Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

This article examines the reception of Robert Grosseteste by John Duns Scotus on two related questions in epistemology. The first concerns the need of phantasms for cognition, and the second concerns divine illumination. The study first examines Scotus’s Questions on the De Anima with comparison to Grosseteste’s Commentary on the Posterior Analytics, a text Scotus cites specifically. It is argued that Grosseteste is the main influence behind Scotus’s opinion that the need for phantasms is not proper to human nature as (...) such. The second part shows how Scotus disagrees with Grosseteste on a related question. Grosseteste retains a version of divine illumination with a qualified need for phantasms, whereas Scotus maintains the strict necessity of phantasms in this life and rejects illumination. The two parts of this study taken together indicate that Scotus saw Grosseteste as an authority but also felt free to ignore him where the two disagreed. (shrink)

Robert Grosseteste was a foundational figure for the Franciscan tradition. Although not a Franciscan himself, he was the first lector hired to teach the Franciscans theology in their studium at Oxford, and as bishop of Lincoln, he maintained a positive relationship with the Franciscans. Upon his death, he left his collected works to the Greyfriars at Oxford, where John Duns Scotus appears to have consulted them.1 It is possible that Bonaventure in Paris had some contact with Grosseteste's works as well.2 (...) In addition to the direct influence of his teaching and works, Grosseteste's tenure at Oxford resulted in much indirect influence of Franciscan thinkers. Through his... (shrink)

Augustine held that scripture could have multiple true meanings, and scholars of Augustine have given this topic considerable treatment. Some have recognized the importance of divine authorial intention in this matter, but the relevance of ancient semantics to Augustine’s hermeneutics has not received sufficient attention. Ancient speakers would often explain a concept in varied ways that could all be considered true. This practice created the possibility that an author could intend for certain terms to be understood in multiple ways. I (...) call this a complex authorial intention. After describing some of the prominent views on Augustine’s multiple meanings of scripture, I will establish the concept of complex authorial intention from ancient semantic practice. In the light of these first two sections I will proceed to analyze three key texts in Augustine’s corpus: Confessions 12.30.41 and 13.24.37, as well as De Doctrina Christiana 3.2.2. I will argue that Augustine saw complex divine authorial intention as a theoretical justification for the multiplicity of meanings in scripture and that this view sets objective limits on the range of possible meanings. (shrink)

New Blackfriars, Volume 103, Issue 1106, Page 458-469, July 2022.

Feminist literature sometimes posits that competition and cooperation are opposites. This dichotomy is important in that it is often invoked in order to explain why mainstream economics has focused on market activity to the exclusion of non-market activity, and why this fascination or focus is sexist. The purpose of this paper is to demonstrate that the competition/cooperation dichotomy is false. Once the dichotomy is dissolved, those activities which are seen as competitive (masculine) and those which are seen as cooperative (feminine) (...) are no longer mutually exclusive but are, in fact, dependent upon one another. It is shown that the outcome of competition (more and better knowledge) enhances, and in some cases makes possible, cooperation. The function of battle is destruction; of competition, construction. Ludwig von Mises. (shrink)

Vietnam combat veterans with post-traumatic stress disorder (PTSD), with other psychiatric disorders, or with no disorder participated in an autobiographical memory experiment. Half of the subjects in each group viewed a combat-relevant videotape, whereas the others viewed a neutral videotape. Immediately after this emotional priming manipulation, subjects were asked to retrieve specific autobiographical memories in response to a series of neutral, positive, and negative cue words. The results revealed that PTSD patients experienced difficulty retrieving specific autobiographical memories, especially after having (...) viewed the combat videotape. Overgeneral memory appears to characterise PTSD as much as it does depression, and a relative inability to retrieve specific autobiographical memories, especially of positive valence, may contribute to the maintenance of PTSD. (shrink)

A comparison of the dialectical worldviews of Nishida and Hegel is made by developing the notion of dialectical ontology as concrete philosophy in which logic is understood to extend beyond the level of discourse to the point where knowledge and experience cease to be opposed. The differences between their dialectical methods are outlined, highlighting Hegel's emphasis on the actualization of self-consciousness and historical progress in contrast to Nishida's concepts of the dialectal universal "place," the external now, and the self as (...) expressive monad. It is argued that neither thinker is able to fulfill his own demand for a maximally concrete philosophy. However, by performing a dialectic of their dialectics, the pursuit of concrete philosophy is furthered. Takahashi Satomi's notion of "inclusive dialectics" is introduced to aid in articulating the comparative standpoint through which such a dialectic may be conceived. (shrink)

On pp. 47-51, "Fifth Scenario: The Nazi and His Jew", discusses Adorno's theory of mimesis applied to the phenomenon of Nazi antisemitism. Influenced by Freud's theory, Adorno discussed in "Dialektik der Aufklärung" (1947) the Nazi phobic and distorted image of the Jew. In Adorno's interpretation, the imaginary portrait of the Jew created by the Nazis is in fact their self-portrait, expressing their longing for unlimited power and identification with an imaginary aggressor in order to be themselves the real aggressor.

In his recent book, English Poetry; A Critical Introduction , Mr. F. W. Bateson makes the observation that as romantic criticism is now dead it should receive “decent and final interment.” By “romantic” criticism he seems to have in mind either what he calls the Pure Sound theory of poetry, which would have us believe that meaning has nothing to do with poetry, that poetry makes nothing but an emotional or physiological impact upon us; or the suggestion theory which argues (...) that “a good poem should mean very little while suggesting a good deal.” Both of these, according to Mr. Bateson, attempt “to justify the exclusion of meaning from poetry.”. (shrink)

The career of Oxford philosopher Roger Crisp has produced a wonderfully rich yield of elegant, lucid philosophizing that combines in a rare mix historical erudition and brilliant, creative, and highly interdisciplinary ethical argument. Crisp is steeped in Aristotle and Mill, W. D. Ross and Derek Parfit, but his deepest source of inspiration is by his own admission the Victorian era Cambridge philosopher Henry Sidgwick, author of the famous Methods of Ethics. Although Sidgwick has been regarded as a kind of master (...) of those who know by everyone from Brand Blanshard and C. D. Broad to John Rawls and Peter Singer, his star has been on an especially dramatic ascent in recent decades, in very... (shrink)

Die Philosophische Fakultat der Berliner Universitat stellte im Jahr 1828 eine Preisaufgabe, an deren Losung alle Studenten der Universitat teilnehmen konnten. Einem Vorschlag Hegels folgend ging es um eine Auseinandersetzung mit den "Prinzipien des Schonen" bei Kant. Nach anonymer Bewertung der eingegangenen Arbeiten wurde die von Bruno Bauer mit dem Preis geehrt. Wahrend die im Laufe der Jahre gestellten Aufgaben und erteilten Gutachten fast vollstandig erhalten sind, ist das Vorhandensein der von Bauer handschriftlich in lateinischer Sprache verfaten Arbeit eine wissenschaftliche (...) Raritat. Diese Schrift, deren Original sich im Archiv der Humboldt-Universitat zu Berlin befindet, wird hier erstmals publiziert. Eingeleitet durch eine philosophiegeschichtliche Betrachtung der Quelle (D. Moggach) und eine historische Einordnung der Preisschrift (W. Schultze) gestattet die synchrone Gegenuberstellung von lateinischem und deutschem Text dem Leser ein kritisches Studium der Quelle. Dieser Band soll den Auftakt fur weitere Publikationen wissenschaftlich und wissenschaftshistorisch interessanter Quellen des Archivs der Humboldt-Universitat bilden. (shrink)

The Vestal Virgins are one of the most famous elements of Roman religion, yet despite their perennial appeal and the importance of some smaller scale studies of the priesthood, the priestesses have not received a monograph-length study since F. Giuzzi, Aspetti giuridici del sacerdozio romano. II sacerdozio di Vesta (Naples, 1968). Now we have books by R.L. Wildfang and M.C. Martini that could not be more different. The former offers a thorough survey of what the sources can tell us about (...) the priesthood in the period from the end of the Second Carthaginian War to the first century C.E. The latter is an analysis of early Roman historiography and the role the Vestals, in particular their periodic unchastity, played in the creation of the traditional account of the development of Rome. W's book puts forward two main arguments: (1) the Vestals were charged with the ritual purification of the city and with the storage and preparation of ritual materials, and (2) many aspects of the priesthood that have long puzzled scholars are tied to the Vestals' status as Roman citizens, but citizens who existed outside the traditional family structure. The book will be accessible to those new to the topic, but the notes will repay specialists. Ancient sources are quoted in translation, with original texts provided in an appendix. A second appendix provides a list of known Vestals. This slender volume could have been even thinner if the frequent repetitions were cut down. W's work might have been better as a hefty article, so little is there to know about the Vestals. The Classical Review vol. 58 no. 1 C The Classical Association 2008; all rights reserved This content downloaded from 204.235.148.90 on Sat, 26 Jul 2014 11:47:09 AM All use subject to JSTOR Terms and Conditions THE CLASSICAL REVIEW 213 In the Introduction, W makes a welcome distinction among types of rituals often lumped together in discussions of 'fertility' rituals, with which the Vestals are often associated (p. 4). W reserves 'fertility' to describe only those rites that deal with the reproduction of people, livestock and the growth of crops. Harvest rituals are linked to the harvesting of crops, while another set of rites, 'storage rites', are tied to the preservation of the harvest. The final group, purification rituals, aim at the cleansing of an individual, place or object of 'all forms of pollution that would render it or them unfit to come into contact with the religious sphere'. The book is arranged thematically. The first two chapters lay out all we can know about the priestesses' ritual obligations performed in the seclusion of the temple and out amongst the people. While a reader may not find W's interpretation of each of the Vestals' actions equally persuasive, the overall argument that the priestesses' activities were, by and large, purificatory is convincing. Two of the more interesting aspects of W.'s discussion are her considerations of Vesta's fire and of the water required for some of her rituals (pp. 8-11). Fire was seen by the Romans as both a fertile and a sterile force, and scholars have emphasised one or the other, or the contrast between them, in their interpretation of the Vestals. W points out that fertile fire is always described in masculine terms and is associated with Vulcan. Vesta's fire, however, is always associated with sterility and purity, and so should be understood as having a purificatory significance. W points out that Vesta's fire was used only in the manufacture of ritually necessary items: roasting spelt for mola salsa, baking brine for muries and burning ashes from the fetal cow from the Fordicidia and the tail of the October horse, both of which were used at the Parilia. For other rituals, the Vestals were required to use water, the purificatory substance par excellence, drawn only from the spring of Juturna and carried only in vessels that could not be set down. These restrictions ensured that the water was always fresh, running water that never touched profane earth. Chapters 3-5 trace out the unique position the Vestals occupied in Roman society, arguing that they existed outside the standard Roman familial and other social structures, yet remained fully part of the Roman state. W suggests that the initiation rite of captio removed the new priestess not only from her family but, more importantly, from her family cult, thus avoiding any potential contamination of familial and public cult. Virginity was required for multiple reasons, the most significant being that such a status allowed the priestess to remain a full member of the Roman state, but prevented her from being a member of a traditional family structure. Throughout the book, W makes much of the idea of Vestals as represen tatives of Roman citizen women without ever really dealing with the question to what extent any Roman woman, priestess or not, was a ciuis. Though W is probably correct, it is not entirely certain to what extent women were citizens in the Republic, and at least a reference to some key ancient sources and to recent scholarship on this question should be made (e.g. L. Peppe, Posizione giuridica e ruolo sociale della donna romana in eta repubblicana [Milan, 1984]). The sixth chapter, 'The Vestals in the Romans' History', looks at the appearance of Vestals in the early history of Rome, refining the common assumption that accusations of, and convictions for, incestum arose only in periods of great stress and danger. W adds that a priestess's involvement, or her family's involvement, in one of the groups taking part in the conflict or struggle of the moment also played a role. This chapter traces changes over the course of 300 years in the attitudes of the priestesses and the Romans more generally toward the priesthood, its role in society This content downloaded from 204.235.148.90 on Sat, 26 Jul 2014 11:47:09 AM All use subject to JSTOR Terms and Conditions 214 THE CLASSICAL REVIEW and its requirement of 30 years of chastity. The argument hangs on even less evidence than other sections of the work. In contrast to their central place in W's book, the Vestals play only a small (though crucial, in her interpretation) role in M.'s work. The basic argument of the book is that episodes of Vestal incestum are linked in the historiographic tradition to key moments in the development of the Roman state: the separation of augurium from regnum, the development of a mixed patrician-plebeian aristocracy, the creation of a monetary system and the expansion of the colonial system outside Italy. The history of Rome can be seen as alternating phases of stasis and transformation; instances of Vestal incestum mark the transitions (p. 95). The work falls into two parts that are not well integrated. The first is a useful discussion of the historiography of the Roman Republic, taking in turn each element of the story of the founding of Rome from the arrival of Aeneas to the death of Remus. M. traces how early Roman writers, especially Fabius Pictor, reshaped the tradition already present in some Greek authors, distancing Rome from the Greek world and adding an Italic element to the tale. This detailed analysis is well worth consulting and will be of interest to those working on many aspects of cultural life in the Republic. The second, larger, section of the book comprises a series of studies of the Vestals known to have been convicted of incestum during the Republic. After dealing with issues of dating and sources, M. links each case of incestum to a major event in Roman history. Not all the events are equally important for the creation of the Rome of the middle and late Republic. One wonders why M. chose to tie the conviction of Minucia, somewhere between 339 and 332, to the admission of plebeians to the praetorship in 337 rather than to the conclusion of the Latin War in 338. Some explanation is warranted. The connection M. draws is often very vague, as in the case of Sextilia (pp. 144-54), convicted and interred alive in either 275 or 274. M. sees this as marking the end of any meaningful distinction between patricians and plebeians, following as it does the first time a plebeian censor completed a lustrum. The gap of five or six years between Sextilia's conviction and Cn. Domitius Calvinus Maximus' censorship in 280 passes unremarked. Similarly, in discussing the three Vestals accused of incestum in 114-113 (pp. 188-210), M. steps away from the commonly accepted interpretation of the event as part of the continuing struggle between Gracchan and senatorial forces, arguing instead that it is tied to the establishment in 118 of the colony of Narbo Martius, Rome's first colony in Gaul. Here, as elsewhere, there is no evidence that any ancient author linked the founding of the colony and Vestal unchastity; the temporal gap makes an association even more unlikely. Ultimately, it is not possible to accept M.'s argument that Vestal incestum punctuated key stages in the development of the 'cosmo Romano' in the way she imagines. Even so, M.'s effort to reintegrate the Vestals into the larger narrative of Rome's history is thought-provoking, and it is to be hoped that it will spark further work in the same vein. The field is perhaps in a better position to undertake work on this scale now that we have W's careful and comprehensive collection and interpre tation of what there is to know about the Vestals. Yale University CELIA E. SCHULTZ celia.schultz(yale.edu This content downloaded from 204.235.148.90 on Sat, 26 Jul 2014 11:47:09 AM All use subject to JSTOR Terms and Conditions. (shrink)

We agree with Brette's assessment that the coding metaphor has become more problematic than helpful for theories of brain and cognitive functioning. In an effort to aid in constructing an alternative, we argue that joining the insights from the dynamical systems approach with the semiotic framework of C. S. Peirce can provide a fruitful perspective.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 9.4 (2002) 387-394 [Access article in PDF] Psychosis Good and Bad:Values-Based Practice and the Distinction Between Pathological and Nonpathological Forms of Psychotic Experience Mike C. Jackson and K. W. M. Fulford IN TWO PAPERS in this issue of Philosophy, Psychiatry, and Psychology, Marek Marzanski and Mark Bratton (2002) and Caroline Brett (2002) develop important critiques, from the perspectives respectively of Christian theology and Eastern (...) philosophy, of our 1997 analysis of the distinction between pathological and nonpathological forms of psychotic experience (Jackson and Fulford 1997).In this response, we briefly summarize the main points from our 1997 analysis; we consider, separately, the important although very different challenges to that analysis from the perspectives of our two critics; and we briefly indicate the main lines of recent developments in policy, practice, and research in mental health as they relate to this important area of human experience. The Jackson and Fulford (1997) Analysis In our 1997 paper, we presented three case studies from a larger series (Jackson 1991, 1997, 2001) selected with the express aim of bringing into focus the conceptual difficulties that arise at the borderline between psychotic illness and what we called benign spiritual experience. On the basis of these case studies we argued thatspiritual experiences, which are essentially benign, can involve explicitly psychotic phenomenology; traditional psychiatric diagnostic methods, which focus on the form and content of beliefs and experiences, are not capable of distinguishing between pathological and nonpathological forms of such psychotic experiences; [End Page 387]evaluation of such experiences (and claims about "illness" and health more generally) necessarily involves value judgments as well as judgments about matters of fact (specifically, the "facts" of traditional descriptive psychopathology); and more specifically, the distinction between pathological and nonpathological phenomena concerns the way in which they are embedded in the structure of the values and beliefs by which the actions of the subjects concerned are defined: "In the case of pathological psychotic phenomena," we argued, "there is a radical failure of action.... In the case of spiritual psychotic phenomena, action is radically enhanced" (Jackson and Fulford 1997, 55).We then proposed a cognitive problem-solving model of psychotic experiences. This model suggests that such experiences can be a normal and adaptive psychological response to existential crises, such as loss of meaning or purpose in life, coming to terms with death or bereavement, and so on (Batson and Ventis 1982; Jackson, 1991, 1997, 2001). The model is consistent with a subsequent position paper published by the British Psychological Society arguing the case for a psychological formulation of psychotic experiences and cognitive-behavioural methods in their management (2000).In the case of nonpathological psychotic experience, the psychotic elements of the experience promote a paradigm shift in the individual's underlying assumptions, which effectively resolves their impasse and allows them to move forward. This is normally a self-limiting process, in that when the individual is able to utilize their insight, it acts to resolve the stress which triggered it. In pathological psychosis, this process fails for various possible reasons, which were not explored in any depth in that paper (but see Jackson 2001 for a more detailed discussion). The Challenge From Marzanski and Bratton Marek Marzanski and Mark Bratton reexamine the questions raised by our cases from a Christian theological perspective (Marzanski and Bratton 2002). They suggest a theologically based definition of spiritual experience according to which the criteria for "genuine" experience concerns its context within the development of the individual's religious faith. In Bratton and Marzanski's account, these criteria are based on a Christian value system.They present three cases of their own, which, in contrast to the three cases in our 1997 paper, vividly illustrate how phenomena that may be valued negatively from a medical perspective (i.e., as defined by us in terms of their consequences for action), may, at one and the same time, be valued positively from a religious perspective (i.e., in terms of their consequences for the... (shrink)

Für Ernst Schütte zum 65. Geburtstag, von G.-A. Zinn.--Zur Konzeption der Festschrift für Ernst Schütte, von H. Hamm-Brücher.--Autonomie und Autorität des Menschen, ein Gesprach.--Vernunft und Selbsterhaltung, von M. Horkheimer.--Resignation, von T. W. Adorno.--Die Grenzen psychologischer Forschung, von A. Mitscherlich.--Empfehlungen zur techokratischen Hochschulreform, von J. Habermas.--Quantitative überlegungen zum tertiären Bildungsbereich, H. Leussink.--Bemerkungen zur Didaktik ais einer offenen Strukturtheorie des Lehrens und Lernens, von G. Hausmann.--Erziehungswissenschaft, von W. Klafki.--Der pädagogische Fortschritt und die pädagogische Forschung, von W. Schultze.--Ideologisches und Unidelogisches in der Bildungsreformsdiskussion, (...) von C.-H. Evers.--Leistung und Glück, von H. W. Nicklas.--Schulversuche und Bildungsplanung, von G. Preissler.--Das pädagogische Elternrecht im sozialen Rechsstaat, von E. Stein.--Kreatives. (shrink)

The Bible has influenced contemporary culture both positively and negatively. The present volume is a collection of papers that were discussed at an international colloquium on the use of the Bible in Ethics in the Department of Biblical Studies at the University of Sheffield in April 1995. Participants came from many parts of the world and from different backgrounds, and the papers reflect their varied interests and the contexts in which they work. The contributors, in addition to the three editors, (...) are John Barton, Bruce Birch, Mark Brett, Mark Chapman, David Clines, Philip Davies, Cheryl Exum, Stephen Fowl, Norman Gottwald, John Haldane, Walter Houston, Sharon Ringe, Chrisopher Rowland, Lisa Sowle Cahill and Gerald West. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Everyday Poetics: Logic, Love, and Ethics by Brett BourbonKatie PelkeyEveryday Poetics: Logic, Love, and Ethics by Brett Bourbon; 200 pp. London: Bloomsbury Publishing, 2022.In Everyday Poetics: Logic, Love, and Ethics, Brett Bourbon probes the nature of poetry and its centrality in our everyday lives, working from the ordinary-language philosophical framework associated with Ludwig Wittgenstein, J. L. Austin, W. V. O. Quine, and Stanley Cavell. Bourbon's (...) ideas contribute new dimensions to the elusive concept of poetry and pivots the reader's attention inward: how can we recognize poetry in our day-to-day and why should we? At sentence level, his claims are clear and compelling to readers across disciplines with varying knowledge of philosophy and poetry. This book is thus addressed to "poets, literary scholars, philosophers, and students of religion, and anyone who cares about the ethics of everyday life, about the surprises that punctuate and give our lives form" (p. ix).Poems themselves are such "events of form," Bourbon emphasizes, which live among us and need not be constituted by words. Wordless poems can be uncovered and embraced through the development of a "poetic vulnerability" to ordinary experiences that are not necessarily wedded to one's aesthetic reaction. Bourbon designates the alphabet as one such example of what he calls a "primal everyday poem"; the alphabet is wordless and consists of a patterned order whose mere form does not encompass its meaning. The ordinary expression "I love you" also falls under this classification; the phrase is a performative poem whose intricate connotation is simplified by common language, yet is not the equivalent of its mere words. Bourbon asserts that, like the phrase "I love you," poems of the everyday cannot be reduced to mere language, conditions, or creative modes.Of the ineffable nature of poetry, Bourbon claims, "Poetry, like death, is that which we can only know by analogy—by examples—but it has a scope beyond all our examples" (p. 108). In terms of examples, he draws from poignant personal experiences to reinforce his arguments and provide insight into his keen sensibility. In chapter 1 ("Poems of the Everyday"), Bourbon recounts his own dismissal as a young boy of poetry's worthiness until one day while watching an old film, he in fact was struck by the phrase "I love you." This ordinary phrase allowed him to reconsider the parameters of what constitutes poetry and acknowledge the dichotomy of the phrase's formal power constituted by trivial symbols.Chapter 4 ("Epithalamion") is also rooted in personal experience. Bourbon opens with the flat assertion, "I have never liked weddings" (p. 43), but he notes a difference between a "marriage of forms" and "marriage of intimacy and stability": his distaste is for the former. He believes that a successful marriage can become a poem of the everyday—an event of power and "linguistic surrogacy"—where the event itself fosters more meaning than the words alone [End Page 475] can carry. Marriage can be a poem of discovery that arises from the action of learning what it means to love. But in the objects of the wedding and all its trite, heart-shaped symbols, Bourbon remarks, no poems are to be found.Bourbon dedicates chapter 5 ("Is a Poem the Same as Its Words?") to his claim that what a poem is cannot be bound by its words entirely or by meaning alone. If one finds each line of a poem intelligible, that does not indicate that the poem's meaning is consequentially understood. Conversely, a reader may not know a poem's meaning with complete certainty; what is said may not illuminate what is meant. In Bourbon's explanation of the sentence as a model for how particular words construct a poem, he says that one must determine how such a sentence-poem would be meaningful through our own reading. He claims that a poem is more than its words and cannot be simplified into sets of sentences or phrases. "A poem, if it is a sentence, is always more than that sentence; otherwise, a poem would not be a poem but a sentence" (p. 67).Bourbon's latest publication challenges traditional, long... (shrink)

Partiendo de la noción de “arte de gobierno liberal”, que encuentra su configuración en la forma de una Economía Política y su modelo normativo en un gobierno frugal, pretendemos elevar nuestro estudio hacia un análisis del tipo de subjetividad que funciona como correlato de la racionalidad política liberal: el homo oeconomicus y su actualización en la forma de sujeto “empresario de sí mismo”. Para tal fin nos veremos en la necesidad de señalar la mutación epistemológica planteada por el análisis neoliberal (...) –iniciado por la Escuela de Friburgo y, más específicamente, desarrollado por la Escuela de Chicago en el ámbito norteamericano–, el cual tiende un puente entre el análisis de los procesos económicos y el estudio de la racionalidad interna del comportamiento humano. Asimismo, haremos una incursión en la teoría del Capital Humano a través de intelectuales como Theodore W. Schultz y Gary S. Becker y sus derroteros actuales. Lejos de iniciar una relectura en términos puramente académicos, con nuestro análisis –y siguiendo un método praxeológico– pretendemos llamar la atención sobre una de las numerosas vías de investigación que Foucault dejó abiertas. Con esto pretendemos abrir el espacio para un ejercicio crítico que tome por objeto las derivas de esta comprensión de los sujetos en términos de “riqueza” en ámbitos de la vida que no son estrictamente económicos. (shrink)

Vorwort.--Schultz, F. Die philosophisch-weltanschauliche entwicklung der literarhistorischen methode.--Gumbel, H. Dichtung und volkstum.--Cysarz, H. Das periodenprinzip in der literaturwissenschaft.--Petersen, J. Die literarischen generationen.--Medicus, F. Das problem einer vergleichenden geschichte der künste.--Petsch, R. Die analyse des dichtwerkes.--Muschg, W. Das dichterporträt in der literaturgeschichte.--Jung, C. G. Psychologie und dichtung.--Ermatinger, E. Das gesetz in der literaturwissenschaft.--Nadler, J. Das problem der stilgeschichte.--Wundt, M. Literaturwissenschaft und weltanschauungslehre.--Strich, F. Weltliteratur und vergleichende literaturgeschichte.--Sarnetzki, D. H. Literaturwissenschaft und die dichtung und kritik des tages.