The author explores how the discursive practices of social texts relate to the subjectivities of readers. Employing Dorothy Smith's notion of femininity as textually mediated discourse, the author analyzes how teenage girls read the depictions of femininity in the glossy advertisements of fashion magazines. Through interviews with 48 girls aged 13 to 17 years, she explores both why and how young girls negotiate “what it means to be a woman.” Most young girls in her study draw on stereotypical meanings of (...) adult femininity. By giving these stereotypes truth status, these readers valorize not only patriarchal meanings of womanhood but also naturalize associations between femininity and the commodities through which this femininity is expressed as the everyday doing of gender. The author concludes by discussing implications of this study for both a feminist theory and a feminist politics of culture. (shrink)

This article explores how textual analysis can help us understand subjectivity as an empirical, rather than purely theoretical, phenomenon. The texts discussed here are advice columns in adolescent magazines; the analysis takes as its starting point girls’ accounts of magazine reading. Drawing on focus group discussions and interviews with 48 girls between the ages of 13 and 17 years, I explore how the accomplishment of ‘individuality’– as a culturally and historically-specific task of adolescence – is mediated by advice texts. Because (...) my analysis directs us to the existence of embodied subjects, I employ the notion of ‘Subject-ivity’. As a concept, ‘Subject-ivity’ reminds the analyst of the presence of an embodied, rather than theoretically constructed Self, brought into existence as a practical mode of consciousness. It thus provides a potential bridge between the sociological world of social subjects and highly theoretical work on subjectivity. (shrink)

This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...) Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction. (shrink)

In this issue we include contributions from the individuals presiding at the panel All in a Jurnal's Work: A BABEL Wayzgoose, convened at the second Biennial Meeting of the BABEL Working Group. Sadly, the contributions of Daniel Remein, chief rogue at the Organism for Poetic Research as well as editor at Whiskey & Fox , were not able to appear in this version of the proceedings. From the program : 2ND BIENNUAL MEETING OF THE BABEL WORKING GROUP CONFERENCE “CRUISING IN (...) THE RUINS: THE QUESTION OF DISCIPLINARITY IN THE POST/MEDIEVAL UNIVERSITY” SEPTEMBER 21ST, 2012: SESSION 13 MCLEOD C.322, CURRY STUDENT CENTER NORTHEASTERN UNIVERSITY, BOSTON, MA. Traditionally, a wayzgoose was a celebration at the end of a printer’s year, a night off in the late fall before the work began of printing by candlelight. According to the OED, the Master Printer would make for the journeymen “a good Feast, and not only entertains them at his own House, but besides, gives them Money to spend at the Ale-house or Tavern at Night.” Following in this line, continent. proposes in its publication(s) a night out and a good Feast, away from the noxious fumes of the Academy and into a night of revelry which begins, but does not end, at the alehouse or Tavern. continent. proposes that the thinking of the Academy be freed to be thought elsewhere, in the alleys and doorways of the village and cities, encountered not in the strictly defined spaces of the classroom and blackboard (now white) but anticipated and found where thinking occurs. Historically, academic journals have served a different purpose than the Academy itself. Journals (from the Anglo-Fr. jurnal , "a day," from O.Fr. jornel , "day, time; day's work," hence the journalist as writer of the news of the day ) have served as privileged sites for the articulation and concretization of specific modes of knowledge and control (insemination of those ideas has been formalized in the classroom, in seminar). In contrast, the academic journal is post-partum and has been an old-boys club, an insider trading network in which truths are (re)circulated against themselves, forming a Maginot Line against whatever is new, or the distinctly challenging. All in a Jurnal’s Work will discuss (in part) the ramifications of cheap start-up publications that are challenging the traditional ensconced-in-ivory academic journals and their supporting infrastructures. The panel will be seeking a questioning (as a challenging) towards the discipline of knowledge production/fabrication (of truth[s]) and the event of the Academy (and its publications) as it has evolved and continues to (d)evolve. Issues to be discussed will revolve around the power of academic publishing and its origins, hierarchical versus horizontal academic modules (is there a place for the General Assembly in academia?) and the evolving idea of the Multiversity as a site(s) of a (BABELing) multivocality in the wake of the University of Disaster. STAGE NOTES AND/AS/OR TRACK CHANGES: INTRODUCTORY REMARKS AND MAGICAL THINKING ON PRINTING: AN ELECTION AND A PROVOCATION Isaac Linder “Of course most people don’t think of editing/publishing as theatre but as something boring or parasitical (vis-à-vis a ‘source’ text), a textual backwater populated by people with glasses. But I think publishing a book today is theatre, socially networked theatre…. Facebook and Flickr are our era’s administered and generic version of sixties happenings!” — Tan Lin 1 ELECTING A MASCOT: THE BARNACLE GOOSE After pitching the idea for this panel with the editorial help of my continental cohorts I became fascinated with the image of the goose—dead and roasted as it may be—and its relationship to the space of the printing press. For a long while after proposing this gathering I was seriously under the sway of delusions of grandeur, imagining that we might roast a goose (or goosefu) and, preparing a meal as one prepares a text for publication, feast in something approaching a warm and well-nourished revelry. I should note, by way of introduction, that a substantial part of my undergraduate experience involved learning to typeset and work as a devil, as typesetters mischievously call it, in a letterpress studio. This accounts in part for my fascination and helps to explain the fact that, when I began to leaf around in medieval beastiaries in lieu of being able to procure a goose, I was almost immediately struck by a fantastic monster that I hereby elect to be the mascot for our so-called para-academic practice(s) the relatively famed, but no less fabulous for it, barnacle goose. The barnacle goose is a creature that first makes its way into 12th century manuscripts with Giraldus Cambrensis in 1186. Phenomenologically speaking the monster is a tree, a tree which, when approached closer is seen to be birthing geese budding from the buds that hang like ripe fruit from its branches. As the story goes these trees were found over water; the fledgling geese, once wrested from their pods would take off in flight or fall to their watery death, where they would be transformed into driftwood. In retrospect we presume the barnacle goose was posited as a consequence of the fact that geese born in more northern regions, migrating to Ireland and western Europe at large, were never seen to give birth. And I should note that this is far from the only other animal posited to be born from trees at around this time, my other favorite being medieval accounts of Moroccan tree-climbing goats. 2 In particular I’ve thrown up the mascot of the barnacle goose and singled it out from the quires of its beatiaries because its thoroughly hybrid origins lead us to name two very real creatures we can find point to in abundance; discrete materialities of the world cobbled together in textual fancy: on the one hand, the modern day barnacle goose , a common species of goose and, on the other, goose barnacles , a particular type of crustacean with incredible feathery tendrils and—I can't help but mention—one of the largest body mass to penis size ratios of all of the animals in the kingdom. Why is this bit of genital trivia relevant? Because they’re all hermaphroditic and in rare cases have been found to reproduce just with themselves—to inseminate themselves and give birth to their kin. So I think it must be stressed, as a symbol for what we’re really here to talk about, it's not a boy’s club thing so much as a very queer thing and, I contend, para - in every perfect sense of the word... Alongside the natural world, a monstrous imaginary concatenation; Alongside the hulls of so many institutional structures, funding sources and resources, Serresian parasites in all manner of mutualist, symbiotic, or properly parasitic positions; migratory and adrift; The tree, center stage in the 21st century adaptation of Waiting for Godot that is unraveling in ateliers across the world, is a barnacle goose birthing a flurry of miscegenous texts beyond medium and genre. PROVOCATION 1: CHAOSMOSIS “Genre is obsolete.” — Ray Brassier 3 And so, here I was getting carried away in daydreams about this generative and genealogical symbol under which to think all of the diverse projects we are all involved in as architects of the dressed word, (well dressed, bespoke, mansy, butch, careless, or roguishly punk attired as those words may be), when it also dawned on me, mid-flight here from Denver, that we are, even in lieu of being able to roast geese together, very much so literalizing what was never just the metaphor of the wayzgoose—a tradition, as you know, celebrated to mark the crepuscular turn into fall—as we are poised here, tomorrow being the first official day of fall on our calendars in the US marking the seasonal change from at which point it will no longer be possible to print without the aid of candlelight. A beautiful thought, that tipped into magical thinking on account of a little quick math I was able to do to come to the conclusion that we can all be delighted to know that as we proceed into the autumn with our printing projects always ahead of us and still to be set, we will tonight be bathed not only by the artificial candlelight of our screens, but also in part by photons raining down on us at 186,282 miles per second—photons from an aspect of 9 cyg, a stereoscopic binary deep within Cygnus, the swan but not-so-distant-relative of the goose, with a distance of 572 Light years away; photons that are raining down on us, will rain down on us all winter, have been raining down on us all year, and which had their origin in the combustion cores at a center of 9 cyg 572 years ago, in 1440, the year which we point to today as the common year in which, as we all know, Gutenberg is said to have brought the movable type to the western world, inaugurating an era that stretches farther into the past and future than McLuhan could justify; the proliferation of so much ambient text; insurrectionary coups on (and re-crystallizations of) genre—perceived amidst so much ambient light—enveloping this campus, just now. So, with that thought, and perhaps a new mascot, Nico Jenkins... NOTES “ Writing as Metadata Container, An Interview with Tan Lin ,” Chris Alexander, Kristen Gallagher, Danny Snelson, Gordon Tapper, Tan Lin, Jacket 2. January 20, 2012. To explore Lin’s notion of ambient textuality, plagiarism, and parallel, cross­platform publication in the 21st century, also see Lin’s sampled novel, “ The Patio and the Index ,” Triple Canopy 14, October 24, 2011, as well as the Edit event, organized at the Kelly Writers House at the University of Pennsylvania, April, 2010 . For a fascinating and fecund exploration of medieval plant­animal hybrids in relation to media ecology, see Whitney Trettien, “ Becoming Plant: Magnifying a Microhistory of Media Circuits in Nehemiah Grew’s Anatomy of Plants (1682) .” postmedieval 3.1 (2012):97. See also the crowd­review version of the essay. “ Genre Is Obsolete .” Compléments de Multitudes . 28 (2007). (shrink)

Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject.

Comprehensive account of constructive theory of first-order predicate calculus. Covers formal methods including algorithms and epi-theory, brief treatment of Markov’s approach to algorithms, elementary facts about lattices and similar algebraic systems, more. Philosophical and reflective as well as mathematical. Graduate-level course. 1963 ed. Exercises.

CHAPTER Addenda to Pure Combinatory Logic This chapter will treat various additions to, and modifications of, the subject matter of Chapters-7. ...

Chris Frith has argued that a loss of the sense of agency is central to schizophrenia. This suggests a connection between hallucinations and delusions on the one hand, and the misidentification of the subject’s imaginings as perceptions and beliefs on the other. In particular, understanding the mechanisms that underlie imagination may help us to explain the puzzling phenomena of thought insertion and withdrawal. Frith sometimes states his argument in terms of a loss of metarepresentational capacity in schizophrenia. I argue that (...) this formulation is unhelpful. (shrink)

Simulation Theory says we need not rely exclusively on prepositional knowledge of other minds in order to explain the actions of others. Seeking to know what you will do, I imagine myself in your situation, and see what decision I come up with. I argue that this conception of simulation naturally generalizes: various bits of our mental machine can be run‘off‐line’, fulfilling functions other than those they were made for. In particular, I suggest that visual imagery results when the visual (...) system is run off‐line. I briefly review the empirical evidence and consider the philosophical implications, particularly concerning the mode of mental representation in imagery. (shrink)

An explanation of Frege's change from objective idealism to platonism is offered. Frege had originally thought that numbers are transparent to reason, but the character of his Axiom of Courses of Values undermined this view, and led him to think that numbers exist independently of reason. I then use these results to suggest a view of Frege's mathematical epistemology.

Arendt and others have regarded Augustine as “the first philosopher of the Will,” considered in a broadly naturalistic sense. However, the Stoicism that influenced the young Augustine has a better claim to have “invented” such a will. His own thinking about will was profoundly affected by the Neoplatonism that facilitated his reconversion to Christianity. On the one hand, Augustine envisaged the near negation of will through the irrationality of sin and the fall. On the other, he came to believe that (...) through grace will could be re-identified with charity and with reason, human and divine. From a philosophical point of view, he thus rationalized, and in effect nullified, the concept of will with which he began. (shrink)

Philosophical questions about the arts go naturally with other kinds of questions about them. Art is sometimes said to be an historical concept. But where in our cultural and biological history did art begin? If art is related to play and imagination, do we find any signs of these things in our nonhuman relatives? Sometimes the other questions look like ones the philosopher of art has to answer. Anyone who thinks that interpretation in the arts is an activity that leaves (...) the intentions of the author behind needs to explain how and why this differs so fundamentally from ordinary conversational interpretation, where the only decent models we have are ones that depend crucially on the recovery of intention. Anyone who thinks that imaginative literature has anything to tell us about time had better have a position on how earlier and later relate to past and future. Anyone who thinks that empathy plays a role in literary engagement had better have a psychologically plausible account of what empathy is. Philosophical questions about the arts also go naturally with other kinds of philosophical questions: we can't think constructively about representation in art without thinking about representation; text, meaning, reference and existence get similarly drawn into the conversation. Some ideas that philosophers of art deal with emerge from other disciplines. In literary theory an enormous amount of attention has been lavished on tracing the sources of unreliability in narrative. Is the result adequate to the details of the particular works we call unreliable? Contemporary film theory is generally hostile to the fiction/documentary distinction. Are there in fact any grounds for this? This book of thirteen connected essays examines questions of all these kinds. It ranges from the semantics of proper names, through the pragmatics of literary and filmic interpretation, to the aesthetic function of stone age implements. Some of the essays have not been published before; some that have are here substantially revised. (shrink)

I am grateful to Catharine Abell and Jonathan Gilmore for their comments and for the opportunity to think again about some important questions. Before I respond.

Motor imagery typically involves an experience as of moving a body part. Recent studies reveal close parallels between the constraints on motor imagery and those on actual motor performance. How are these parallels to be explained? We advance a simulative theory of motor imagery, modeled on the idea that we predict and explain the decisions of others by simulating their decision-making processes. By proposing that motor imagery is essentially off-line motor action, we explain the tendency of motor imagery to mimic (...) motor performance. We close by arguing that a simulative theory of motor imagery gives (modest) support to and illumination of the simulative theory of decision-prediction. (shrink)

I assess the claim that metarepresentation is a key notion in understanding the nature and development of our capacity to engage in pretence. I argue that the metarepresentational programme is unhelpful in explaining how pretence operates and, in particular, how agents distinguish pretence from belief. I sketch an alternative approach to the relations between pretending and believing. This depends on a distinction between pretending and pretence, and upon the claim that pretence stands to pretending as truth stands to belief.

Shaun Gallagher and Dan Hutto claim that those once bitter rivals, simulation theory and theory-theory, are now to be treated as partners in crime. It's true that the debate has become more nuanced, with detailed suggestions abroad as to how these two approaches might peaceably divide the field. And there is common ground between them, at least to the extent that they agree on what needs to be explained. But I see no fatal flaw in what they share. In particular, (...) I reject the idea that most interpersonal understanding can be accounted for without the postulation of mechanisms for inferring beliefs and desires. I also query the claim that simulation mechanisms have a very limited explanatory scope, and argue for the existence of such mechanisms at sub-personal levels. I suggest that Gallagher and Hutto's strictures against false belief tests are unwarranted, and their conclusions about the role of narrative in interpersonal understanding are unfounded. (shrink)

Difference is one of the most influential critical concepts of recent decades. Mark Currie offers a comprehensive account of the history of the term and its place in some of the most influential schools of theory of the past four decades, including: * post-structuralism * deconstruction * new historicism * psychoanalysis * French feminism * postcolonialism. Employing literary case studies throughout, Difference provides an accessible introduction to a term at the heart of today's critical idiom.

Studie over het werk van de Duitse wijsgeer Friedrich Ludwig Gottlob Frege (1848-1925).

I shall argue that cinematic images do not have tense: not, at least, in the sense that has been ascribed to them by film theorists. This does not abolish time in cinema, for there can be temporal relations without tense, and temporal relations between cinematic images can indicate temporal relations between events depicted. But the dispensability of tense will require us to rethink our assumptions about what is sometimes called anachrony in cinema: the reordering of story-time by narrative, of which (...) the flashback is the most common example. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gregory Currie TEXT WITHOUT CONTEXT: SOME ERRORS OF STANLEY FISH "Intuition told him that the vast ineptitude of the venture would serve as proof that no fraud was afoot." —Jorge Luis Borges, "Tom Castro, the Implausible Imposter," in A Universal History ofInfamy There are those of us who seek unity, universality, patterns of invariance in any diverse multitude of particulars. With the interpretation of texts, the diversity is (...) evident, the unity, universality and invariance less so. Still, we have the text itself, a sequence of determinately meaningful signs, independent of, and a constraint on, the activities of interpreters. We universalists might want more than that, but it's a start. It's a start some people are not prepared to give us. Stanley Fish is one of them. According to him we are looking for something which does not exist, and which we do not need. I shall argue that Fish is wrong on both counts. According to Stanley Fish, there are no constraints on interpretation that transcend particular, local interpretive communities. Indeed, there is no truth or validity that is community transcendent, no standard of lightness, proof or confirmation that has any warrant other than community approval. Intellectual ascendency is always ultimately a matter of rhetorical power, and the locus of power shifts as the norms of the community change. Yet we need not worry that this implies any dangerous kind ofrelativism or subjectivism. Each ofus is deeply immersed Philosophy and Literature, © 1991, 15: 212-228 Gregory Currie213 in his or her own community. Our thoughts, intentions, and actions gain their very identity from the structure of public, communitarian relations we enter into, and the community imposes on us a tight structure of norms and intellectual options that "situate" us (a favored word in the Fish vocabulary) in such a way that it is always clear what interpretive move is appropriate.1 Fish is no epistemological anarchist in the style of Feyerabend: it is not the case, for him, that "anything goes." There is always a clear distinction between what goes and what does not; it is just that the rules, the structure, the hierarchy of options are not invariant across time or communities.2 Now we do it like this, tomorrow we may do it like that; we do it this way, they do it that way. Wherever you are, the rules are always clear, but the rules depend on where you are. I shall call this thesis "internalism." It bears some resemblance to views of the later Wittgenstein, and rather closely parallels Thomas Kuhn's theory of scientific paradigms. It has a negative and a positive aspect. The negative aspect is that community-specific constraints on interpretation are all we have. The positive aspect is that they are all we need. Is internalism correct? I say it is not. I say that the positive claim is false, because internal constraints alone can never answer the relativist's challenge, when that challenge is properly understood; more about that in a moment. But this merely serves to highlight the importance of the negative thesis: if that is correct then relativism carries the day. So my primary concern here is with the negative thesis. Fish's main argument for the negative thesis is that what seems to most of us to be an obvious external constraint on interpretation—the literal meaning of the text in question—is no such thing. And he bases this claim on some arguments which purport to show that there L· no such thing as literal meaning. So my aim, it emerges at last, is to defend the idea of literal meaning. But first, I shall say something about the question of relativism. II Fish's answer to relativism, it will be remembered, is that interpretive communities constrain the interpretive choices of their members in such away that there can always be seen tobe nonarbitrary ways ofproceeding when it comes to formulating and choosing between interpretive hypotheses. This claim, the positive claim of Fish's internalism, raises two questions: Is Fish right, as a matter of fact, about the ways in which interpretive, and more generally intellectual communities constrain the 214Philosophy and Literature thoughts and actions... (shrink)

Ideally, science would indeed be focused entirely on facts, truth, and objectivity. But the reality is different. Science cannot be separated from the human experience. As long as science is a human endeavor, it will carry with it the biases of society.

What can we learn from fiction? I argue that we can learn about the consequences of a certain course of action by projecting ourselves, in imagination, into the situation of the fiction's characters.

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)