non-human world more broadly, foreshadowing thereby a central tenet of modern environmental philosophy. Taken as a whole, this volume will aim to recover the Cynic ways of thinking and living and refurbish them and make them relevant for our modern, beleaguered world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mourning and SubjectivityFrom Bersani to Proust, Klein, and FreudL. Scott Lerner (bio)Near the end of his recent essay “Psychoanalysis and the Aesthetic Subject,” Leo Bersani makes an unexpected conceptual turn, briefly adopting a vocabulary of “human destiny” [174]. Jacques Derrida made a similar move in 2003 when he dropped his guard, abandoning the language of critical exposition to point out, with uncharacteristic bluntness (“de façon plus crue” [18]), the (...) relevance of autobiography—his experience as a Jewish boy in Algeria—to the development of deconstruction.1 In both instances, one senses a desire for intellectual self-exposure,2 to discover the relation of real-world experience and intellectual—critical, aesthetic, psychic—practices. For Bersani, not only the phrase but the essay as a whole signals the culmination of a decades-long inquiry into the relation of human subjectivity and a “solidarity of being” both among subjects and with the world [“Psychoanalysis” 161].If there is an affirmation of a universal human condition in Bersani’s work—and his reference to human destiny indicates that there is—then it is perhaps best defined as the inclination of human subjects to seek the annihilation of others as a prerequisite for subjectivity. In this state of affairs, where subjectivity encounters the external realm of human and nonhuman objects, Bersani has long been concerned with two chief protagonists: psychoanalysis and art. He has repeatedly shown, ever by new means, that both can be complicitous with the worst inclinations of human subjectivity, just as both can also uniquely provide the means by which human subjects may exceed their own subjectivity [161]. Psychoanalysis, in Bersani’s view, provides the language and conceptual framework to describe how and why subjects go about appropriating and annihilating objects. Psychoanalysis has been misdirected, however, toward two areas of relatively limited value: depth psychology and object relations [“Psychoanalysis” 161, 163; “Sociality” 647], while the main contribution of psychoanalysis, the discovery of the unconscious, has not been adequately exploited as a means of reconceptualizing subjects in solidarity, rather than antagonism, with objects [“Psychoanalysis” 161–64].By the same token, much of great art, literature especially, has served what Bersani calls the “culture of redemption,” promoting the misconception that experience is damaged or worthless and must be repaired via the work of art [Culture of Redemption 1]. [End Page 41] In psychoanalysis, the counterpart of the culture of redemption is located not, in fact, in the areas that Bersani devalorizes (depth psychology, object relations), but rather with the core exploration of unconscious subjectivity. The literary achievement that is paradigmatic of the culture of redemption is Marcel Proust’s À la recherche du temps perdu (In Search of Lost Time), whose theorizing narrator depicts experience, history, the real, as lost to us, damaged, fallen, and in need of repair—redemption—through art.3 The best illustration of the counterpart in psychoanalysis is the work of Melanie Klein. By portraying our relations with others as repetitions of dynamics already played out in unconscious fantasy, Kleinian theory, in Bersani’s view, similarly casts real relations as subordinate to and determined by the (unconscious) imagination. No sooner has Bersani exposed these dominant tendencies in Proust and Klein, however, than he redeems both from the sins of redemptiveness. At the periphery of each writer’s work he uncovers a radically alternative—and, implicitly, ethically superior—representation of the subject in the world. Bersani devoted a seminal essay to these two writers: “The Culture of Redemption: Marcel Proust and Melanie Klein,” reprinted as the first chapter of The Culture of Redemption (1990). In subsequent essays in this volume, he applied this same bifocal approach—consisting in condemnation of a dominant tendency and affirmation of a seemingly marginal one—to Freud, Flaubert, Melville, and others.If The Culture of Redemption thus aimed not only to expose the distortions created by the culture of redemption but also to promote an alternative vision, then the title assigned to the collection told only half the story. Three years later, Bersani and Ulysse Dutoit set out, as it were, to tell the other half. They brought together the work of three artists—a novelist and playwright, a painter, and a filmmaker... (shrink)

According to a report in Athenaeus , the qualities of Erosled the Stoic Zeno to make him the tutelary god of his ideal state:Pontianus said that Zeno of Citium took Eros to be the god of love and freedom, and even the provider of concord, but nothing else. This is why he said in his Republic that Eros was the god who contributed to the safety of the city.

9 lectures, Oxford, England, August 16-29, 1922 (CW 305) These lectures follow from those presented in Soul Economy. Given during a conference on spiritual values in education and life and attended by many prominent people of the time, Steiner's Oxford lectures present the principles of Waldorf education at the highest cultural level. The Manchester Guardian reported: "Dr. Steiner's lectures...brought to us in a very vivid way an ideal of humanity in education. He spoke to us about teachers who, freely and (...) unitedly, unrestricted by external prescription, develop their educational methods exclusively out of a thorough knowledge of human nature. He spoke to us about a kind of knowledge needed by the teacher, a knowledge of the being of man and the world, which is at the same time scientific and also penetrates into the most intimate inner life, which is intuitive and artistic." These lectures form one of the best introductions to Waldorf education. Contents: Introduction by Christopher Bamford The Spiritual Ground of Education The Perception of Soul and Spirit The Spiritual Ground of Physical Education The Art of Educating Young Children The Art of Educating Older Boys and Girls Teachers As Artists in Education The Organization of the Waldorf School Moral Teaching & Eurythmy in the Waldorf School Teachers in the Waldorf School German source: Die geistig-seelischen Grundkr fte der Erziehungskunst. Spirituelle Werte in Erziehung und sozialem Leben (GA 305). (shrink)

An interdisciplinary work in philosophy and film studies, Joseph Kupfer investigates narrative theory through the analysis of five films that have narrative as their subject matter and where stories and storytelling are central: A River Runs Through It, Wonder Boys, Ordinary People, The Shape of Things and Unforgiven. Kupfer's readings of the films explore the role of story creation in knowing ourselves and planning our future, in structuring social relationships, and in sharpening our experience of popular culture - including (...) mass-marketed films. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Reviews Kenneth Dorter. Form and Good in Plato's Eleatic Dialogues: The "'Parmenides," "Theaetetus," "Sophist," and "Statesman." Berkeley and Los Angeles: University of California Press, 1994. Pp. x + 256. Cloth, $45.00. Dorter's title suggests an engagement with Eieaticism, and, certainly in three of" the dialogues, Parmenides was much on Plato's mind. In a book otherwise sensitive to implications of dramatic setting for the argument, little is said of (...) Eleaticism. If the "Eleatic" in the title was selected instead of "critical" for purposes of neutrality (x), "form" and "good" are more revealing of Dorter's approach. The introduction gives a rendering of revisionist and unitarian arguments about the late dialogues, pondering the effects of interpretive style, while Dotter attempts to retain some element of interpretive neutrality without disguising his own preference for finding a reaffirmation, not a critical rejection of the forms. About the forms Dorter would extract two fundamental claims, conspicuous throughout his commentary: forms are "universals, instances of 'sameness' in reality" and "values, articulations of the goodness of reality" (l 5)Keeping these two points in view, Dorter sees all four dialogues united by the method of hypothesis as outlined in the Phaedo, supplemented in the latter two by the more rigorous method of division. Dorter follows the analytic interpretive tradition in taking the Parmenides to raise serious criticisms against the theory of forms; all criticisms have, however, rejoinders anticipated in the middle dialogues. It seems Socrates, being but a boy at the time, is too young to formulate responses to the attack, if not too young to fully and accurately articulate the theory under attack. The generation of contradiction upon contradiction out of the hypotheses about the one illustrates negatively that the unity of form, in particular the form of the good, is indispensible. Forms are recovered in a hypothetical exposition carried on throughout the subsequent three dialogues, each representing a hypothesis that responds one step more adequately than the previous dialogue in the series, each dialogue itself comprising a progression of hypotheses. The Theaetetus argues by reductio for the forms. While the theory of universal flux allows that all things are produced by mixture, a process of"parentage" (75ff.), knowledge is missing one parent, the forms, which are not admitted in the dialogue. Nevertheless, each failed account of knowledge comes closer to the truth, the most promising account being the definition of knowledge as true opinion with an account, where the account is an analysis into parts. This fails in Dorter's view because, in assuming the whole to be nothing other than the parts, it does not say how parts can be intelligible apart from a prior whole. A reader might find it as hard to say how this is a hypotheti- [679] 680 JOURNAL OF THE HISTORY OF PHILOSOPHY 33:4 OCTOBER 1995 cal advance over the criticisms of the Parmenidesas to say how the Theaetetusshould be called an "Eleatic" dialogue. The Sophist then reintroduces form, but in its epistemological aspect alone. Extensive use is made of the method of division, presented in the commentary as a rigorous method for precise definition, yet the Sophistfails to distinguish sophistry from philosophy. Two reasons are given. The final division locates sophistry under the productive, rather than the acquisitive arts. (The commentary indicates no surprise at sophistry being categorized as an art at all.) Moreover, the method of division makes no use of value, the real distinguishing feature of the two types of art, although Dorter argues that allusion is made to value through references to the Republic'stheory of soul. The Statesman fills in the missing feature by introducing measurement against the standard of the mean as opposed to relative measurement, finally reintegrating both features that Dorter considers salient aspects of Platonic forms: universality (sameness) from the Sophistand now value (the mean) in the Statesman. The commentary finds that the use of division in the Statesman, where it is not strictly dichotomous, evidences a "decline from the rigor and precision of the divisions in the Sophist"(l 8 l), despite the rejection of division by strict halving in the Phaedrusand in Aristotle. Lack of rigor is not, however, a reproach in Dorter's... (shrink)

'Middle' Platonism has some claim to be the single most influential philosophical movement of the last two thousand years, as the common background to 'Neoplatonism' and the early development of Christian theology. This book breaks with the tradition of considering it primarily in terms of its sources, instead putting its contemporary philosophical engagements front and centre to reconstruct its philosophical motivations and activity across the full range of its interests. The volume explores the ideas at the heart of Platonist philosophy (...) in this period and includes a comprehensive selection of primary sources, a significant number of which appear in English translation for the first time, along with dedicated guides to the questions that have been, and might be, asked about the movement. The result is a tool intended to help bring the study of Middle Platonism into mainstream discussions of ancient philosophy. (shrink)

Comment concilier le relatif et l’universel? C’est à cette délicate tâche que s’était attelée il y a déjà quelques années Madame Delmas-Marty, spécialement dans le domaine des droits de l’homme. Le présent ouvrage envisage une difficulté supplémentaire en croisant les interrogations sur le pluralisme juridique avec la question de l’effectivité du droit économique. La prise en compte des pluralismes, notamment du pluralisme juridique, contribue-t-elle à une meilleure effectivité du droit économique? Ou bien, au contraire, le pluralisme juridique est-il un facteur (...) d’ineffectivité du droit économique? Dans cette recherche, les auteurs se sont attachés au pluralisme aussi bien dans la production du droit économique que dans le règlement des différends. C’est ainsi que le lecteur est appelé à cheminer dans la diversité des formes nouvelles qu’empruntent les régulations juridiques pour partir à la recherche des multiples intérêts que peut prendre en charge le droit économique, qu’ils soient individuels, collectifs ou même futurs. Le voyage se poursuit, là encore dans les mondes aussi bien des formes que de la substance. L'ouvrage, après avoir cherché à cerner la notion d’effectivité au regard de notions voisines comme l’efficacité ou l’efficience, s’interroge in fine sur l’éventualité des voies d’un dépassement de la notion de pluralisme juridique. (shrink)

Too many boys do not like to read, are choosing not to read, and are suffering academically as a result. All concerned adults need to redouble their efforts to ensure that boys who bring the greatest challenges to our classrooms and schools receive responsive literacy texts and practices to increase their chances for academic, personal, and occupational success. This book is more than a compendium of techniques, it also provides an analysis of the research literature on central issues (...) and related aspects of literacy and learning for boys. The author identifies issues that impinge on boys' literacy development and explores what the research literature has to say about these issues. The descriptions of how teachers have used engaging texts and practices to help boys overcome low literacy engagement and skill in order to stay on course as readers and writers are highly informative and practical as models of best practice. (shrink)

"The idea for this book arose in connection with the Workshop on Semantic functions of complementizers in European languages, which we organized in October 28-29, 2011, at the University of Copenhagen, Denmark. Around two thirds of the book chapters are elaborations on contributions to this workshop, the remaining one third arose independently of the workshop.".

The Neuroscience Institute of Schizophrenia and Allied Disorders’s “Gift of Hope” Tissue Donor Program is a volunteer programme for people who wish to donate their brain when they die for neuroscience research into schizophrenia. Organ donation for purposes of research differs from transplant donation in a number of ways, most notably the absence of a single recipient. Within a particular community, however, the single recipient is replaced by a sense of shared experience and preventing suffering in others. Donors have an (...) investment in the research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Choosing a Spouse:Aeneid 7.378–84 and Callimachus' Epigram 1Pamela R. BleischAeneid 7.378–84 and the Possibilities of Poetic ImitationIn Aeneid 7 Amata, under the influence of the fury Allecto, rebukes Latinus for betrothing his daughter to a faithless Trojan and urges that, if a foreign bridegroom is required, Turnus fits the bill. Latinus, however, remains unmoved by her argument. The Queen, driven mad by Allecto's serpent, is afflicted with Bacchic (...) frenzy, and hides her daughter in the mountain forests. As the poison of Allecto's serpent takes hold, Amata is likened to a top whipped on by boys at play (Aeneid 7.378–84):ceu quondam torto volitans sub verbere turbo,quem pueri magno in gyro vacua atria circumintenti ludo exercent—ille actus habenacurvatis fertur spatiis; stupet inscia supraimpubesque manus mirata volubile buxum;dant animos plagae: non cursu segnior illoper medias urbes agitur populosque ferocis.Iliad 14.413 has been cited as the model for Vergil's simile.1 There Telemonian Aias, in his duel with Hector, hurls a rock at his opponent, and the force of the blow sends Hector reeling like a spinning top:and spun him around like a top with the stroke, so that he staggered in a circle...2This verse, however, has little appeal for poetic imitation. The Iliadic top simile consists of only two words, in a line which is notoriously awkward—the first clause lacks an object, and the necessary change of subject [End Page 453] is not signalled in the second.3 The grammar of the verse is so elliptical that some have claimed that the simile refers to the stone hurtling in its trajectory, rather than to Hector reeling under the rock's impact.4 Vergil's top simile owes little to Iliad 14.413.Another frequently cited parallel for Aeneid 7.378–84 is Tibullus 1.5, 3–4:namque agor ut per plana citus sola verbere turben quem celer adsueta versat ab arte puer.These lines offer interesting points of comparison, but the question of poetic influence must remain indeterminate. In Tibullus' simile a boy spins a top with a lash over level ground; in Vergil's, boys spin a top with a lash in an empty atrium. The verb agor in Tibullus' elegy, its passive voice thrown into relief by the simplicity of its diction and its prominent position in the line, finds its parallel in Vergil's passage: actus at 380 and agitur at 384. The parallel phrase sub verbere turbo quem / sub verbere turben quem, replicated in exactly the same position, seems to signal influence self–consciously—but is it Tibullus' influence on Vergil, or vice versa? Without a secure date for Tibullus' first book, it is impossible to say who is alluding to whom.A more fruitful line of inquiry is the investigation of the third passage cited as a parallel for the Vergilian top simile: Callimachus Epigram 1 (Anth. Pal. vii.89; Diog. Laert. i.79), 9–10:Now these were boys who at a wide crossing were spinning their swift tops with blows of the lash.5Although Callimachus' epigram has been cited by commentators on Aeneid 7 lines 378–84 ever since Cerda first quoted the passage in 1649, the epigram has been referenced not as a literary model for Vergil's simile, but as evidence in distinguishing the top among the various spinning and [End Page 454] whirling children's toys of the ancient world.6 Yet the Callimachus passage offers some interesting parallels. Callimachus presents a group of boys gathered at the game, rather than a lone boy as in Tibullus' simile. Whereas Tibullus' mise en scène is vague (per plana... sola), Callimachus sets the boys in a descriptive location: the wide crossroad symbolizing the decision–making occasion of the epigram. The empty atrium of Vergil's top simile is equally descriptive and symbolic—the change from Callimachus' exterior, open space to interior, enclosed space is appropriate for the Italian and essentially feminine context of Aeneid 7.7 The correspondence is not exact; Vergil has elaborated on Callimachus' idea. Nonetheless, Vergil's simile of the boys... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:...

Even under many formally democratic regimes, large swaths of the citizenry experience alienation from states with uneven presence throughout the national territory. Addressing a gap in scholarship that has examined why rather than how states establish new modes of engagement with subaltern groups, this article documents concrete mechanisms by which the Brazilian state built new state-society relations through a particular cultural policy. By recognizing and funding artistic initiatives in underserved communities, the program aimed to expand their access to the state (...) and validate their role in the polity. On the basis of in-depth fieldwork in three Brazilian states, the article argues that new relations actually were forged through state-society encounters around the program’s administrative procedures. The surprising twist—that paperwork, as much as art, played a transformative role—sheds new light on bureaucracy as a point of contact with the state and offers new insights into the ways that cultural politics can shift. (shrink)

Artistic images, of a universal nature and validated by global culture, are carriers of an emotional potential that can be used for therapeutic purposes in cultural centers as well as in clinical spaces. Esthetic studies reveal the mobilizing power in their contemplation and the capacity to bring out personal stories with healing potential. The general objective of this paper is to design and validate the PROJECTA instrument, consisting of the therapeutic use of artistic images to approach trauma or difficult conditions (...) in therapy, by means of the association between art images and emotions, feelings or states of mind related with a traumatic experience. A mixed approach of investigation with a concurrent triangulation design has been used for the integration of qualitative and quantitative results, where qualitative research outweighs quantitative, but both have been QUAL → quan sequentially developed. The study was carried out in two phases. The first was a systematic review of the literature. The second, divided into five steps, consisted of the validation of artworks and the associated emotions with the participation of students, experts in art therapy, psychologists and educators through focus groups, interviews and an online questionnaire. The analysis techniques were qualitative and quantitative. A set of 220 artistic images linked to emotional states were proposed by experts in education, psychology and art therapy, and validated through an online questionnaire. The respondents included 228 students and professionals and for 64.55% of these images a consensus of over 80% was obtained. These images and their associated emotions were again reviewed by a confirmatory focus group. Finally, 92 artistic works were linked to primary, secondary and tertiary emotions such as love, joy, victory, surprise, balance, sense of humor, anger, sadness, fear, and emptiness. In addition, there are mobilizing images that have not been related to any emotion because of the polysemy of their meanings. It concludes that PROJECTA is a visual art therapy tool that provides professionals with a resource that helps facilitate the identification, expression or demonstration of emotions or feelings related with trauma, and in challenging situations of vulnerability, psychological discomfort or post-traumatic stress. (shrink)

In CQ 46 , 591–5, I proposed an emendation to Plutarch, de Stoic, rep. 1048DE which included the adoption of the variant σχύουσιν for the σχύν otherwise attested in the MSS.