Borrowing its name from the notorious '60s Ed Sanders magazine, Fuck You: A Magazine of the Arts, the editors have figured a way to rehone its countercultural and frictional stance with style and aplomb. A unique and provocative anthology of lesbian writing, guaranteed to soothe the soulful and savage the soulless. Includes Adele Bertei, Holly Hughes, Sapphire, Laurie Weeks, and many more.

This article closely reads “Chelsea Girls,” an autobiographical short story by Eileen Myles that depicts her experience caring for the diabetic, bipolar poet James Schuyler when she was a young writer getting started in East Village in the late 1970s. Their dependency relationship is a form of queer kinship, an early version of the caring relations between lesbians and gay men that HIV/aids would demand over the next two decades as chosen families emerged to nurture gay men and (...) lesbians rejected by their families of origin. The representation of queer kinship offers an alternative to more traditional portrayals of care in literature that focus on the heteronormative family, a site of care that feminist dependency theory also paradoxically privileges. This article synthesizes insights from queer theory and critical disability studies in order to expand our understanding of the roles participants in care can play, the ways they can feel, and the outcomes they can achieve. Myles and Schuyler’s dependency relationship was sustaining for both of them and also critical for her development as a pioneering lesbian poet in an art world still dominated by men. (shrink)

Contributors:Todd Alden, Lisa Anne Auerbach, Georges Bataille, Jean Baudrillard, David Brown, Gilles Deleuze, Craig Ellwood, Bob Flanagan, Michel Foucault, Jeremy Gilbert-Rolfe, Mike Kelley, Joseph Kosuth, Chris Kraus, Julia Kristeva, Don Kubly, Sylvère Lotringer, Deran Ludd, John Miller, Eileen Myles, Darcy Jo Paley, Ann Rower, Sue Spaid, Frances Stark, Mark Stritzel, James Tyler.

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Myles Burnyeat was a major figure in the study of ancient Greek philosophy during the last decades of the twentieth century and the first of this. After teaching positions in London and Cambridge, where he became Laurence Professor, in 1996 he took up a Senior Research Fellowship at All Souls College, Oxford, from which he retired in 2006. In 2012 he published two volumes collecting essays dating from before the move to Oxford. Two new posthumously published volumes bring together (...) essays from his years at All Souls and his retirement. The essays in Volume 4 are addressed principally to scholars engaging first with fundamental issues in Platonic and Aristotelian metaphysics and epistemology and in Aristotle's philosophical psychology. Then follow studies tackling problems in interpreting the approaches to physics and cosmology taken by Plato and Aristotle, and in assessing the evidence for early Greek exercises in optics. (shrink)

The application of constructivism to “nature” and “wilderness” is intellectually and politically objectionable. Despite a proclivity for examining the social underpinnings of representations, constructivists do not deconstruct their own rhetoric and assumptions; nor do they consider what socio-historical conditions support their perspective. Constructivists employ skewed metaphors to describe knowledge production about nature as though the loaded language use of constructivism is straightforward and neutral. They also implicitly rely on a humanist perspective about knowledge creation that privileges the cognitive sovereignty of (...) human subject over nature. Politically, the constructivist approach fails to take the scientific documentation of the biodiversity crisis seriously; it diverts attention toward discourses about the environmental predicament, rather than examining that predicament itself; and it indirectly cashes in on, and thus supports, human colonization of the Earth. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: _ _ Philosophy of Literature_: Contemporary and Classic Readings_ _Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 _ Philosophy of Film and Motion Pictures_: An Anthology _Edited by No ë l Carroll and Jinhee Choi ISBN: 9781405120272.

Anyone who has read Plato’s Republic knows it has a lot to say about mathematics. But why? I shall not be satisfied with the answer that the future rulers of the ideal city are to be educated in mathematics, so Plato is bound to give some space to the subject. I want to know why the rulers are to be educated in mathematics. More pointedly, why are they required to study so much mathematics, for so long?

The 2008 Aquinas Lecture, Aristotle's Divine Intellect, was delivered on February 24, 2008, by Myles F. Burnyeat, Emeritus Fellow of All Souls College, Oxford University, and Honorary Fellow of Robinson College, Cambridge University.

Myles Burnyeat (1939-2019) was a major figure in the study of ancient Greek philosophy during the last decades of the twentieth century and the first of this. After teaching positions in London and Cambridge, where he became Laurence Professor, in 1996 he took up a Senior Research Fellowship at All Souls College, Oxford, from which he retired in 2006. In 2012 he published two volumes collecting essays dating from before the move to Oxford. Two new posthumously published volumes bring (...) together essays from his years at All Souls and his retirement, some of which have hitherto been unpublished. Volume 3 introduces Plato's Republic and examines his subsequent interpretation, and shows how ancient philosophical thinking can be applied to contemporary questions about key philosophical and psychological topics. Volume 4 focuses on Plato's and Aristotle's handling of important concepts in epistemology, metaphysics and science, and introduces the early history of Greek optics. (shrink)

Kit Fine and Gideon Rosen propose to define constitutive essence in terms of ground-theoretic notions and some form of consequential essence. But we think that the Fine–Rosen proposal is a mistake. On the Fine–Rosen proposal, constitutive essence ends up including properties that, on the central notion of essence (what Fine calls ‘the notion of essence which is of central importance to the metaphysics of identity’), are necessary but not essential. This is because consequential essence is (roughly) closed under logical consequence, (...) and the ability of logical consequence to add properties to an object’s consequential essence outstrips the ability of ground-theoretic notions, as used in the Fine–Rosen proposal, to take those properties out. The necessary-but-not-essential properties that, on the Fine–Rosen proposal, end up in constitutive essence include the sorts of necessary-but-not-essential properties that, others have noted, end up in consequential essence. (shrink)

Examines the authenticity of the Platonic Seventh Letter, showing how its philosophical content conflicts with what we find in the Platonic dialogues.

I EXISTENTIAL PROOFS INTRODUCTION Metaphysical problems, like all philosophical problems, arise from a sense of puzzlement. What is puzzling is that the ...

Heidegger's history of hermeneutics discovered nothing more than a “diluted” understanding of hermeneutics in Schleiermacher and Dilthey. In contrast, Gadamer's and Ricoeur's histories of hermeneutics placed little or no emphasis on the premodern period, focusing instead on the rise of the “hermeneutic problem” in Schleiermacher's work and the development of that problematic in works by Dilthey and Heidegger. Ricoeur added Gadamer to that list, recognizing that Gadamer was instrumental in the way he had received and perceived the problem in question. (...) Charles R. Bambach argues that it was, in fact, Karl Barth's “crisis theology” that had inspired Heidegger's “destructive” alternative to the conventional view of historical research. He revealed that he had followed Hegel when writing his history of hermeneutics, noting that his decision to do so had consequences for the way he depicted the rise of hermeneutics; and the way his history of hermeneutics ended. (shrink)

Gene patenting has captured the headlines for the past four years, thanks in large part to the lawsuit the American Civil Liberties Union and the Public Patent Foundation brought against Myriad Genetics for the patents on the breast cancer genes, BRCA 1 and 2. Despite their recent celebrity, human gene patents have been granted by the United States Patent and Trademark Office for over thirty years. The commodification of the human body is not all that recent: one might be tempted (...) to argue that gene patenting is the inevitable next step in the com-modification of natural processes and products. Edward Yoxen dates the origins of the technological capitalization of life back to the 1920s.. (shrink)

Health Care Ethics: Critical Issues for the 21st Century is built around the four central themes of healthcare ethics: theoretical foundations, issues for individuals, issues for organizations, and issues for society. The text brings together the insights of a diverse panel of leading experts from the fields of bioethics, long-term care, and health administration, among others, and a comprehensive update of the ethics of pandemics.

In this study, we argue that contemporary nursing care has been overtaken by new public management strategies aimed at curtailing budgets in the public hospital sector in Australia. Drawing on qualitative interviews with 15 nurses from one public acute hospital with supporting documentary evidence, we demonstrate what happens to nursing work when management imposesroundingas a risk reduction strategy. In the case study outlined rounding was introduced across all wards in response to missed care, which in turn arose as a result (...) of work intensification produced by efficiency, productivity, effectiveness and accountability demands. Rounding is a commercially sponsored practice consistent with new public management. Our study illustrates the impact that new public management strategies such as rounding have on how nurses work, both in terms of work intensity and in who controls their labour. (shrink)

Through the personal stories of managers running global business, this book takes an inside look into the dilemmas of managers who are asked to make profits ethically according to the dictates of their company's ethics code. It examines what companies `think" they are doing to help managers in those situations and how those managers are actually affected. Thanks to the boost from the 1991 Sentencing Guidelines which minimizes penalties for companies with ethics codes caught in ethical wrongdoing, more than 85% (...) of US companies and two thirds of all Canadian companies and half of all European companies now have Codes of Ethics. Yet, over and over, we hear of stories of personal dilemmas and conflicts experienced by individual managers navigating those business waters in other cultures. "Eileen Morgan does an excellent job of mapping the course for navigating the previously uncharted global ethical waters. By identifying best practices, she leads the reader on a journey from Surviving, to Understanding to Knowing the ethical issues that frequently confront international business people. This is a must read for anyone who wants to successfully compete in world markets." -Michael J. Litwin, Executive Vice President, Chief Credit Officer, Heller Financial, Inc. "Eileen Morgan has combined the pragmatic concerns of the individual manager with the moral concerns that come from personal-life history, cultural roots, and corporate ethical culture …This book focuses on the constructive task of formulating and using an "ethical map," and is sure to be a tonic to conscientious managers who want to navigate cross-cultural commerce with integrity. It has done a superb job of creating order out of the complexity of cross-cultural moral experience by insisting that the complexity must be honored and appropriated rather than ignored or suppressed." -Dr. Richard Beauchamp, Professor of Ethics, Christopher Newport University "In this groundbreaking book, Eileen Morgan has provided scores of real-life examples and developed a framework for approaching ethical leadership in international business. This is mandatory reading for anyone involved in global management today...This is an important book on an important subject." -Stephen H. Rhinesmith, Ph.D. Author, A Manager's Guide to Globalization "Eileen Morgan provides us with a much needed roadmap for how to walk the path of ethical leadership with practical feet. She reminds us that ethical decision-making is a critical aspect of every day leadership, and that we can all choose to be 'ethical pioneers' in our companies and our communities. Every leader engaged in global business can benefit from the lessons and stories included in this book." -Christi A. Olson, Ph.D. Chair, Telecommunications Management Department, Golden Gate University "Eileen Morgan's thoughtful analysis of 'ethical capital' should be read by anyone who does business in a global environment…Morgan's book presents the issue clearly, comprehensively and compellingly, demonstrating that ethics is an indispensable aspect of individual leadership and organizational credibility. …It provides a clear roadmap for business leaders who need to communicate their commitment to integrity and accountability to their employees, their partners, and their customer, making their 'ethical capital' one of their most valuable assets." -Nell Minnow, Principal, Lens, The Corporate Governance Investors "Eileen Morgan gives excellent insight into ethical practices. She focuses on business but her insights have general application. This book also describes differences in ethical interpretation that can arise between diverse cultures. Ms. Morgan has made an excellent contribution to understanding the benefit of positive ethical practices." -David C. Lincoln, Sponsor, Lincoln Center for Applied Ethics, College of Business, Arizona State University President, Arizona Oxides, LLC · First in-depth look at how managers in global companies actually bridge the gap between their organizations and their daily decisions · Explains the need for internal and external ethical operations¦and how organizations often create confusion rather than clarity with the label of "ethics". (shrink)

M. F. Burnyeat taught for 14 years in the Philosophy Department of University College London, then for 18 years in the Classics Faculty at Cambridge, 12 of them as the Laurence Professor of Ancient Philosophy, before migrating to Oxford in 1996 to become a Senior Research Fellow in Philosophy at All Souls College. The studies, articles and reviews collected in these two volumes of Explorations in Ancient and Modern Philosophy were all written, and all but two published, before that decisive (...) change. Whether designed for a scholarly audience or for a wider public, they range from the Presocratics to Augustine, from Descartes and Bishop Berkeley to Wittgenstein and G. E. Moore. Their subject-matter falls under four main headings: 'Logic and Dialectic' and 'Scepticism Ancient and Modern', which are contained in this first volume; 'Knowledge' and 'Philosophy and the Good Life' make up the second volume. The title 'Explorations' well expresses Burnyeat's ability to discover new aspects of familiar texts, new ways of solving old problems. In his hands the history of philosophy becomes itself a philosophical activity. (shrink)

These five essays began a debate about the nature and scope of ancient scepticism which has transformed our understanding of what scepticism originally was. Together they provide a vigorous and highly stimulating introduction to the thought of the original sceptics, and shed new light on its relation to sceptical arguments in modern philosophy.

(2014). ‘Philosophy and the Novel’, by Goldman, Alan H. Australasian Journal of Philosophy: Vol. 92, No. 3, pp. 590-593. doi: 10.1080/00048402.2014.885069.