The complex emotional work of nurses calls for more recognition of emotional labour and the incorporation of emotional labour in nursing education. Based on participant observation and semistructured interviews, we describe the experiences of student nurses in two nursing homes for elderly people with dementia in the Netherlands. We analyse their interactions using Goffman's dramaturgical view on the front and backstage behaviour and the distinction between surface acting and deep acting. The study reveals the complexity of emotional labour, as nurses (...) swiftly adapt their communication styles and behavioural strategies between settings, patients, and even between moments within one interaction sequence, which shows that the theoretical binaries fail to fully capture their skills. Although student nurses take pride in their emotionally taxing work, the societal undervaluation of the nursing profession negatively impacts their self‐image and ambitions. More explicit recognition of these complexities would enhance their self‐appreciation. This calls for a professional ‘backstage area’ that allows nurses to articulate and strengthen their emotional labour skills. Educational institutions should provide this backstage for nurses‐in‐training to strengthen these skills as part of the professional skill set. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dutch Cartesianism and the Birth of Philosophy of Science by Andrea StrazzoniAaron SpinkAndrea Strazzoni. Dutch Cartesianism and the Birth of Philosophy of Science. Berlin: Walter de Gruyter, 2019. Pp. ix + 245. Hardback, $124.99.Andrea Strazzoni's Dutch Cartesianism and the Birth of Philosophy of Science is a clear step forward in our understanding of the rise and fall of Cartesianism. The work, limited to the (...) class='Hi'>Dutch context with one notable German excursion, covers roughly one hundred years starting from the 1630s. While the time frame is rather large in scope, the majority of the work is narrower in focus, with a heavy emphasis on the academic circles in mid-to-late seventeenth-century Leiden and Utrecht. It is thus a welcome addition to the growing body of literature dealing with the unique political, religious, and academic contexts in which Dutch Cartesians found themselves. While much of the book deals with the philosophy of Descartes and then Newton, Strazzoni is not concerned with giving any novel interpretations of either figure; instead, he sheds a great deal of light on a cast of characters who are only now coming to be appreciated for their contributions and influence on philosophical movements of the seventeenth and early eighteenth centuries. The book has two main explicit goals. First, Strazzoni wants to show why foundationalism came to play such a prominent role in Dutch Cartesian circles and what foundationalism's effects were. Second, through this examination, Strazzoni hopes to show that the multiplication of worldviews [End Page 154] shaped a new function for metaphysics and logic as tools for examining principles, which in turn determined a change in the function of philosophy itself that eventually gave birth to a kind of philosophy of science familiar to us today.Strazzoni divides this project into eight chapters, with a focus on six figures: Henricus Regius, Johannes Clauberg, Johannes de Raey, Arnold Geulincx, Burchard de Volder, and Willem Jacob's Gravesande. In addition to a brief overview of the goals and structure of the work, the first chapter includes a survey of how methodologies have changed in the history of philosophy and the history of the philosophy of science, which will be helpful background for those less familiar with the fields.The following two chapters deal with the crises that emerged in Utrecht and Leiden over the spread of Cartesian philosophy. In chapter 2, building on Theo Verbeek's work, Regius takes center stage. While some context of the Utrecht crisis is given, Strazzoni spends much of the chapter detailing how Regius's medical background led to a more empirical approach and lack of metaphysical foundation. While Regius's own controversial positions embroiled both himself and Descartes in the Utrecht Crisis, ripple effects spread to Leiden, resulting in prohibitions against discussions of Cartesian philosophy. In the third chapter, Strazzoni highlights a group of anti-Cartesians, with Jacob Revius as the primary antagonist, and the responses from De Raey and Clauberg. Clauberg, the subject of Strazzoni's only sustained discussion of Cartesianism from Germany, coordinated with de Raey on both a positive campaign of promotion and strategizing responses to the anti-Cartesian front. Outside of discussing Clauberg's explicit role in Leiden, Strazzoni studies his logic and Ontosophia, neatly explaining his shift to more metaphysical foundations.Chapters 4, 5, and 6 continue exploring the various approaches and roles for foundational philosophy in more detail, delving into how these controversies motivated renewed analysis of core Cartesian principles with integration into an academic curriculum in mind. Apart from de Raey's efforts to show that Cartesianism was aligned with Aristotelianism, Strazzoni claims a period of Cartesian physics without an explicit preoccupation with metaphysical questions, especially in light of the restrictions imposed by the curators of Leiden's university. However, as Spinoza and Hobbes came to prominence, multiplying the number of philosophical worldviews, foundational arguments were needed to combat them. Strazzoni highlights how varied these responses could be, as Geulincx's own take on foundations leaned heavily toward ethics rather than epistemology, metaphysics, or logic. However, the discussion of Geulincx is much broader, also including illuminating expositions of Geulincx's theology, epistemology, and metaphysics.Chapter 5 expounds further... (shrink)

The aim of this study was to empirically investigate differences in role expectations, among the stakeholders involved, about the devolved personnel management role of front-line managers. In particular, we researched the role expectation differences between FLMs, their middle managers, and Human Resource practitioners. In total, nineteen semi-structured interviews have been conducted involving eleven FLMs, eight middle managers, and two HR practitioners working at the same Dutch hospital. Most discovered role expectation differences were related to how FLMs should execute their (...) HR tasks. FLMs were often uncertain if their role enactment met those of their middle managers and/or HR practitioners, herewith indicating role stress. Our findings underline the importance of paying attention to role expectations’ differences in aligning components of the HRM-performance relationship. Future research could include the role expectations of other important stakeholders, such as: subordinates and top management. The outcomes of this empirical work are translated into four interventions to diminish FLMs’ role stress. (shrink)

The study of logic goes back more than two thousand years and in that time many symbols and diagrams have been devised. Around 300 BC Aristotle introduced letters as term-variables, a "new and epoch-making device in logical technique." (W. & M. Kneale The Development of Logic (1962, p. 61). The modern era of mathematical notation in logic began with George Boole (1815- 1864), although none of his notation survives. Set theory came into being in the late 19th and early 20th (...) centuries, largely a creation of Georg Cantor (1845-1918). See MacTutor's A history of set theory or, for more detail, Set theory from the Stanford Encyclopedia of Philosophy. (shrink)

Dutch Mathematician Luitzen Egbertus Jan Brouwer (1881-1966) was a rebel. His doctoral thesis... was the manifesto of an angry young man taking on the mathematical establishment on all fronts. In a short time he established a world-wide reputation for himself; his genius and originality were acknowledged by the great mathematicians of his time... The Intuitionist-Formalist debate became a personal feud between the mathematical giants Brouwer and Hilbert, and ended in 1928 with the expulsion of Brouwer from the editorial board (...) of the Mathematische Annalen by dictat of Hilbert. Forsaken, humiliated and disillusioned Brouwer abandoned his Intuitionist Programme and withdrew into silence just about the time when the Formalist Programme appeared to be fundamentally flawed and major opposition collapsed... This book attempts to follow the `genetic' development of Brouwer's ideas, linking the man Brouwer, his Weltanschauung, his philosophy of mathematics and his reconstruction of mathematics. Brouwer's own writings, his publications as well as his unpublished papers, are its immediate and main source of reference. It is the second volume in the new series Studies in the History and Philosophy of Mathematics, and is written for the specialist as well as for the general reader interested in mathematics and the interpretation of its status and function. (shrink)

In the early months of 2020, the deadly Covid-19 disease spread rapidly around the world. In response, national and regional governments implemented a range of emergency lockdown measures, curtailing citizens’ movements and greatly limiting economic activity. More recently, as restrictions begin to be loosened or lifted entirely, the use of so-called contact tracing apps has figured prominently in many jurisdictions’ plans to reopen society. Critics have questioned the utility of such technologies on a number of fronts, both practical and ethical. (...) However, little has been said about the ways in which the normative design choices of app developers, and the products that result therefrom, might contribute to ethical reflection and wider political debate. Drawing from scholarship in critical design and human–computer interaction, this paper examines the development of a QR code-based tracking app called Zwaai (‘Wave’ in Dutch), where its designers explicitly positioned the app as an alternative to the predominant Bluetooth and GPS-based approaches. Through analyzing these designers’ choices, this paper argues that QR code infrastructures can work to surface a set ofethical–political seams, two of which are discussed here—responsibilizationandnetworked (im)permanence—that more ‘seamless’ protocols like Bluetooth actively aim to bypass, and which may go otherwise unnoticed by existing ethical frameworks. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 46, no. 2. © 2020 by Dana Sonnenschein 495 Dana Sonnenschein A History of Lace Textile Research Centre, Leiden, NL Lace is the creation of a series of holes to form a design. Categorized as looping, interlacing, circular in definition and sometimes in the making. In Europe, in the late Middle Ages, women began filling in cutwork or drawn threads with nets of stars and flowers in (...) colored silks and silver-gilt. Needle lace is like embroidery in the air. * Later, bobbin lace. Mathematical, precise. Each bobbin a wooden handle like a flower bulb sending up a stalk ending in a spool instead of petals. Lace was brought to Zurich from Italy in about 1536. The whole history of lace-making is women. Men sold it and made the profit. * 496 Dana Sonnenschein Afloat on a round, midnight-blue velvet pillow, a half-finished lace collar, one side a ring of flowers radiating thread to a couple dozen bobbins around the rim, the other side dots and dashes on sky-blue paper— An old lace-maker has died, and her family has given her things to the research center. * Has anyone here made lace before? Once, Eefe says, her forearms crossing back and forth like a girl slowly twirling jump-ropes for Double Dutch. She smiles at the memory, shakes her head, afraid to touch the wooden handles now. Lace is the history of women, a series of holes that make a design. * Leaning in, I remember my grandmother’s eyes blurred behind glasses and wonder how this old woman did such fine work. Perhaps someone else set the pins, and she read them with her fingertips, whispering the Dutch words for anemone, meadow-flax, tulips, humming a bobbin tell, a song to remind her what to do with her hands, another kind of dance in another kind of Netherland. Dana Sonnenschein 497 Or perhaps she stopped making lace when memory grew clearer than sight but kept this cushion as a place she could still touch her past though the blooms lie flat and pale. * Irish lace is three-dimensional— a corner garden of cornflowers displayed near rows of fine Belgian trim arched like church windows— so many hours, panes, blooms, tendrils, we are speechless and so is the teacher. She calls Marika out of the office— You make lace, explain. * She shows us her tiny circlet of blue Torchon. I touch two loose threads, ask if that’s where she began. And finished, she says; It is hard to make the connection. Lace is the history of women. You always have a pattern, Marika says. Honiton lace is strict, every pin mapped out. With Belgian, you can be more free, fill in a shape with fantasy—I like this kind. You can move from this bloom to that leaf or fern spiral next with a little bridge called a bride. 498 Dana Sonnenschein She points to a zigzag. Fan here. We stare at the mark, mystified. You are always working with only four; it’s very logical, she says. Eefe adds, The threads and bobbins will show you the way. What’s missing is the knowledge of when to pass over or under when you want a rose or lily. Marika’s grandmother taught her lace thirty years ago. She’s learning again now. It’s nice to do. But you need a teacher. It’s a complicated subject. She makes a few passes with pairs of bobbins then undoes her work, looks up, smiles. She doesn’t know how to say what she means in English and might not say more in Dutch. Even when it’s on the table in front of us, lace is what’s missing, the art of making something of absences, of what is felt more than known, the history of women. There is no grandmother among us. Note The italicized passages in the first two sections and the query about whether anyone has made lace are drawn from my notes on Dr. Gillian Vogelsang-Eastwood ’s lecture during the Intensive Textile Course, September 19–23, 2016. Dana Sonnenschein 499 The Great Chain of Being is one loop pulled through another in... (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 46, no. 1. © 2020 by Abby Minor 103 JUMP ROPE CHANT: A CURE FOR ALL KINDS OF STOMACH ACHES, ca. 2000 BCE–ca. 2000 CE Abby Minor Happy are those who stand in a field at night and hear the double rainbows land, or clap the gaps that RHYTHM makes, or shout to the beat of grasses; They are like trees planted by streams of water, which (...) yield their fruit in its season, & their leaps & their leaves & their feet do not wither, they leap up in the morning singing, in all that they do they chant, and jump, and are singing: “Blood root, hair pin, lupine, clover, watermints and cinnamon, a pencil, myrrh, poplar, juniper, copper water, whiskey, cotton root, snake root, savin, wire,  Clap your hands, all you peoples. —Psalm 47.1 104 Abby Minor wallflower, gunpowder, emeralds, myrtle, tonic of geranium, lace seeds, soap, bone stay, coltsfoot, catheters, quinine, a hoop bound with oil-silk, a hat pin, oak—” I chant a long time I chant from within a hollow place I chant all colors of cohosh Instantly as dawn clips green & white, I chant to dissolve separate parts I jump backwards and I chant So that you may bathe your feet in blood, it was in the Psalms, it’s what God does it might be a rain dance it will come to you like a beautiful cigar filled with fine leaves like the fine feet of a deer cleft in gold leaves Like rhythm a hair pin, rhythm a hat pin, rhythm a knitting hook, rhythm a nail RHYTHM makes my feet like the feet of a deer. I chant rosemary so assiduous I chant pennyroyal forever most poisonous I chant intransigence and double rainbows pop on the sidewalks of the cosmos, double Abby Minor 105 Dutch ropes spin like twin rivers, there I am planted like a tree by the water, like an outrider dropping fire into the ropes: I will kick up my heels seven times there will be a noise and the seed will fall out on the ground shouting, “Date palms, dancing, anise, trillium, turpentine, scissors, silphium, rum, cundums, pomegranate, pearlash, iron, foot baths, borax, birthwort, rue, wormwood, fern root, fig leaf, sneezing, a small ball of sheep’s wool, smart weed, brass, blackberries, goldbeaters, button hooks, hawthorn, womb veil, vinegar, saffron, glass—” If you try our hearts, RHYTHM, if you visit us by night; if I forget which is my left hand and which is your right— just let it be me; psalmist, you, a trace of blood. Me, muscle, 106 Abby Minor you, myrrh. Or you jumping, me rope. Me mirrorstep, you leave your dark prints on the light. Me ambush, you flood. Me bloodthirsty, you a smaller blood. You bloodthirsty, me myrrh. Me fortress, you a tent for the sun. Me splendor, you go on and on. Me hat pin, me flood. You poetry, me a clapping tree, or me poetry and you nothing at all. I say to RHYTHM, “You are my Rhythm, I have no song apart from you and I could never tell just where the sole leaves the sidewalk and turns into the smallest lit pause popped, suspended above shoe shadow; I could never say whether I’m the jumper picking up her knees or the turner planted so still save for her hands— and what pilots her hands, pilot, if not you, if not her hands? If not the offbeat, the bows of light we pattern, Rhythm which is both the rivet and what’s held: like rhythm a hair pin, rhythm a hat pin, rhythm a knitting hook, rhythm a nail Abby Minor 107 RHYTHM makes my feet like the feet of a deer. Now I chant the bitter melon fruit who lights up darkness and my feet do not grow weary writing RHYTHM on the sidewalk lighting incense in the bathtub filled with gin in which I lay chanting like the singers in front, like the musicians last, like the girls between them playing tambourines: Rhythm make a riot Rhythm eat a bee Rhythm use a chicken feather & make a joyful noise Praise Rhythm with mint & astringents with spearmints & syringes with pipes, pen handles, mercury... (shrink)

In a colloquium on “lyric philosophy,” this contribution records the efforts of an analytic philosopher to come to grips with questions that Jan Zwicky, who is both a fine poet and a subtle philosopher, has raised about anglophone analytic philosophy. The essay situates Zwicky between the analytic and Continental traditions in philosophy: like the best analytic philosophers, it is argued, she is enamored of clarity, but, like what is best in the Continental tradition, she demands of philosophy a deeper sense (...) of meaning than philosophical analysts tend to do. It is from this unusual position that Zwicky is said to challenge the dogmas of the analytic tradition. Notable among those treated in this article are the belief that attributing literal meaning to anything but linguistic items is futile, belief in the possibility of distinguishing literal from metaphorical meaning, belief in the supremacy of argument over aphorisms, and belief in the importance of the “reductionist” program, which seeks to understand wholes in terms of their parts. (shrink)

The transmitted text of line 13, ‘inter geminas…frontes’, has long presented an anomaly in the description of the decorated papyrus roll. If, in the context of book production, frons means the flat, round cross section located at either end of the rolled up book and if cornu means an ornamental projection attached to the ends of the umbilicus and extending beyond the plane of the frons, then the transmitted text is a physical impossibility. For it is the frontes that lie (...) between the cornua and not the other way round. In the words of Heyne's paraphrase: ‘geminae frontes inter duo cornua, non duo cornua inter geminas frontes.’ Emendation is required not only because an author is unlikely to be inaccurate or imprecise about the physical details of his book but also because the transmitted text can be salvaged only by recourse to tortuous theories about the meaning of cornu and frons, about their locations with respect to one another, and about the interpretation of inter with geminas. (shrink)

The review concerns the book Kapitalizm sieci (Network Capitalism). After discussing the structure of the book, a deeper reflection is made on some of the themes of the publication. The question of ideology that emerge as a response to the course of the digital transformation is addressed. Then the issue of primary accumulation and how it plays out in the digital space is tackled. Finaly, the digital space is situated in the context of material infrastructure.

While the simple historical view has pictured the Lysenko controversy as an uninterrupted series of Lysenko's victories-beginning with the 1936 discussion, and culminating in the infamous August 1948 meeting of the Lenin All-Union Academy of Agricultural Sciences, when genetics was officially abolished in the Soviet Union-it was certainly more complex, as recognized by such serious historians as David Joravsky and Mark Adams. As we have seen, the roles the competitors assumed in 1945–47 were the reverse of those they assumed in (...) the 1930s: the geneticists managed to gain the offensive, and Lysenko was forced to defend his position.This episode suggests that the Communist Party leadership probably did not have a special bias against genetics, nor a particular preference toward Lysenko at that time. The actual decisions of the Party apparatus on particular science policies were based upon the current priorities of general foreign and domestic policies, rather than upon an “orthodox Party line” in esoteric scientific questions. It is clear and has been recognized by some historians that the Soviet scientific community was not a passive, monolithic object of the manipulation, control, and repression exercised by the Communist Party leadership; various groups within the Soviet scientific community actively exploited every opportunity provided by the Party's policies to achieve their own objectives.The Lysenko controversy illustrates the profound impact of international events on Soviet science and suggests that its history cannot be understood as a result of exclusively domestic affairs, but should be explicated within a broader framework of interaction between Soviet domestic and international policies and between the Soviet and Western scientific communities. As we have seen, one of the major causes of the geneticists' success in the postwar struggle with Lysenkoists was the shift of Soviet foreign policies toward internationalism stimulated by the wartime alliance between the “Big Three.” This suggests that the so-called “death” of genetics in the Soviet Union in August 1948 was also the result of another dramatic shift in the international situation: the climax of the Cold War confrontation between former allies in the summer of 1948, which marked the final division of postwar Europe and the world into two opposing camps, East and West. (shrink)

In this article we investigate the way modern democracies can deal with extremists in public discussion. The first part of the article conceptualizes political discussion insofar as it makes a contribution to the democratic process. We focus upon the democratic process as a way of dealing with conflicts between citizens that stem from differences in moral outlook. We reflect upon this process mainly in relation to its capacity to overcome possible political deadlocks, in the perspective of collective decision making. In (...) the second part we concentrate on the question of how public discussion in a modern democracy should look. Here, then, we take a similar perspective as Gutmann and Thompson (1996) in saying that we should try and define some central ‘rules of the game’ for public discussion. We make a distinction between entrance rules that are proscriptive and performative rules that are suggestive. (shrink)

The intent of this research article is to argue with the line of reasoning of arguments from Paul Hager and other educational theorists against the front-end model of education. The model is rejected because it cannot be achieved in occupational preparation, and, moreover, those critics said that it is based on a wrong idea of conceptual interpretation of learning that makes it less conducive to lifelong learning in the long run. The framework which is rejected is a sharp distinction of (...) two concepts; process and product. The reason of rejection is that the sharp distinction does not exist. However, from the research, many analyses show that the front-end model is one of the most important aspects of employment and vocational education, which is the belief that actual practice at work will guarantee the skills of learners before they enter the actual operation. Based on a method of postmodern philosophical analysis, I found that the relationship between education and work is a highly complex relationship. The result of this complexity makes it impossible to have a perfect reason for Hager and his colleagues to reject the significance of the front-end model as concluded by their previous research. On the other hand, I argue that we would have more weight in reasoning if we are to point out that the new policy of lifelong learning still requires a new interpretation on integrity of front-end model of career preparation. This is because the more plausible definition of human being from Hannah Arendt is related to work and working. From what is conceptualized here as an argument of imperfect employability, I pointed out that the rejection of front-end model itself has an important base of conceptualization that does not match the definition of such conditions of being human. Therefore, the rejection of front-end model should be considered as an argument that does not yet have enough weight in reasoning. (shrink)

The purpose of this contribution is to analyse climate change litigation in an innovative way, considering it as an example of “privatisation” of international law, and unravelling the “ecological” side of conflict-of-laws climate change litigation. The paper will first explain the concept of privatisation of law as applied to international law and what it means in the context of climate change litigation, before moving to a landmark case, whose appeal is still pending in front of a domestic court in Europe: (...) Milieudefensie et al. v. Royal Dutch Shell plc. The focus of the analysis of the cases will be limited to the use of the conflict-of-laws mechanism present in the Rome II Regulation, namely Article 7. The paper critically assesses the principle of ubiquity included in this provision, by looking at the concept of “event giving rise to the damage” as applied in CO2 reduction claims in the existing legal scholarship and using an underexplored ecofeminist perspective. Inspired by the work “A relational feminist approach to conflict of laws” by Roxana Banu (2017), the paper argues for a relational understanding of the concept of “event” and goes further to consider in an ecofeminist perspective the environment as composed of human, non-human beings and natural objects, and of their relations with each other. The article is meant to be a starting point for further research, which for the first time applies ecofeminist theories to private international law. (shrink)

D Z Phillips; Not in Front of the Children: children and the heterogeneity of morals, Journal of Philosophy of Education, Volume 14, Issue 1, 30 May 2006, Pages.

Retaliation against whistleblowers is a well-recognized problem, yet there is little explanation for why uninvolved peers choose to retaliate through ostracism. We conduct two experiments in which participants take the role of a peer third-party observer of theft and subsequent whistleblowing. We manipulate injunctive norms and descriptive norms. Both experiments support the core of our theoretical model, based on social intuitionist theory, such that moral judgments of the acts of wrongdoing and whistleblowing influence the perceived likeability of each actor and (...) ultimately influence intention to ostracize each actor and indicate more willingness to ostracize the whistleblower than the wrongdoer. When we vary norms for the wrongdoing in Experiment 1, we find that descriptive and injunctive norms indirectly influence intentions to ostracize both the wrongdoer and whistleblower. These relationships are serially mediated by the observers’ moral judgments of the act and likeability of the actor. When we vary norms for whistleblowing in Experiment 2, the injunctive norm manipulation affected moral judgment of the action of whistleblowing, and we do not observe any other significant effects of the norm manipulations on moral judgments of the actions of wrongdoing or whistleblowing. (shrink)

Background: Patient participation in clinical ethics support services has been marked as an important issue. There seems to be a wide variety of practices globally, but extensive theoretical or empirical studies on the matter are missing. Scarce publications indicate that, in Europe, patient participation in CESS varies from region to region, and per type of support. Practices vary from being non-existent, to patients being a full conversation partner. This contrasts with North America, where PP seems more or less standard. While (...) PP seems to be on the rise in Europe, there is no data to confirm this. This study sought a deep understanding of both habits and the attitudes towards PP in the Netherlands, including respondents’ practical and normative perspectives on the matter. Methods and Results: We developed a national survey on PP for Dutch CESS staff. Our survey comprised a total of 25 open and close-ended questions, focused on four topics related to PP goals of CESS, status quo of PP, ideas and ideals concerning PP, and obstacles for PP. Discussion: The four most important findings were that: Patient participation in Dutch CESS is far from standard. Views on patient participation are very much intertwined with the goals of ethics support. Hesitations, fears and perceived obstacles for PP were not on principle and Most respondents see PP as a positive opportunity, yet requiring additional training, practical guidance and experience. Conclusions: Various normative reasons require PP. However, PP seems far from standard and somewhat rare in Dutch CESS settings. Our respondents did not raise many principled objections to PP. Instead, reasons for the lack of PP are intertwined with viewpoints on the goals of CESS, which seemingly focus on supporting health care professionals. Training and practical guidance was thought to be helpful for gaining experience for both CESS staff and HCPs. (shrink)

This article presents various developments in Dutch health care policy toward a greater role for individual financial responsibility, such as cost-control measures, priority setting, rationing, and market reform. Instead of the collective responsibility that is characteristic of previous times, one can observe in government policies an increased emphasis on the need for individuals to take care of one’s own health and health care needs. Moreover, surveys point to decreasing levels of public support for “unlimited” solidarity and “irresponsible” health behavior. (...) This article attempts to answer the question of how these policies and public attitudes are limiting the ethical principles of solidarity and equal access to care that have long guided Dutch health care policy making. The authors argue that from a moral point of view, the increased emphasis on individual responsibility is acceptable as long as it does not affect solidarity with those weak and vulnerable groups who are not able to take individual responsibility, such as the demented and mentally handicapped. (shrink)

The presented article is an attempt to describe in a synthetic way an own vision of a German front-line soldier of the First World War. It also tries to show an image of some enemies – the French, the British and the Russians. The attempt was made on the basis of recollection material and literary forms created either during or soon after the war. The conclusion is unequivocal – the more contact the authors of the texts had with the opponent, (...) the more balanced image of the enemy they presented in their texts and the less were they prone to overestimate the German soldier. Yet the press material contained a lot of exaggeration. The authors created a haughty and sometimes even superhuman image of the German soldier. At the same time the image of the enemy was inhuman and deserving contempt. (shrink)

This paper delves into the temporal interpretation of fronting constructions in English, a topic that has received limited attention in the literature on tense semantics. It presents new empirical findings revealing that specific fronting configurations, involving present tense morphology in a complement CP under a matrix past tense, can yield a theoretically unexpected simultaneous interpretation. A novel theoretical framework for understanding English tense is proposed, which accounts for the temporal interpretation of both fronting and non-fronting versions (...) of attitude reports. The framework introduces a null simultaneous tense as a replacement for the conventional indexical present and the Sequence-of-Tense (SOT) _de se_ tense. It is argued that in complement CPs the null simultaneous tense, as well as past tense, can be anchored either to the attitude time or to the utterance time. In either case, each tense receives a _de re_ interpretation. Moreover, the paper contends that evidence from fronting constructions supports Kratzer’s (Proceedings of semantics and linguistic theory 8, pp. 92–110, 1998 ) proposal that the transmission of temporal features (as part of the mechanism of SOT) occurs at PF. Finally, the proposed revision of the English tense system contributes to a more unified cross-linguistic perspective on tense. It is demonstrated how the temporal readings of attitude reports arising in such non-SOT languages as Russian, Japanese, and Hebrew can be captured within the system developed for English, with known contrasts attributed to the absence of Feature Transmission in those languages. Further known and new data from English, Modern Greek, and German are examined, revealing variations in SOT effects across SOT languages. These data are used as additional evidence supporting the claim that cross-linguistic variation in the interpretation of complement tense stems solely from differences in Feature Transmission. Regarding the semantic profile of tenses, it can be considered largely invariant. (shrink)

I. Confronted with the acuteness of the socio-economic problems the two major labour organizations have in 1976 strengthened their «Common Trade Unions' Front» in view of their negotiations with employers and with the government, to which the trade unions have submitted a common platform.The common front, that has its antecedents on the local, regional and professional level has never been and never will be of a permanent nature, some sort of organic unit. Each confederation maintains its own identity and the (...) front is meant to be re-animated according to the circumstances.II. From the employers' side representatives of employers' organizations have «as a personal point of view» and, no doubt, as a preliminary approach, launched the idea that a new and very comprehensive «social pact» should be negotiated. The socialist trade unions clearly tend to reject this idea, since it maywell lead to a further integration in the capitalist system, whereas the christiandemocratic union seems to be rather in favour of such a pact.In the present state of affairs the probability that it be realized is rather low indeed. (shrink)

Tough Fronts takes the difficult issues in urban education head on by putting street-savvy students at the forefront of the discussion on how to best make successful changes for inner city schools. Individual chapters discuss scholarly depictions of black America, the social complexity of the teacher-student relationship, individual success stories of 'at-risk' programs, popular images of urban students, and implications for education policy. With close attention to the voices of individual students, this engaging book gives vitality and legitimacy to arguments (...) for school changes that have been lacking in previous discussions. (shrink)

Just north of the Arctic Circle sits Kotzebue, a town of the Inupiat people that has endured for over a century. In this compelling visual essay, Dennis Witmer captures scenes on its Front Street, the main thoroughfare whose buildings have evolved from the sod huts of Native cultures to permanent wood and concrete edifices. From front yards with parked snow machines to townspeople peacefully strolling down sidewalks, the striking black-and-white images in Front Street, Kotzebue offer a thought-provoking view of life (...) in the Arctic and people’s methods of coexisting with the brutality of nature. (shrink)

This article investigates the scope and effects of enhanced consumer choice in health insurance that is presented as a cornerstone of the new health insurance legislation in the Netherlands that will come into effect in 2006. The choice for choice marks the current libertarian trend in Dutch health care policymaking. One of our conclusions is that the scope of enhanced choice should not be overstated due to many legal and non-legal restrictions to it. The consumer choice advocates have great (...) expectations of the impact of enhanced choice. A critical analysis of its impact demonstrates that these expectations may not become true and that enhanced consumer choice should not be perceived as the ‘magic bullet’ for many problems in health care. (shrink)

We examine the role of the American Psychological Association (APA) in the weaponization of American psychology post-9/11. In 2004, psychologists’ involvement in the detention and interrogation of terrorist suspects generated controversy over psychological ethics in national security (PENS). Two signal events inflamed the controversy. The 2005 APA PENS Report legitimized clinical psychology consultation in support of military/intelligence operations with detained terrorist suspects. An independent review, the 2015 Hoffman Report, found APA collusion with the US Department of Defense in producing the (...) APA PENS Report and subsequent policies. Ongoing activities within APA to weaponize psychology sharpened the controversy. The authors—two psychologists and four former military/intelligence professionals—bring a military/intelligence operational perspective to detail two neglected areas of collateral damage. The first is the toll on psychology as a scientific enterprise. The second is covert influence on professional associations for incompatible security-sector objectives. We establish epistemic, historical, institutional, legal, and operational foundations for evaluation of these damages, as well as implications for APA and related professional associations in the ongoing Global War on Terror. (shrink)

This article investigates differences in structural tendencies between Japanese newspaper editorials and front-page columns. Although intuitively recognized by Japanese people, such differences have tended to be empirically overlooked in discourse or rhetoric research. This study compares the two text types, specifically focusing on the location of the main topic in the text item rather than the main thesis, the former of which has received less empirical attention than the latter in Japanese discourse research. The study analyzed 30 editorials and 30 (...) front-page columns from three major Japanese newspapers. The results show that the editorials have an early placement pattern, whereas the columns tend to have delayed introductions. These differences were statistically significant, empirically demonstrating how the intuitively recognized structural tendencies between the two text types crucially differ. The finding that there is a systematic early placement of the main topic in Japanese editorials is indicative of a basic common feature among languages in the editorial genre. From a methodological perspective, the study demonstrates the validity of the index of the main topic location as an analytical tool to distinguish different textual structures. (shrink)

Speakers of English frequently associate location in space with valence, as in moving up and down the “social ladder.” If such an association also holds for the sagittal axis, an object “in front of” another object would be evaluated more positively than the one “behind.” Yet how people conceptualize relative locations depends on which frame of reference (FoR) they adopt—and hence on cross‐linguistically diverging preferences. What is conceptualized as “in front” in one variant of the relative FoR (e.g.,translation) is “behind” (...) under another variant (reflection), and vice versa. Do such diverging conceptualizations of an object's location also lead to diverging evaluations? In two studies employing an implicit association test, we demonstrate, first, that speakers of German, Chinese, and Japanese indeed evaluate the object “in front of” another object more positively than the one “behind.” Second, and crucially, the reversal of which object is conceptualized as “in front” involves a corresponding reversal of valence, suggesting an impact of linguistically imparted FoR preferences on evaluative processes. (shrink)

After the horrendous events of September 2001, photographer Peter Elliott loaded his cameras and some clothes into his car and began a cross-country journey, looking for the flag. He found it everywhere: painted on a retaining wall in Tacoma, flying over a trailer in Bozeman, carried billowing by a lone man walking a sandbar in Florida, made of plastic cups stuck in a fence in Mississippi, draped over a fake horse in Salinas, immaculately hanging from a Beverly Hills mansion's window. (...) Home Front is both a tribute to the profound emotions of the country and a testament to Elliott's eye. His genius in these eighty-seven arresting images is to wed these serendipitous meetings with the flag to a language of light and composition that draws as much from classic landscape photography as it does from urban visual idioms. Elliott manages to convey here America's stirring and complex national character, one in which those who have not benefited from the nation's prosperity nonetheless feel the same sense of pride as those who have. With its inspiring introduction by Julia Reed, Home Front is the record—both somber and joyous—of Elliott's encounters with spontaneous patriotism. (shrink)

Objectives: Efficient procedures for obtaining informed (proxy) consent may contribute to high influenza vaccination rates in nursing homes. Yet are such procedures justified? This study’s objective was to gain insight in informed consent policies in Dutch nursing homes; to assess how these may affect influenza vaccination rates and to answer the question whether deviating from standard informed consent procedures could be morally justified. Design: A survey among nursing home physicians. Setting & Participants: We sent a questionnaire to all (356) (...) nursing homes in the Netherlands, to be completed by one of the physicians. Results: We received 245 completed questionnaires. As 21 institutions appeared to be closed or merged into other institutions, the response was 73.1% (245/335). Of all respondents 81.9% reported a vaccination rate above 80%. Almost 50% reported a vaccination rate above 90%. Most respondents considered herd immunity to be an important consideration for institutional policy. Freedom of choice for residents was considered important by almost all. Nevertheless, 106 out of 245 respondents follow a tacit consent procedure, according to which vaccination will be administered unless the resident or her proxy refuses. These institutions show significantly higher vaccination rates (p < 0.03). Conclusions: In our discussion we focus on the question whether tacit consent procedures can be morally justifiable. Such procedures assume that vaccination is good for residents either as individuals or as a group. Even though this assumption may be true for most residents, there are good reasons for preferring express consent procedures. (shrink)

The purpose of this article is to show a structural relationship in Dutch between sentences with the main verb "duren" (last) and specifying complements such as een week (a week) or "drie kwartier" (three quarters of an hour) on the one hand, and sentences with Duration Measuring Adverbials such as "gedurende een week" (for a week), "gedurende die week" (lit: for that week) on the other.