In lieu of an abstract, here is a brief excerpt of the content:Education and Feminist AestheticsGauguin and the ExoticJane Duran (bio)IntroductionMuch has been made of the way in which Gauguin came to characterize the differences that he saw between the French and Tahitian populations once he had embarked on the series of voyages for which he is now celebrated.1 Although there is evidence to support a number of interpretations with respect to his portrayals of women, one theme has been paramount (...) in a great deal of the commentary: Gauguin came to see the women of Tahiti as not only emblematic of the island itself, and the island's culture, but as the embodiments of a certain sort of feminine grace. The contrasts that Gauguin himself invoked between the "naturalness" of the Polynesian women and what he took to be the falsity of women of his own class in Europe, especially France, has been the subject of much writing. In our attempts to educate undergraduates with respect to categories of oppression, we can appeal to the work of Gauguin as a valuable source of understanding concerning these issues.Given the Eurocentrism of the time, and given that it is roughly this same time period that Said will later go on to associate with the rise of Orientalism, it is probably not possible that Tahiti, its women, and its various flora and fauna could have been seen as anything other than vestiges of the natural in a world already too tamed. Words such as "savage" are used frequently in the criticism of the day to explain Gauguin's subjects, and some of the themes of his work seem to have been chosen specifically because they lent themselves to such an interpretation, at least in European eyes.2 But Gauguin goes a bit further than this crude caricature indicates, at least insofar as his portraits of female figures are concerned. It is clear that, for the [End Page 88] artist, they represent all that is to him unknown about Tahiti, and that at the same time they are coded as the natural, the innocent, and even the holy. An examination of some of his works will bear out the extent to which this is the case.IRegarding Gauguin's attitudes toward Tahiti and its women, Britt Salvesen has noted in recent commentary thatGauguin infused his art with mystery, often by depicting enigmatic female figures, traditional symbols of nature and its secrets. In Tahiti he expected to encounter exotic and sensual women. Given Gauguin's complicated position as both observer and participant in Tahitian society, his ambition to represent the "country's female type" bears close examination. He owned illustrated travel books in which, as he noted scornfully, "all the [natives] … look like Minerva or Pallas Athena." He aimed to disrupt this conventional projection of European ideals and fantasies onto Tahitian women.3As Salvesen indicates, Gauguin expected to find, and did find—by his lights—"exotic" and "sensual" women. Feminist analysis has provided us with an overwhelming amount of material about the extent to which such projections onto women as a group become a near universal human cultural trope, but few individuals allow us to make such strong comparisons with respect to projections on differing female figures as Gauguin does. That he is able to discern the ridiculousness of Academy art with its emphasis on "Pallas Athena" is obvious; what he chooses to do himself is something else again.Inaugurating a variety of personal relationships with women and girls as young as thirteen years of age,4 Gauguin developed a view of the Tahitian woman as emblematic simultaneously of the culture, of a certain sort of innocence, and of a virtually transcendental sacredness. That these images might be thought, naively, to have little to do with sensuality reflects the degree to which we fail to understand that for Gauguin, as for others after him, the sensual itself was sacred. Salvesen notes that one of the early relationships was with the "thirteen-year-old Tehamana. … [o]f Polynesian origin, [in]experienced, and of a seemingly 'impenetrable' character, Tehamana offered Gauguin the mysterious experience he sought in life and art."5If Tehamana represents one take on woman-as-elementally... (shrink)

Federal political orders often exhibit a conflict between the ideals of equality and political autonomy, since individuals in different subunits often enjoy systematically different standards of living conditions. While federal arrangements may be theoretically attractive to avoid despotism, such federal inequality would appear to conflict with the principles of egalitarian cosmopolitanism. The paper argues that individuals' interest in equal shares of income and wealth may legitimately be weighed against their interest in political control enjoyed by their subunit, as long as (...) the inequalities do not engender misery, domination, or unfair procedures. The reasons for subunit autonomy include reducing the risk of domination, increasing the responsiveness to local preferences, and reducing the burdens of decision making. These arguments also suggest that states may not always be the appropriate subunits in legitimate federal orders. (shrink)

This article provides an introduction to the articles in this theme issue. This collection examines epistemological, ontological, moral and political questions in medicine in light of the philosophical ideas of Charles Taylor. A synthesis of Taylor's relevant work is presented. Taylor has argued for a conception of the human sciences that regards human life as meaningful–deriving meaning from surrounding horizons of significance. An overview of the interdisciplinary articles in this issue is presented. This collection advances our thinking in the philosophy (...) of medicine as well as the philosophy of Charles Taylor. (shrink)

It has been proposed that the implicate order can be given mathematical expression in terms of an algebra and that this algebra is similar to that used in quantum theory. In this paper we bring out in a simple way those aspects of the algebraic formulation of quantum theory that are most relevant to the implicate order. By using the properties of the standard ket introduced by Dirac we describe in detail how the Heisenberg algebra can be generalized to produce (...) an algebraic structure in which it is possible to describe space translations in a way that is analogous to the description of rotations in a Clifford algebra. This approach opens up the possibility of going beyond the limits of the present quantum formalism and we discuss briefly some of the new implications. (shrink)

In this journal (Studia Logica), D. Rizza [2010: 176] expounded a solution of what he called “the indiscernibility problem for ante rem structuralism”, which is the problem to make sense of the presence, in structures, of objects that are indiscernible yet distinct, by only appealing to what that structure provides. We argue that Rizza’s solution is circular and expound a different solution that not only solves the problem for completely extensive structures, treated by Rizza, but for nearly (but not) all (...) mathematical structures. (shrink)

The paper shows that, contrary to what has been held since the sixteenth-century mathematician Christoph Clavius, there is no application of consequentia mirabilis (CM) in Greek mathematical works. This is shown by means of a detailed discussion of the logical structure of the proofs where CM is allegedly employed. The point is further enlarged to a critical assessment of the unsound methodology applied by many interpreters in seeking for specific logical rules at work in ancient mathematical texts.