The exciting new book argues for a renewed emphasis on humanism--contrary to the trend of post-humanism, or what Neema Parvini calls "the anti-humanism" of the last several decades of literary and theoretical scholarship. In this trail-blazing study, Michael Bryson argues for this renewal of perspective by covering literature written in different languages, times, and places, calling for a return to a humanism, which focuses on literary characters and their psychological and existential struggles--not struggles of competition, but of connection, the (...) struggles of fragmented, incomplete individuals for integration, wholeness, and unity. (shrink)

Mixing passion and humor, a personal work of literary criticism that demonstrates the power of our greatest books to illuminate our lives. Why do we read literature? For Arnold Weinstein, the answer is clear: literature allows us to become someone else. Literature changes us by giving us intimate access to an astonishing variety of other lives, experiences, and places across the ages. Reflecting on a lifetime of reading, teaching, and writing, The Lives of Literature explores, with passion, humor, and whirring (...) intellect, a professor's life, the thrills and traps of teaching, and, most of all, the power of literature to lead us to a deeper understanding of ourselves and the worlds we inhabit. As an identical twin, Weinstein experienced early the dislocation of being mistaken for another person--and of feeling that he might be someone other than he had thought. In vivid readings elucidating the classics of authors ranging from Sophocles to James Joyce and Toni Morrison, he explores what we learn by identifying with their protagonists, including those who, undone by wreckage and loss, discover that all their beliefs are illusions. Weinstein masterfully argues that literature's knowing differs entirely from what one ends up knowing when studying mathematics or physics or even history: by entering these characters' lives, readers acquire a unique form of knowledge--and come to understand its cost. In The Lives of Literature, a master writer and teacher shares his love of the books that he has taught and been taught by, showing us that literature matters most because we never stop discovering who we are. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Deeper Than Reason: Emotion and Its Role in Literature, Music, and ArtSusan FeaginDeeper Than Reason: Emotion and Its Role in Literature, Music, and Art, by Jenefer Robinson; 516 pp. Oxford: Clarendon Press, 2005, $35.00.Jenefer Robinson's lucid yet closely-argued book has four parts. The first part presents a theory of the emotions in general. The second part develops and defends the view that "some works of literature... need to (...) be experienced emotionally if they are to be properly understood" (p. 3) and draws some implications for other arts. Part Three develops a new theory of expression, and Part Four examines the expression of emotion in and listeners' emotional responses to music. Robinson applies her theory of emotions and how they arise and are expressed in response to individual works of art throughout, and the extended discussions of Edith Wharton's The Reef and one of the intermezzi from Brahms's Opus 117 set are not to be missed.Robinson's use of psychological research to develop a philosophical theory of emotion is characteristic of an increasingly popular practice in the philosophy of mind. Her descriptions of this often highly technical literature are among the best with respect to accuracy and clarity. On most accounts, emotions are mental states; on Robinson's, they are mental processes. These processes are always initiated by "an automatic 'affective appraisal' [that] induces characteristic physiological and behavioral changes and is succeeded by... 'cognitive monitoring' of the situation" (p. 3). The appraisal is also referred to as a 'non-cognitive' appraisal, which may sound like an oxymoron. Robinson explains: these appraisals are non-cognitive "in the sense that they occur without any conscious deliberation or awareness, and that they do not involve any complex information processing" (p. 45; see also p. 59). Appraisals have a valence, positive or negative, sufficient to induce a characteristic pattern of physiological and (roughly, involuntary) behavioral responses, such as alterations in galvanic skin response and movements of facial muscles. These changes are succeeded by cognitive monitoring of the situation, resulting in conceptually more sophisticated assessments of one's initial response with respect to its suitability to the circumstances and in relation to one's beliefs. Thus, cognitive monitoring generates the more cognitively complex emotions, and here she is in agreement [End Page 420] with the "judgment theorists" (p. 90) that these emotions are individuated by cognitions. Robinson seeks a univocal account of emotions for humans and other sentient creatures, though with humans it is possible for a "complex cognition" to trigger the process that constitutes having an emotion and cognitive feedback may occur in general throughout the process in ways that are not possible for creatures lacking the relevant complex mental capacities (p. 93).The fact that complex cognitions can constitute the initial stage of an emotion makes it possible to respond emotionally to literature. As in emotional situations in real life, emotions are initiated by automatic affective appraisals that have to do with one's own wants and interests, calling our attention to something important in the novel, which may lay down its own memory system, linked with bodily feelings, which is then subject to cognitive appraisal and reappraisal. Cognitive reflection facilitates the understanding of narratives as well as characters, and with respect to the latter, she argues, deploys the same mental systems that are engaged in understanding people. Further, it is not merely the beliefs that one may acquire as a result of the process that is educational, but the process of emotional understanding itself (p. 155). Indeed, Robinson endorses the strong claim that for at least some novels, those that are part of the "Great Tradition" of nineteenth-century realistic British and American literature, it is necessary to experience them emotionally to understand them.Part Three exposits a theory of the expression of emotion simpliciter and then makes adjustments to it to build a theory of expression in art, taking advantage of Romantic theories of expression developed in the works of, for example, Collingwood. Reflection on ordinary expression allows an artist to clarify and articulate "what it is like to go through the emotion process," which may be revealed both in the... (shrink)

Armed with a fresh analysis of Shakespeare's inherited resources for articulating anxieties rooted in philosophical doubt, Skulsky shows that in four plays—Hamlet, Measure for Measure, King Lear, and Othello—the drama of doubt in search of an exit gives its own kind of urgency to the more familiar Shakespearean drama of action and motive. From Skulsky's study, the four plays emerge as insidiously telling exercises in challenging our working faith in the objectivity of moral choice and the possibility of knowing other (...) minds. In particular, Skulsky notes that Shakespeare takes calculated risks with our personal interest in his heroes by assigning them disturbing convictions as well as contemptible actions. In one of the plays, such convictions end by looking just as threatening as they do at the outset. In the others, Shakespeare offers a special kind of affirmation and compassion—an affirmation designed to stand against the worst of pessimism, and a compassion that makes room for the worst of the damned. (shrink)

In seventeenth-century Germany art and reality stood in a contradictory relationship to one another, and this contradiction was a fruitful one: it contained, in an undeveloped and indistinct form, the paths that art was to take in the centuries that followed. From the point of view of the history of culture, it is important to feel the basic contradiction of this period, the pledge of the developments of the future, even though the period itself perhaps suffered from this contradiction. We (...) ourselves will be helped in this direction—that is, towards the elucidation of the central contradiction of seventeenth-century art—by a few isolated comments and observations on the literary texts of the time. (shrink)

There are many moral values that the Arab writers have written about either in prose or poetry. This emphasis on morality in classical Arabic literature has also been the subject of many academic studies. The abundance of the literary material in this field has attracted the attention of researchers. One of these is the emphasis on "naturalness" which we have seen in classical Arabic literature. In the Arab society which social ties are very strong the moral values have been summarized (...) with the concept of al-murūah/chivalry over time. In these sources that is including poems, parables and anecdotes about morality allthings on the moral values are brought together. Hereunder the main thing in the moral maturity is the naturality. Criticism of ostensible behaviors has taken place in an important part of these works. For example, ancient perception of morality is a predestination that comes from creation has found its response in Arabic poetry. Many Arab poets have stated that one's innate character will beat and the reason will be defeated. On the other hand, some poets tried to establish a balance between character and wisdom. Accordingly, it has been stated that people are innately inclined to falses but they also have the potential to restrain their innate evil tendencies with the ability of mind given to them. These poets liked to explain this balance through the simile stating he ambitious horse that wants to run at full speed is restrained with a bit. According to this simile the man is like a person on the back of a raging horse with the evil inclinations cultivated in his nature. The soul he carries wants to take him wherever it wishes. However, he has a mind that is like a bridle in return for the soul inside him. On the other hand, when we look at the encyclopedic sources of Arabic proverbs we see that there are proverbs comparing many moral attributes with animals. In Turkish proverbs, cunning is identified with the fox and industriousness with the ant, and in Arabic proverbs a very rich human character-animal pairings stand out. These proverbs are based on the idea that people's character is the product of nature. Because each animal species has appreciated characteristics and these features occur without learning and education. In addition, the issue of the naturalness of morality was also used for the purpose of praise and satire in the classical Arabic poets. The poet makes his reproach or anger towards someone through his character. When describing his lover he states that the beauties that adorn him come from creation. Therefore, it can be said that the emphasises of character/nature/temperament in the poems in which these and similar emotions are aroused, are the motifs that serve the purpose of the poet. Finally Arab writers have offered many recommendations in literary form on issues such as brotherhood, solidarity and cooperation for the healthy continuity of social relations in the Muslim society, and they have included anecdotes and poems within the framework of the subject. The study is mainly based on the descriptive method, however, the way the authors handled the subject is analysed when it is deemed to be appropriate. Considering that there is no specific study in Turkish and Arabic literature within the framework of the present study, it is aimed to investigate the literary material in the subject in question. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 121.3 (2000) 453-478 [Access article in PDF] Plutarch's Lysander and Sulla: Integrated Characters in Roman Historical Perspective José María Candau Morón The term ritratto paradossale has been used to describe a formula of character portrayal seen in Latin literature of the first centuries B.C. and A.D. whose basic process consists in combining in one character apparently contradictory traits (La Penna 1976). To be precise, (...) the formula produced a type of man who in his moments of action shows energy, diligence, and constancy but exhibits licentious feelings, allows himself to be taken in by indolence, and succumbs to pleasures when his negotia are finished. This model may already have been present in Greek historical literature of the fourth century B.C., as the portrait of Philip II that the historian Theopompus delineates seems to bear this stamp. The public image of Maecenas and the Petronius of Tacitus are two clear examples of ritratto paradossale. The figure of Sulla also falls under this influence; in fact, according to La Penna (1976, 284), Plutarch's biography of Sulla often exhibits these same characteristics.The terms "paradox" and "paradoxical" also occur frequently in works devoted to Plutarch's Life of Lysander. Its paradoxical features are the central point of Pelling's comments (1988a, 268-74) on that biography. Pelling explores aspects of "integration" in the Parallel Lives, a technique of portrayal which he defines as follows: "a man's qualities are brought into some sort of relation with one another, and every trait goes closely with the next." 1 An almost universal literary habit in the [End Page 453] ancient world, integration appears even in a figure as complex and full of contrasts as Plutarch's Lysander. Arrogance and cruelty, incorruptibility and a capacity for adulation, duplicity, ingenuity, ambition, treachery: all the contradictions that coexist in him are seen to be unified through philotimia, a central trait that dominates Lysander's other characteristics and gives his portrayal a unified appearance.But Plutarch's interests in his Life of Lysander do not impel him to explain or reconstruct the traits of its protagonist. It is the contrasts and the paradoxes in Lysander that have drawn the author's attention and lend the biography its particular flavor. Plutarch shows how these diverse character traits work against the individual and end up destroying him. In this way, the biography of Lysander is similar to tragic works in which a character's potentialities unleash forces that ultimately defeat him, and Plutarch explicitly plans on parallelisms with the tragic genre. From this standpoint, Pelling concludes, Lysander offers a moral that is similar to that of tragedy and different from that of other biographies: human nature can produce a figure such as Lysander, and such figures tend to bring about their own destruction through appropriate tragic processes.Stadter (1992) has recently analyzed from start to finish the paradoxical character that Plutarch assigns to Lysander and also to Sulla, the protagonist of the Roman Life presented as his parallel. In Stadter's view the contradictions in each character--that is, the combination of admirable and repulsive traits--form the basis of the portrayal of both subjects. The biographer also contrives to cross the two Lives so as to convey that they form an ensemble. Among other things, we see a type of progression whose upper limit is delineated by the harshest components of the portrayal of Sulla: his destructive nature, bloodthirsty and implacable, his tyrannical and frequently arbitrary conduct, his arrogance and lack of humanity. These traits are only sketched in the parallel Greek Life; yet their presence there evokes sinister dimensions which horrify when they appear, full-blown, in the Roman counterpart. From this interplay of traits and personalities our understanding of the human type treated in the biographies becomes increasingly deep. The final result in the present instance is that we are enabled to recognize the true traits of Lysander's character, and so escape the difficulty that Plutarch alludes to in his prologue through a cryptic... (shrink)

The paper discusses in six parts the role of knowledge and omniscience in narration. The first part identifies kinds of knowledge which usually inform narratives, using modern and medieval narratives as examples. The second part focuses on the carrier of knowledge: it is the author, but also the narrator to whom omniscience is attributed. The third part describes the phenomenology of this knowledge which cannot be derived in a natural manner and traces it back in the history of narration. The (...) concept of omniscience is defined in the fourth part and distinguished from divine omniscientia. Omniscience was ›discovered‹ as a characteristic of third-person narration only at the beginning of the 19th century – evidence of this is given in part V. Finally, part VI discusses if the concept of omniscience can apply to modern forms of representing the mental states of characters. (shrink)

In his classic Mimesis: The Representation of Reality in Western Literature, Erich Auerbach famously cites the opening pages of Honoré de Balzac’s Père Goriot as emblematic of modern realism. With their minute description of the boardinghouse, where much of the novel’s action takes place, these pages emphasize physical setting, Auerbach argues, in a way new to Western literature. Yet Balzac’s descriptions are driven by something more than an ambition to represent “contemporary life” in scrupulous detail. In Auerbach’s view, the characteristic (...) element of Balzac’s realism is an obsession with the reciprocal action of characters and milieu, a scientific or philosophical principle according to which the quality... (shrink)

Although it has become commonplace to regard Marsiglio of Padua's Defensor Pacis (completed in 1324) as a quintessential work of medieval Aristotelian political theory, this view has been challenged for various reasons in recent years. Some scholarship has pointed to the superficial quality of Marsiglio's appeal to Aristotle's �authority�. Others have emphasized Marsiglio's decisive reliance on sources and doctrines which were quite at odds with his overtly Aristotelian commitments. A revealing measure of the depth of his Aristotelianism is perhaps his (...) failure to cite Aristotle's authority at all in the Defensor Minor, an abbreviated version of the Defensor Pacis composed about 1340.4 At minimum, it seems necessary to reconsider the claim (pioneered already by Albertus Pighius in the sixteenth century) that Marsiglio was �homo magis aristotelicus quam christianus�.5 Indeed, it may be true to say that the assumption of Marsiglio's fidelity to Aristotle has acted as a filter, screening out interesting or original features of his thought because they are cloaked in outwardly Aristotelian language. In this paper, I would like to test this hypothesis with reference to Marsiglio's alleged application of the basic principles of Aristotelian moral psychology (in particular, Aristotle's doctrine of hexis) within the Defensor's account of the constituent parts of the political community. In both his Ethics and his Politics, Aristotle had employed the idea of hexis (often translated as �habit�, but more properly denoting �state� or �firm disposition�) to explain the way in which moral and civil virtues come to be instilled in persons. Thus, hexis served as the foundation for his conception of ethical and political education. Marsiglio seems to use the Latin rendering of hexis, habitus, in a very similar manner. He argues that the different parts of the community, ranging from the rulers and priests to the warriors and farmers, each have a set of characteristics unique to their function. These functional properties are, he says, a result of the differing kinds of habitus which typify each part of the community. (shrink)

In Chinese films with intangible cultural heritage themes, female images are an indispensable presence. Particularly, several renowned female hero figures derived from folklore literature, such as Liu Sanjie, Ashima, and Hua Mulan, stand out as symbols of both traditional Chinese heroines and the cultural zeitgeist. This paper utilizes Roland Barthes' semiotic theory to analyze the characteristics of these three representative intangible cultural heritage-themed folk literature films. By employing text analysis methods, it examines the elements of costume, dialogue, setting, and (...) plot in these films. These symbolic elements elucidate the development of female characters and cultural transformations, revealing how traditional culture is represented and transmitted in modern media. The paper also explores the crucial role and value of women in the preservation and inheritance of intangible cultural heritage, offering suggestions for better shaping the images of female heroes in intangible cultural heritage-themed films. (shrink)

William Storm reinterprets the concept of the tragic as both a fundamental human condition and an aesthetic process in dramatic art. He proposes an original theoretical relation between a generative and consistent tragic ground and complex characterization patterns. For Storm, it is the dismemberment of character, not the death, that is the signature mark of tragic drama. Basing his theory in the sparagmos, the dismembering rite associated with Dionysus, Storm identifies a rending tendency that transcends the ancient Greek setting and (...) can be recognized transhistorically. The dramatic character in any era who suffers the tragic fate must do so in the manner of the ancient god of theater: the depicted self is torn apart, figuratively if not literally, psychologically if not physically. Storm argues that a newly objectified concept of the tragic can prove more useful critically and diagnostically than the traditional and more subjective tragic "vision." Further, he develops a theory of the tragic field, a model for the connective and cumulative activity that brings about the distinctive Dionysian effect upon character. His theory is supported with case studies from Agamemnon and Iphigenia in Aulis, King Lear, and The Seagull. Storm's examination of the dramatic form of tragedy and the existential questions it raises is sensitive to both their universal relevance and their historical particularity. (shrink)

This publication discusses how modernist techniques for depicting characters' thoughts, feelings, and desires have been reinvented by some of the most influential and innovative writers of the postwar period, including Vladimir Nabokov, Samuel Beckett, Toni Morrison, John Banville, J.M. Coetzee, and Eimear McBride.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Citizens Without Sovereignty: Equality and Sociability in French Thought, 1670–1789Patrick HenryCitizens Without Sovereignty: Equality and Sociability in French Thought, 1670–1789, by Daniel Gordon; viii & 270 pp. Princeton: Princeton University Press, 1994, $39.50.Under examination here is the early modern period in France from Louis XIV to the French Revolution when kings ruled absolutely and citizens were without sovereignty. Discarding the traditional image of the Enlightenment as the absolute (...) enemy of absolutism, Gordon, in this sense, follows Norbert Elias and Robert Darnton who treat the Enlightenment as part of an elitist and hierarchical establishment. More specifically, as his subtitle indicates, Gordon portrays the invention of a “nonpolitical polis” (p. 6), an ideological social space where, despite political inequality, citizens could practice social equality in a hierarchical régime. The rise of this “nondemocratic egalitarian ethos” (p. 7) brought with it a new cult of sociabilité, a term invented in the eighteenth century to describe the idealization of the private sphere and the practice of social equality.The first chapter, then, ties sociability not to democracy, as in the Habermasian model, but to the absolutism that stimulated it and coexisted with it. A series of five ideal types of sociability depict how men and women, members of the bourgeoisie and the aristocracy, came together—in commerce, public welfare, scientific academies, salons, cafés, public libraries, and various other social situations not protorevolutionary in character—to create a bond among equals [End Page 279] under the ancien régime. In this framework, progress and modernity are born during the absolute monarchy where sociability suggests conviviality rather than class warfare. Every major French novel of the eighteenth century supports Gordon’s refutation of De Toqueville’s surprising statement that “noblemen and bourgeois never met except by chance in private life “in prerevolutionary France” (p. 27).In chapters two and three, Gordon examines the nature of the rules of sociability found in courtesy literature and their functioning as the imagined basis of the newly invented idealized space called société. In addition to analyzing in great detail the nature and frequency of the vocabulary invented to define and describe sociabilité, Gordon discusses sociabilité in the context of natural law theory in Hobbes, Bossuet, and among others, Pufendorf, who wanted to refute Hobbes by showing that self-interest leads humans to establish stable social relations even before government orders them to do so. Holbach surfaces here too for having amalgamated the older language of politeness and the newer language of natural law. In Holbach, as in the Encyclopédie, sociability, based on egalitarian premises of natural law, is nonetheless fully compatible with the hierarchical regime. Among other things, this shows clearly that the philosophes never preached the French Revolution. Striving to eliminate the abuses of despotism and establish equality in private life was not tantamount to working for political equality and the abolition of all rank. In this same vein, Gordon paints the apolitical essence of the private sphere and, by a rigorous study of the seventeenth-century manuals of polite living, shows convincingly (this time against Elias who saw the court as a model of refined behavior) that the salon was indeed a world unto itself, independent of preexisting social hierarchies. Rejecting Paul Hazard’s conception of absolute rupture between seventeenth-century culture and eighteenth-century thought, Gordon destroys the facile dichotomy between seventeenth-century hierarchy and eighteenth-century equality and, once again, admirably depicts the compatibility of Enlightenment and absolutism.If chapters one to three underscore a certain continuity between the seventeenth and eighteenth centuries, chapters four and five explain important changes. It is not, for example, the mere preservation of the idea of sociable communication but rather its new use that is germane in understanding the Enlightenment. Now “conversation” and “civility” no longer had meaning only for an urban elite but had in fact become ideals in all philosophical endeavors including the writing of universal history. Sociable communication had become the defining characteristic of modern nations. In the fourth chapter, by analyzing in detail the works of Jean-Baptiste Suard, Gordon demonstrates the meaning that the writing of universal history in Scotland acquired within the French... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pleasure and Pain in LiteratureOliver ConollyWhy do we enjoy the depiction, in imaginative literature, of situations that typically arouse negative emotions such as pity, sadness, and horror? One view, which aims to dissolve rather than solve the problem, is that we do not enjoy them at all. According to this theory—the pure pain theory—the problem does not arise in the first place. But the theory must explain why we (...) chose to undergo such painful experiences. Are we simply aesthetic masochists? The pure pleasure theory, by contrast, denies that there are any painful aspects to our experience of such literature. This theory must explain how we can take pure delight in the literary depiction of suffering. Are we simply aesthetic sadists? Lying between both extremes is the hybrid theory, which asserts that there are both painful and pleasant aspects of such experiences. The hybrid theory must specify which aspects of the experience are painful and which pleasant. In this paper a version of the hybrid theory is advanced and defended.IThe pure pleasure theory denies that we feel painful emotional identification with fictional characters. Why take this view? One reason is that it is a way of resolving the paradox of fiction, as formulated by Colin Radford.1 The paradox asserts that there is an inconsistency between the propositions that: (1) we have emotions for fictional characters, (2) we know that they do not exist, (3) it is irrational to have emotions for non-existent objects. Each proposition seems plausible, yet one must be false. Whilst most of the participants in the debate have attacked the notion that feelings for fictions are irrational, some have [End Page 305] denied that we have such feelings in the first place. One intuition guiding this denial is that the depiction of a fictional horrible event is likely to be less painful than the depiction of an identical but real event. In other words, the mere fictionality of an event is liable, by itself, to diminish the pain we are liable to feel at its depiction in comparison with a real event: I label this the fictionality gap. If the fictionality gap exists, it applies across the board, to the sufferings of Pip in Great Expectations as well as those of King Lear. The characters in those works are fictional, and so the lessening of the pain we feel at their fates must, if the fictionality gap holds, hold merely in virtue of the fact that they are fictional.It has often been noted—rather than argued, but this is question of impression rather than logic—that one would feel more affected were the stories real rather than fictional. The kinds of events depicted in King Lear—ugly struggles for power, the manipulation of the naïve, the impotence of the good, inconsolable grief—are not in themselves other-worldly, and can be imagined taking place in reality. However it is much more difficult to imagine King Lear in its full particularity taking place in the real world, given the theatricality of its form and language. In order to imagine King Lear as real, one would have to rob it of Shakespeare's poetry, which is other-worldly in its eloquence. French proponents of the Three Unities thought that theatre should aim at, among other things, verisimilitude, but never overcame the problem that the fact that characters in French theatre speak in rhyming couplets might detract from that verisimilitude, which it clearly does. This worry about the transplantability of King Lear into the real world appears to be less of a problem in relation to realist novels, which, as their appellation suggests, are easier to imagine taking place in the real world. Not only is the language used in realist novels less exalted than that used in tragedies, the situations such novels depict tend to be more likely to occur. Clearly, the realist novel is capable of depicting horrible or unpleasant events. About such novels, say, Madame Bovary, it seems to make sense to ask ourselves how we would feel about them if we read them as true stories.I would like however to question the very intelligibility of the... (shrink)

From the Greek satyr to the American Mickey Mouse and from the Chinese dragon to the Egyptian Sphinx, animals and animal/humans have come throughhuman imagination into myth, legend and story. This combination or fusion of animal and human in literature presents a double signification. At the same time that our attention goes to the animality of the human, we may also entertain the humanity of the animal. Besides blending of physical and psychological characteristics, these ancient and modern characters (...) of world texts may embed authentic experiences of communion or communication between humans and animals. The texts may be understood as signifying the limits of both the human and the animal and the possibility of the humanimal. Humanimality signifies the fusion of human and animal which dissolves the ordinary dualism of human subject and animal object and allows for intersubjectivity unmarked by specific biological limitations. This kind of intersubjectivity occurs in the contact of communication and is often an occasion for awe on the part of the human if not of the animal. We may understand such awesome communication as imitation, non-verbal cooperation, and as teaching and learning. Three poems by the author, reproduced in the Appendix, “The Ravens Fly Yet,” “Neighbors,” and “The Lesson,” provide the literary fields in which humanimal phenomena may appear. (shrink)

In Adapted Brains and Imaginary Worlds, Donald Beecher explores the characteristics and idiosyncrasies of the brain as they affect the study of fiction. He builds upon insights from the cognitive sciences to explain how we actualize imaginary persons, read the clues to their intentional states, assess their representations of selfhood, and empathize with their felt experiences in imaginary environments. He considers how our own faculty of memory, in all its selective particularity and planned oblivion, becomes an increasingly significant dimension (...) of the critical act, and how our own emotions become aggressive readers of literary experience, culminating in states which define the genres of literature. Beecher illustrates his points with examples from major works of the Renaissance period, including Dr Faustus, The Faerie Queene, Measure for Measure, The Yorkshire Tragedy, Menaphon, The Dialogue of Solomon and Marcolphus, and The Moral Philosophy of Doni. In this volume, studies in the science of mind come into their own in explaining the architectures of the brain that shape such emergent properties as empathy, suspense, curiosity, the formation of communities, gossip, rationalization, confabulation, and so much more that pertains to the behaviour of characters, the orientation of readers, and the construction of meaning. Discussing a breadth of topics – from the mysteries of the criminal mind to the psychology of tears – Adapted Brains and Imaginary Worlds is the most comprehensive work available on the study of fictional worlds and their relation to the constitution of the human brain. (shrink)

Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, utter (...) or write the words of the text thereby reporting the events of the story. But there is a very different way of understanding literary works, one applicable especially to poetry. Much music can be understood in a similar manner, and doing so nicely explains several important characteristics of listen-ers’ experiences. (shrink)

Today humanity is in the midst of the massive expansion of new and fundamental technology, represented by advanced artificial intelligence (AI) systems. The ongoing revolution of these technologies and their profound impact across various sectors, has triggered discussions about the characteristics and values that should guide their use and development in a responsible manner. In this paper, we conduct a systematic literature review with the aim of pointing out existing challenges and required principles in AI-based systems in different industries. (...) We discuss our findings and provide general recommendations to be considered during AI deployment in production. The results have shown many gaps and concerns towards responsible AI and integration of complex AI models in the industry that the research community could address. (shrink)

Although fictional characters have long dominated the reception of literature, films, television programs, comics, and other media products, only recently have they begun to attract their due attention in literary and media theory. The book systematically surveys todays diverse and at times conflicting theoretical perspectives on fictional character, spanning research on topics such as the differences between fictional characters and real persons, the ontological status of characters, the strategies of their representation and characterization, the psychology of their (...) reception, as well as their specific forms and constellations in - and across - different media, from the book to the internet.". (shrink)

Much effort has been invested by scholars in defining the specific character of the Homeric values as against those that obtained at later periods of Greek history. The distinction between the ‘shame-culture’ and the ‘guilt-culture’ introduced by E. R. Dodds, and that between the ‘competitive’ and the ‘cooperative’ values advocated by A. W. H. Adkins, are among the more influential ones. Although Adkins's taxonomy encountered some acute criticism, notably from A. A. Long, it has become generally adopted both in the (...) scholarly literature and in general philosophical discussions of Greek ethics. Objections to Adkins's approach have mainly concentrated on demonstrating that his denial of the cooperative values to Homer is untenable on general grounds and is not supported by Homeric evidence. Characteristically, Adkins's thesis concerning the centrality to Homer's ethics of the so-called ‘competitive values‘ has never received similar attention, probably owing to the fact that this is the point at which his picture of the Homeric society concurs with the influential reconstructions by W Jaeger and M. I. Finley. The present study oftimēandaretē, generally held to be the two competitive values central to the Homeric poems, purports to address this issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Hypothesis Concerning the Character of Islamic ArtAsli GocerWhy Islamic art has the distinctive features it has continues to generate clashing explanations. The Islamic visual treasury has no figural images, for instance, and three-dimensional sculpture or large scale oil painting, but instead contains miniatures, vegetal ornaments, arabesque surface patterns, and complex geometrical designs. To account for the phenomena the following radically opposing theories have been offered: the influence of (...) Judaism, the Quranic prohibition against making images, 1 Islamic resentment of the glory of Byzantine icons, 2 logocentricism of classical Islam, 3 the spiritual dimension of Islam, 4 tacit Islamic assertion of “otherness,” 5 and contingency of history. 6 The merits of these theories have been roundly discussed in the literature, and so I will not repeat the task here. I will insist that none of these theories offer a coherent explanation for all arts, but my presumption is that such an explanation is possible. In nonvisual arts the Muslim prefers simple tunes over that of the symphony, for instance, whirling dervishes over the ballet, and lyric poetry over dramatic literature. In my view what explains the common characteristic of all these arts is a certain kind of Islamic attitude informed by a certain philosophical outlook. Although it would be hasty to suggest the existence of a monolithic [End Page 683] Islamic art, it would be equally rash to deny some striking commonalities among its diverse examples. 7The following observation by a Muslim scholar is notable in this regard: “Whether in the great courtyard of the Delhi Mosque or the Qarawiyyin in Fez, one feels oneself within the same artistic and spiritual universe despite all the local variations in material, structural techniques, and the like.” 8 Some cite geometry as what mediates that feeling to the observer despite the cultural divergences in style. 9 Even those who have given up the search for the universal or the spiritual in Islamic art cannot help but see in it the classical ideal of beauty. 10 It is this classical heritage that in fact holds one of the important keys to the puzzle at hand. In particular I shall claim that Islamic art is the living image of what Plato has in mind for art in a theocratic state. Clearly, to refer to Plato and art in the same breath invites trouble. As is well enough known, giving a general interpretation of Plato’s views on the nature of art is a very complex endeavor. 11 Even in the face of grave difficulties in textual exegesis, however, there is sufficient evidence that Plato has some settled views on art. Those pertinent to our discussion here involve two claims, that beauty and goodness are divine and that all human endeavor (including artistic creation) must imitate the divine. 12 Although Platonic strain in Islam has been noted in other areas, its persistent legacy has been overlooked in art. 13 I shall argue that the Platonic influence on Islamic thought can be traced not only to political philosophy 14 and geometry, 15 as it has been commonly accepted, but also aesthetics. 16 A philosophical explanation of the Islamic attitude toward art may therefore be derivable from the Platonic axiom that god is the paradigm of beauty, which is the cosmological principle of [End Page 684] order and harmony; and as all created things, art, too, must reflect the divine paradigm.Before defending this ahistorical hypothesis on the character of Islamic art so reviled in recent literature, a few caveats are in order. “Islamic art” contains redundant terms. Strictly speaking all art in Islam is “Islamic,” because for the Muslim art is a crucial point of contact with the divine. That art should direct the mind to the divine is also Plato’s view. 17 Second, the categories that have traditionally been used to describe Islamic art such as “aniconic” and “nonrepresentational” are unhelpful for the problem at hand. 18 When it comes to the issue of iconography in Islamic arts, there is no consensus, for Islamicists are notably divided on the semiotic dimension of the Islamic visual language. The question of whether the geometric surface pattern is essentially iconography, for instance, is yet... (shrink)

Different styles of social interaction are one of the core characteristics of autism spectrum disorder. Social differences among individuals with ASD often include difficulty in discerning the emotions of neurotypical people based on their facial expressions. This review first covers the rich body of literature studying differences in facial emotion recognition in those with ASD, including behavioral studies and neurological findings. In particular, we highlight subtle emotion recognition and various factors related to inconsistent findings in behavioral studies of FER (...) in ASD. Then, we discuss the dual problem of FER – namely facial emotion expression or the production of facial expressions of emotion. Despite being less studied, social interaction involves both the ability to recognize emotions and to produce appropriate facial expressions. How others perceive facial expressions of emotion in those with ASD has remained an under-researched area. Finally, we propose a method for teaching FER [FER teaching hierarchy ] based on recent research investigating FER in ASD, considering the use of posed vs. genuine emotions and static vs. dynamic stimuli. We also propose two possible teaching approaches: a standard method of teaching progressively from simple drawings and cartoon characters to more complex audio-visual video clips of genuine human expressions of emotion with context clues or teaching in a field of images that includes posed and genuine emotions to improve generalizability before progressing to more complex audio-visual stimuli. Lastly, we advocate for autism interventionists to use FER stimuli developed primarily for research purposes to facilitate the incorporation of well-controlled stimuli to teach FER and bridge the gap between intervention and research in this area. (shrink)

Plato’s Republic and More’s Utopia served as models for most of the literary utopias written between the seventeenth and nineteenth centuries. Towards the end of the nineteenth century, dystopian novels began to displace their positive counterparts. Five dystopian fictions published between 1891 and 1949—Jerome’s “The New Utopia”, Wells’s The Sleeper Awakes, Zamyatin’s We, Huxley’s Brave New World, and Orwell’s Nineteen Eighty-Four—exhibit many common themes, such as isolation, totalitarianism, technology in service of the state, rigid social organization, uniformity and social control. (...) In the twenty-first century, some of these characteristics of fictional dystopian societies have become realities in the form of unseen technological surveillance and control. Nevertheless, utopia lives on as an ideal, for instance in philosophical transhumanism. (shrink)

From the Greek satyr to the American Mickey Mouse and from the Chinese dragon to the Egyptian Sphinx, animals and animal/humans have come throughhuman imagination into myth, legend and story. This combination or fusion of animal and human in literature presents a double signification. At the same time that our attention goes to the animality of the human, we may also entertain the human(al)ity of the animal. Besides blending of physical and psychological characteristics, these ancient and modern characters (...) of world texts may embed authentic experiences of communion or communication between humans and animals. The texts may be understood as signifying the limits of both the human and the animal and the possibility of the humanimal. Humanimality signifies the fusion of human and animal which dissolves the ordinary dualism of human subject and animal object and allows for intersubjectivity unmarked by specific biological limitations. This kind of intersubjectivity occurs in the contact of communication and is often an occasion for awe on the part of the human if not of the animal. We may understand such awesome communication as imitation, non-verbal cooperation, and as teaching and learning. Three poems by the author, reproduced in the Appendix, “The Ravens Fly Yet,” “Neighbors,” and “The Lesson,” provide the literary fields in which humanimal phenomena may appear. (shrink)

In The Heart of the Matter, Graham Greene’s metafictional commentary (indicated by the relentless presence of language and literature in the content of the novel) runs parallel to his commentary on the Catholic sacrament of the Eucharist. Strikingly, written language, due to its own physical reality and the way in which it is treated in the novel, takes on sacramental characteristics. Both written language and the Eucharist are physical, and both make truth present. Through his use of physical texts (...) to indicate the true nature of each character and by aligning the written word with the Eucharist, Greene offers a complex exploration of the sacramental possibilities of literature and language, ultimately contending that language itself is sacramental. (shrink)

Metaphorical analogies have been popular in different forms of reasoning, theatre and drama analogy among them. From the semiotic perspective, theatre is arepresentation of reality. Characteristic to theatrical representation is the fact that for creating representations of reality it uses, to a great extent, the materiality andcultural codes that also constitute our everyday life; sometimes the means of representation are even iconically identical to the latter. This likeness has inspirednumerous writers, philosophers and, later, social scientists to look for particular similarities (...) between social life, drama and theatre. In this paper I chose twoparticular approaches from the social sciences that make use of the metaphorical analogy of theatre in quite different, yet, to certain extent, also overlapping ways — Victor Turner’s concept of “social dramas” from anthropology and Erving Goffman’s “dramaturgy” of social interactions from sociology. The former bases hisanalogy more on the structure of the dramatic text and on a key resemblance in the (dramatic) conflict, whereas the latter builds his analogy on the principles ofperforming used in theatre, and regards characters and roles as major resemblances between action on stage and in social space. This paper examines these key resemblances and sheds light on what kind of interpretations of culture and society emerge when theatre analogies are put into action. In the concluding section some general problems, related to extended metaphors and analogical explanations the researcher needs to face with, are discussed. (shrink)

One of the dominant characteristics of Western philosophical and literary history of the last two centuries is that the object of desire (in the novel) and the object of perception (in epistemology) have been made to reveal aspects which are more complex than the classical age had suspected. With Descartes, everything was clear: the object is but a portion of extension. But with Kant things already become more complicated: the object has a mysterious. en-soi (an sich-in itself) which escapes (...) us. And the object of desire, in literature, acquires such a mystic character that it loses its status of creature. “For what the romantic lover seeks is not really the beloved”, writes Eric Heller. “Intermingled with his erotic craving, inarticulate, diffuse, and yet dominating it, is the desire for spiritual salvation.” It is no longer the object (the creature) which one wishes to embrace, but the invisible reality mirrored in it. Desire does not tend so much toward objects as toward what lies beyond these objects where, it believes, it will find its salvation. (shrink)

Character strengths profiles in the specific setting of medical professionals are widely unchartered territory. This paper focused on an overview of character strengths profiles of medical professionals (medical students and physicians) based on literature research and available empirical data illustrating their impact on well-being and work engagement. A literature research was conducted and the majority of peer-reviewed considered articles dealt with theoretical or conceptually driven ‘virtues’ associated with medical specialties or questions of ethics in patient care (e.g., professionalism, or what (...) makes a good physician). The virtues of compassion, courage, altruism, and benevolence were described most often. Only a limited number of papers addressed character strengths of medical students or physicians according to the VIA-classification. Those articles showed that the VIA-character strengthsfairness, honesty,kindness, andteamworkwere considered most often by respondents to be particularly important for the medical profession. Available cross-sectional (time span: six years) and longitudinal (time span: three years) data regarding VIA-character strengths profiles of medical professionals were analyzed (N= 584 medical students, 274 physicians). These profiles were quite homogenous among both groups. The character strengthsfairness,honesty,judgment,kindness, andlovehad the highest means in both samples. Noteworthy differences appeared when comparing medical specialties, in particular concerning general surgeons and psychiatrists, with the former reporting clearly higher levels of e.g.,honesty(d= 1.02) orprudence(d= 1.19). Long-term results revealed significant positive effects of character strengths on well-being and work engagement (e.g.,perseveranceon physicians’ work engagement) but also significant negative effects (e.g.,appreciation of beauty and excellenceon students’ well-being). Further,hopewas significantly associated both positively with physicians’ well-being and negatively with students’ work engagement, possibly indicating specific issues concerning medical education or hospital working conditions. According to the modern-day physician’s pledge, medical professionals should pay attention to their own well-being and health. Therefore, promoting self-awareness and character building among medical professionals could be a beneficial strategy. (shrink)

The article analyzes the world of transience, deterioration and death characteristic of Boghill, the place of action of Samuel Beckett’s short radio play-All That Fall. In a broadcast drama, existence is equivalent to being heard, the idea skilfully employed and commented upon by the playwright. The characters actually heard in the play are in most cases elderly or quite old and even the two young ones appear in the context of death. Numerous off-the-air individuals are dead, sterile or suffering (...) from different illnesses. The two main characters’ situation is not different-Mr Rooney is blind, and his wife, Maddy, complains of many ailments. She is a woman in her seventies, overweight and having different kinds of health problems and thus, several times in the course of the play she expresses a wish to die. At the same time, however, in encounters with men on her way to the station she speaks in a manner characterized by numerous sexual innuendos. Furthermore, she expresses a strong yearning for love and hopes her unloving husband would show her some warm feelings. Thus she becomes a convincing illustration of Georges Bataille’s argument: “Eroticism, it may be said, is assenting to life up to the point of death”. (shrink)

Scientific publications depict science as an orderly endeavour and the epitome of rationality. In contrast, scientific practice is messy and not strictly rational. Here, I analyse this inconsistency, which is recurrent, and try to clarify its meaning for the functioning of science. The discussion is based on a review of relevant literature and detailed analysis of the role of each of the three intervening elements, the scientist, his/her practice and the scientific publication, with an emphasis on the circular mode of (...) the latter’s creation. This way, I will discuss the nature, causes and relevance of the inconsistency. That corresponds to answering three questions, respectively: ‘what are the characteristics of the inconsistency?’, ‘what are its origins?’ and ‘how could it be interpreted within a model for the structure and functioning of science?’ From this discussion it is concluded that, contrary to the negative character generally attributed to it, the inconsistency between practice and reporting is part of the production mechanism of science. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bergson and the Transformations of the Notion of Intuition NATHAN ROTENSTREICH THE CONCEPT "INTUITION",like many other concepts referring to the particular or the singular mode of philosophic cognition, is by no means a univocal concept. In different philosophical systems this concept was given different meanings and directions in accordance with the general trend of the system at stake. We are about to attempt to understand the meaning of the (...) concept of intuition in Bergson's system against the transformations that concept underwent in some major philosophical world-views. Let us observe in the first place: the term 'intuition' derives from the root intu~rL Like several other concepts in the philosophical vocabulary referring to modes of knowledge this term too denotes seeing, a mode of cognition brought about by a direct visual encounter with the world. It belongs to a family of concepts like theoria, speculatio, contemplatio. It is a conjecture that the first use of the term 'intuition' connoting a singular mode of knowledge appears in the mystical literature. The mystic conception stresses the mode of seeing whereby the light is seen; pursuing the Platonic notion, the light of vision makes the very seeing possible. From the mystical literature the concept intuition was absorbed into the philosophical vocabulary.1 Intuition is a mode of knowledge. Yet it conveys a particular ingredient in the sum-total of knowledge, making this mode of knowledge different from other modes. The ingredient conveyed is that of the certainty of the achievement reached by knowledge. From this point of view 'intuition' denotes the position of knowledge in terms of its ultimate consummation, taking consummation as being different from the procedure leading to the final outcome. This component characteristic of 'intuition' is present in Bergson's doctrine, though possibly does not occupy a central place in it. From here we can proceed to the discernment of an additional meaning of 'intuition', a meaning which to some extent seems to be the most common one. 1 Shlomo Pines, translator's Introduction to Maimonides' The Guide oJ the Perplexed (Chicago: University of Chicago Press, 1963),p. Iv. [335] 336 HISTORY OF PHILOSOPHY 'Intuition" is knowledge which takes place directly, without mediation. As such it does not stand in a need of a method, since every method is a way leading to knowledge as well as a wall between the step taken and the final objective of knowledge. A method is essentially a mediation, as a way is a mediation between the point of departure and the destination. Knowledge acquired through a method is thus different from knowledge acquired directly or immediately. We do not confine the notion of method to any particular method, whether experimental or analytic. Any method is reasoning, comparison, verification and a procedure for deriving conclusions. Against these aspects of method intuition is presented precisely as seeing. Seeing is that visual encounter with objects which does not take on a methodical character. It might be preceded by methodological knowledge, but the act of seeing per se is trans-methodical. A close reading of Bergson's text will show that this aspect of intuition again is present in his doctrine, but it is by far not the most prominent aspect of his own rendering of intuition. It can be said in a general way that in different philosophical systems we find a kind of a conjunction of the first meaning of 'intuition' in terms of certainty with the second meaning in terms of directness. Different philosophers in different contexts maintained the view that the unqualified certainty of knowledge can refer only to the ultimate stratum of reality or to God, and that this stratum or God can be known directly. Plato's view (to look to the absolute and eternal) could be a paradigm of this trend. 2 This view re-emerges in Spinoza. The mode of knowledge which is the highest and most certain achievement on the ladder of modes of knowledge, as Spinoza puts it, is true and necessary: "He, who has a true idea, simultaneously knows that he has a true idea, and cannot doubt of the truth of the thing perceived." 3 This mode of knowledge is adequate to its... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Belief and Context Determinacy in Interpreting FictionChristine Richards (bio)1Context Determinacy and the Interpretation of FictionThe Pragmatics of ReadingThe basic pragmatic structure of the reading of fiction has been described as a communicative context which has a speaker who performs the speech acts represented by the text and a hearer (addressee) to whom the speech acts are directed [Adams 12]. This model is based on the assumption that the reader (...) and the writer share not only a common language but a common context, which clearly presents problems for readers of fiction, where generic conventions as well as other cultural conventions of writing, such as satire and irony, or the separation of writers and readers by time, have to be contended with. The code model, which assumes that the writer and the reader share a common context, can be represented as shown in figure 1. Click for larger view View full resolutionFigure 1.W = writer, S = speaker, H = hearer, R = reader.However, it has also been argued [Eco, Role of the Reader 40; Eco, Semiotics 69; Richards 262] that no theory of a text is possible without a theory of contexts, since texts are processed and given meaning by a synthesis of propositions in them with those which originate in readers’ supplied contexts; and since the contexts of readers consist, first and foremost, of their background knowledge, beliefs, and culture, which are fundamentally interrelated, interpretation is inevitably determined by extralinguistic as well as linguistic factors. The context model might be represented as shown in figure 2. Click for larger view View full resolutionFigure 2.W = writer, N = narrator, R = reader.[End Page 81]The Extralinguistic ContextA good example of the role played by extralinguistic contexts in the interpretation of a text is to be found in the multiple interpretations of the sentence “The red sun was pasted in the sky like a wafer,” from Stephen Crane’s The Red Badge of Courage [64]. Susan Horton, in her discussion of accounts of this sentence [10–14], shows both how R. W. Stallman interprets Crane’s antiwar fiction as a Christian allegory where the word “wafer” functions as a symbol of the Eucharist [130], and how Marston La France rejects Stallman’s interpretation on the basis that Crane is not a Christian, and certainly not a Catholic [99–100]. La France’s rejection of Stallman’s Christian context for atheism is rooted in his interpretation of the sun as a repeated image in the co-text, which he believes signifies nature’s indifference to death, war and heroism. Here the lexemes “pasted” and “wafer” become images of a seal at the end of a legal document, implying the finality of death in war. Milne Holton interprets the image of the sun as a characteristic of the symbolic imagination of the character Henry Fleming rather than of the writer (Crane) [90–91].Horton documents but does not theorize the determining features of these contexts, but this problem can be tackled by applying Marcello Pagnini’s theory of “the introjection of the referent” [9] to explain how the contextual semes of readers, determined by different cultural systems, are introjected into texts. Following Jurij M. Lotman’s typology of cultural systems [Lotman and Uspenskij], Pagnini cites as relevant systems ethics, ideology, history, philosophy, myth, the law, anthropology, politics, ethnicity, literature, aesthetics, psychology, rhetoric and symbolism [34], which represent fundamentally interrelated complexes of systems that make up societies. If Pagnini’s model is taken with that of Richards [267], which conceives of interpretation as a synthesis of propositional inferences in texts with those drawn from readers’ contexts, these two models provide a methodological basis for explaining how the contexts of Stallman’s and La France’s conflicting interpretations derive from philosophically opposed belief systems within culture—Christianity and atheism. These models also help to explain Holton’s interpretation as one located within a different philosophical context, that of the convention of character analysis in fiction, which during the last few decades has developed into the more theoretically sophisticated field of narratology. It should be stressed, however, that interpretations themselves always take place within historical and interactive frameworks, which are influenced... (shrink)

Affordances are possibilities for action offered by the environment. Recent research on affordances holds that there are differences in how people experience such possibilities for action. However, these differences have not been properly investigated. In this paper I start by briefly scrutinizing the existing literature on this issue, and then argue for two claims. First, that whether an affordance solicits action or not depends on its relevance to the agent’s concerns. Second, that the experiential character of how an affordance solicits (...) action depends on the character of the concern to which it is relevant. Concerns are conceived of as bodily forms of responsiveness, and solicitations are experienced through this responsiveness. The main aim of this paper is to make clear that an understanding of experiential differences in solicitations has to be based on a phenomenological appreciation of how one experiences one’s responsiveness to those solicitations. In the remainder of the paper I show how such a phenomenological appreciation reveals several characteristics of our responsiveness and I briefly explore three of them: valence, force and mineness. In the final section I discuss the self-referentiality of affordances in light of the current proposal, and argue that this self-referentiality is broader than is typically acknowledged. (shrink)

The Texas borderlands have come to be increasingly important in the historical literature and in public opinion for the way that the region shapes national thought on race, borders, and ethnicity. With this increasing importance, it is pressing to examine the history of these issues in the region so that they may be accurately and insightfully deployed. This article contributes to the existing scholarship with a close discursive analysis of race in the booster materials, 1904-1941. The booster materials forge a (...) notion of race relations that borrows from tropes common across the West but is also informed by Jim Crow and the unique demands of the region. The booster materials forward a notion of race that is largely unique in Western boosterism, positing only two major characters, Mexicans and white Northerners. The figure of ‘the Mexican’ is drawn more as a part of nature than human society in that it shares the fundamental characteristics of the land, animals, and rivers of the region. Nature in the region is depicted as an adventitious, disorderly, and wasteful body that calls out for northern discipline. The ‘Northerners’ are figured as the ones who, through applying discipline to the natural resources of the area (land, water, and Mexicans) can bring reason, fertility, and profitable connection to the national economy. The consequences of this racial division are further explored in the article as they play out in schooling, religion, justice, beauty, leisure, and sport. (shrink)

AimTo investigate the status of positive mental characters and humanistic care ability among Chinese nursing students, and confirm the association between positive mental characters and humanistic care ability.MethodsA cross-sectional survey was conducted. Nine hundred eighty-one Chinese nursing students were recruited from hospitals and community healthcare services in Changsha, Hunan, China. Three different self-reported questionnaires were applied: The Demographic Characteristics Questionnaire, Humanistic care ability of Nursing Undergraduates Assessment Scale and Positive Mental Characters Scale for Chinese College Students. (...) Pearson correlation analysis and multiple liner regression analysis were performed to analyze the association between positive mental character and humanistic care ability for Chinese nursing students.ResultsThe mean scores of nursing students' humanistic care ability and positive mental character were 125.94 ± 21.19, 233.18 ± 38.59, respectively. The Pearson correlation results showed that positive mental character was significantly associated with humanistic care ability. Multiple liner regression analysis indicated that positive mental characters, four dimensions of courage, humanity, justice and transcendence in positive mental character, care from classmates were found to be independent predictors of humanistic care ability.ConclusionPositive mental characters are important considerations in the development, implementation and evaluation of humanistic care ability interventions. (shrink)

We introduce the notion of complexity, first at an intuitive level and then in relatively more concrete terms, explaining the various characteristic features of complex systems with examples. There exists a vast literature on complexity, and our exposition is intended to be an elementary introduction, meant for a broad audience. -/- Briefly, a complex system is one whose description involves a hierarchy of levels, where each level is made of a large number of components interacting among themselves. The time evolution (...) of such a system is of a complex nature, depending on the interactions among subsystems in the next level below the one under consideration and, at the same time, conditioned by the level above, where the latter sets the context for the evolution. Generally speaking, the interactions among the constituents of the various levels lead to a dynamics characterized by numerous characteristic scales, each level having its own set of scales. What is more, a level commonly exhibits ‘emergent properties’ that cannot be derived from considerations relating to its component systems taken in isolation or to those in a different contextual setting. In the dynamic evolution of some particular level, there occurs a self-organized emergence of a higher level and the process is repeated at still higher levels. -/- The interaction and self-organization of the components of a complex system follow the principle commonly expressed by saying that the ‘whole is different from the sum of the parts’. In the case of systems whose behavior can be expressed mathematically in terms of differential equations this means that the interactions are nonlinear in nature. -/- While all of the above features are not universally exhibited by complex systems, these are nevertheless indicative of a broad commonness relative to which individual systems can be described and analyzed. There exist measures of complexity which, once again, are not of universal applicability, being more heuristic than exact. The present state of knowledge and understanding of complex systems is itself an emerging one. Still, a large number of results on various systems can be related to their complex character, making complexity an immensely fertile concept in the study of natural, biological, and social phenomena. -/- All this puts a very definite limitation on the complete description of a complex system as a whole since such a system can be precisely described only contextually, relative to some particular level, where emergent properties rule out an exact description of more than one levels within a common framework. -/- We discuss the implications of these observations in the context of our conception of the so-called noumenal reality that has a mind-independent existence and is perceived by us in the form of the phenomenal reality. The latter is derived from the former by means of our perceptions and interpretations, and our efforts at sorting out and making sense of the bewildering complexity of reality takes the form of incessant processes of inference that lead to theories. Strictly speaking, theories apply to models that are constructed as idealized versions of parts of reality, within which inferences and abstractions can be carried out meaningfully, enabling us to construct the theories. -/- There exists a correspondence between the phenomenal and the noumenal realities in terms of events and their correlations, where these are experienced as the complex behavior of systems or entities of various descriptions. The infinite diversity of behavior of systems in the phenomenal world are explained within specified contexts by theories. The latter are constructs generated in our ceaseless attempts at interpreting the world, and the question arises as to whether these are reflections of `laws of nature' residing in the noumenal world. This is a fundamental concern of scientific realism, within the fold of which there exists a trend towards the assumption that theories express truths about the noumenal reality. We examine this assumption (referred to as a ‘point of view’ in the present essay) closely and indicate that an alternative point of view is also consistent within the broad framework of scientific realism. This is the view that theories are domain-specific and contextual, and that these are arrived at by independent processes of inference and abstractions in the various domains of experience. Theories in contiguous domains of experience dovetail and interpenetrate with one another, and bear the responsibility of correctly explaining our observations within these domains. -/- With accumulating experience, theories get revised and the network of our theories of the world acquires a complex structure, exhibiting a complex evolution. There exists a tendency within the fold of scientific realism of interpreting this complex evolution in rather simple terms, where one assumes (this, again, is a point of view) that theories tend more and more closely to truths about Nature and, what is more, progress towards an all-embracing ‘ultimate theory’ -- a foundational one in respect of all our inquiries into nature. We examine this point of view closely and outline the alternative view -- one broadly consistent with scientific realism -- that there is no ‘ultimate’ law of nature, that theories do not correspond to truths inherent in reality, and that successive revisions in theory do not lead monotonically to some ultimate truth. Instead, the theories generated in succession are incommensurate with each other, testifying to the fact that a theory gives us a perspective view of some part of reality, arrived at contextually. Instead of resembling a monotonically converging series successive theories are analogous to asymptotic series. -/- Before we summarize all the above considerations, we briefly address the issue of the complexity of the {\it human mind} -- one as pervasive as the complexity of Nature at large. The complexity of the mind is related to the complexity of the underlying neuronal organization in the brain, which operates within a larger biological context, its activities being modulated by other physiological systems, notably the one involving a host of chemical messengers. The mind, with no materiality of its own, is nevertheless emergent from the activity of interacting neuronal assemblies in the brain. As in the case of reality at large, there can be no ultimate theory of the mind, from which one can explain and predict the entire spectrum of human behavior, which is an infinitely rich and diverse one. (shrink)

The establishment of women's literature as the main content of the female sex, should be specifically refers to the implied author of female subjectivity, rather than the main female characters in the works or the narrator's subjectivity; and, in addition to this main gender hegemony, which in fact is an inter-subjectivity. Women's literature should be in the works of women writers and implied male characters, female characters between the intersubjective dialogue between them. In the teleological level, women's (...) literature should be able to guard the true men and women there, asked the dimensions may be life, so it can go beyond the context of a modern reflection of resentment complex. The subjectivity of the feminine literature, as the key factor for the feminine literature, should be the female author's subjectivity rather than the female character's subjectivity in the books, which is a kind of inter-subjectivity without hegemony characteristics. There is a dialogic relationship between the implied female authors and both the female and the male characters in the feminine literature. From the perspective of teleology, the feminine literature should watch the authentic male and female beings, and seek all possible dimensions of life so as to surpass the resentment. (shrink)

Literature is a complex and multifaceted expression of our humanity, one dimension of which is ethical content. This striking collection of new essays pursues a fuller and richer understanding of five of the central aspects of this ethical content. These aspects are: the question of character, its formation, and its role in moral discernment; poetic vision in the context of ethical understanding; literature's distinctive role in self-identity and self-understanding; patterns of moral growth and change that emerge from the philosophical reading (...) of literature; and the historical sources and genealogies of some of our most central contemporary conceptions of the ethical dimension of literature. The volume engages with literary work from Homer to J. M. Coetzee, Shakespeare to David Foster Wallace, and explores the philosophy of Plato, Aristotle, Descartes, Locke, Kant, Hegel, Freud, Heidegger, Wittgenstein, Levinas, and others. This rich collection presents some of the best new thinking about the ethical content that lies within literature, and it shows why our reflective absorption in literature is the humane--and humanizing--experience many of us have long taken it to be. (shrink)

The Epic of Gilgamesh is a story full of thresholds, liminal spaces, and times of transition. This essay investigates the representation of time and space in Gilgamesh, employing Mikhail Bakhtin’s concept of the “chronotope.” The chronotope is a methodological tool that Bakhtin developed to compare changing depictions of time and space across the history of literature, and I argue that the Epic of Gilgamesh employs what Bakhtin terms “the chronotope of the threshold.” I examine four aspects of this chronotope: the (...) depiction of space, the depiction of time, the human characteristics associated with the chronotope, and its relation to the textuality of the epic. I argue that space in Gilgamesh is structured as a mosaic sequence of externally different but internally homogenous spaces, separated by highly symbolic thresholds. Likewise, the passage of time is repeatedly depicted as transformative, through such temporal markers as the “six days and seven nights,” or “the very first glimmer of dawn.” Further, it is shown that this particular arrangement of space and time, both in Gilgamesh and in Ishtar’s Descent, is associated with characters who are driven by powerful but obscure forces within themselves, crossing thresholds that lead to their undoing. The essay closes with a consideration of how the epic’s depiction of thresholds is related to the threshold of textuality itself, that is, the line that separates reality from representation. (shrink)

In this paper, I shall examine two types of assertions in literary narrative fiction: direct assertions and those I call literary assertions. Direct assertions put forward propositions on a literal level and function as the author’s assertions even if detached from their original context and applied in so-called ordinary discourse. Literary assertions, in turn, intertwine with the fictional discourse: they may be, for instance, uttered by a fictional character or refer to fictitious objects and yet convey the author’s genuine assertions. (...) The structure of the paper is twofold. The first, descriptive part is a question–answer type of discussion in which I shall introduce general philosophical arguments against assertions in fiction and present counter-arguments to them, paving the road to my account of literary assertions. In the second, argumentative part, in turn, I shall examine the nature of literary assertions, such as their semantic and ‘aspectival’ characteristics and their peculiar illocutionary force as well as the reader’s stance toward them. (shrink)

This paper theorizes and historicizes the ideas of modern language and translation and challenges the imperialist and nationalistic mode of worlding with the notion of ‘untranslatability’ that is embedded in the linguistic and cultural practices of colonial Taiwan and Korea. I redefine the notion of translation as a bordering system – the knowledge-production of boundaries, discrimination, and classification – that simultaneously creates the translatable and the untranslatable (i.e. the equivalence and incommensurability) in asymmetrical power relations. With this, I discuss how (...) this ambivalence is embodied in the experiences of colonial writers Wu Yung-fu and Pak T’aewŏn and their novellas ‘Head and Body’ (1933) and ‘A Day in the life of Kubo the Novelist’ (1934). I illustrate two characteristics of the ambivalent untranslatability embedded in their novellas: the linguistic untranslatability and the experience of ‘unhomeness’. The linguistic untranslatability and unhomeness, I argue, result in the colonized’s dislocation in homogeneous time-space relationships, resulting to the incompletion of the modernization project through colonialism. At the same time untranslatability offers a site to explore the transnational space that crosses linguistic boundaries, and to caution against the legacy of colonialism. (shrink)